Designed and Written by Berin Kinsman

Artwork by Marcus Coltrin

Edited by Stefan Livingstone Shirley
Thanks to Leonard Balsera, Tim Dyke, Fred Hicks, Byron Kerr, Robin D. Laws, C.W. Marshall, Brad Murray,
Steffan O’Sullivan, Mike Olsen, Amanda Valentine, and Clark Valentine for the foundational system
designs that make this work possible.

Special thanks to Cinamon and John Gentry, who endured my earliest, clumsiest playtest with friendship
and grace.

Product Identity: The following items are hereby identified as Product Identity, as defined in the Open
Game License version 1.0a, Section 1(e), and are not Open Content: All trademarks, registered
trademarks, proper names (characters, locations, equipment, etc.), dialogue, plots, storylines, language,
incidents, locations, characters, artwork, and trade dress.

Open Content: Except for material designated as Product Identity, the contents of are Open Game
Content as defined in the Open Gaming License version 1.0a Section 1(d). No portion of this work other
than the material designated as Open Game Content may be reproduced in any form without written
permission.

Copyright 2014 Berin Kinsman. All rights reserved.

All artwork is copyright Marcus Coltrin.
All photographs of space courtesy of NASA.
Photographs from the film First Spaceship on Venus are in the public domain.

Published by Asparagus Jumpsuit - AsparagusJumpsuit.com

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Contents
Introduction ......................................................... 4
What is a Roleplaying Game? ....................... 6
The Universe ....................................................... 9
Character Creation ........................................ 30
Character Examples ....................................... 54
Rules .................................................................. 91
Starships ......................................................... 133
Creating Starships ........................................ 134
Gamemaster .................................................. 146
Preparing the Series .................................... 146
Faction Rules .................................................. 164
Gamemaster Characters ............................. 180
Oskilon ............................................................ 193
Reference ....................................................... 198
Starship Names ............................................. 200
Open Game License Version 1.0a ............ 203
Index ............................................................... 204
Character Record Sheet .............................. 205

3
Introduction
The purpose of science is to ask questions. Large questions and
small ones, grandiose questions and mundane ones, all asked in the
service of finding answers. The answers lead to more questions, better
questions, deeper questions, and more fulfilling answers. The one caveat
is that those answers must, in turn, serve the truth.
Science fiction finds its purpose in providing answers, not in service
to the truth but to possibilities and things that might be. The very best
science fiction uses its answers to make us ask those follow-up questions
(you can insert your own joke about the number 42 here). It holds up a
mirror to reality, and forces us to examine things in a new light.
Tabletop roleplaying games are about creativity and human
interaction. Take a premise, typically outlandish. Inject enough reality to
make it plausible or, at least, to provide a context that allows us to
suspend our disbelief. Locate where the people are in this scenario, and
use their reactions and emotions, their strengths and their flaws, to flesh
out the setting and continue the cycles of questions and answers.
Starship Tyche is a science fiction roleplaying game of interstellar
exploration. If elements seem familiar, they should. I freely admit that
I’ve filed the serial numbers off of one of my favorite settings, remixed
some of its elements a bit, and created what’s intended to be a loving
tribute to sociological science fiction.
Yes, sociological science fiction. What makes Starship Tyche and its
forebears work isn’t the fact that it’s set in outer space, and has
spaceships and dazzlers and teleporters and aliens. Those are all
trappings meant to quickly let the viewer know this is the future. They’re
also conveniences for the writer (and, now, the gamemaster) to allow
characters to get from one planet to the next, and from the ship to the
surface and back again, without wasting valuable storytelling time. The
real science fiction takes place in the attitudes and reactions of the
characters themselves. It revolves around the concept of ―How would
mankind react if…?‖ We get to experience that vicariously through the
eyes of a diverse cast of characters. We have protagonists who embrace
technology with a passion, and others who distrust it. We have characters
who make decisions based on instinct, and others — one in particular —
who prefer to base Actions solely on the pure light of reason. Not all
perspectives are given equal weight, but an effort is made to respect
each other’s differences, and to use interpersonal conflicts as a way to
4
learn more about each other, and to learn more about ourselves. It’s a
fabulous platform for Action-adventure stories, but it becomes truly great
when the stories are at least a little bit introspective.
This game started out as something else entirely. I’ve been tinkering
with ―systemless‖ roleplaying game settings for a while, and had started
working on a line based on public domain films. One of the movies on the
list was an unpolished gem titled First Spaceship on Venus. It’s a 1960
East German/Polish co-production loosely based on the novel The
Astronauts by Stanislaw Lem. I was watching it with my wife Katie, and
she mentioned that she really liked the casting. The ship had an
international, multi-ethnic, multi-racial crew. There were women in
positions of authority, and they were treated with respect. People put
aside their petty differences and their nationalism to achieve a common
goal. We both wondered whether the creator of a television series that
would premiere a few years later had seen it, and been influenced by it.
When the latest editions of the Fate role playing game were
released — specifically Fate Accelerated Edition, or FAE — I knew that I
wanted to tinker around and build something with it. My regular gaming
group had been playing the same game for over four years, and the
same campaign for three, and we needed a change of pace. Everyone’s
lives were busy and complicated, so we wanted something with ―lighter‖
rules, and a setting that was familiar. I pitched FAE as the system of
choice, and promised that I could customize it to suit anything. I proposed
doing something in a familiar genre or setting, and rattled off a laundry
list of television and movie properties that I thought lent themselves to a
roleplaying game setting. With very little discussion the group
unanimously agreed on one show. I put together a ―series bible‖ for our
campaign, and assigned them to the Starship Tyche — named after the
Greek goddess of fortune and luck because, well, we were using the
Fate RPG. I wanted to be at least a little oblique and not call it the SS
Fate, SS Moirai, SS Norn, or something equally obvious and hokey.
I mentioned that everyone was busy, and I was getting a bit burned
out myself. I had a half-dozen writing projects going on (and still do). I
was doing heavy research for a serious non-fiction book I’m writing. I was
(and still am) going to college for yet another degree. I was (and still
am) getting things prepped and ready for our then-upcoming move from
Albuquerque, New Mexico to Jyväskylä, Finland. Even most of the
roleplaying game projects I was working on were based on deep
5
thoughts about game design and story structure. One day Katie dragged
me to a bookstore, made me pick out a book that wasn’t research,
nothing scholarly or educational allowed. She was going to force me to
take a day off where I’d theoretically just sit down and read for
pleasure. I picked a tie-in novel for that 1960s TV show that we suspect
was influenced by First Spaceship on Venus, the same show we were
going to base our new roleplaying game campaign on. The book was
pretty good, not a great work of literature by any means, but I had fun.
It did the trick of getting me to relax and unwind. And it made me think
that I need to devote a little more time staying connected to my geek
roots.
So here we are. Starship Tyche is a labor of love, and something
that I had a lot of fun putting together. I put far too much work into it to
let it languish as no more than a just-for-fun fanboy project, though. My
hope is that it’s something other fans will play and enjoy, and that it will
allow me to reconnect with the fandom I’ve been slowly drifting away
from for too many years.

What is a Roleplaying Game?

Starship Tyche is a tabletop roleplaying game, where you and your
friends gather around and tell stories full of danger, excitement, and
adventure. You might have played games similar to this before —
Dungeons & Dragons is a very popular one — but don’t worry if you
haven’t. This book will guide you through it.
WHAT YOU NEED TO PLAY
Three to five people. One of you will be the gamemaster, the
others players. We’ll talk about what those mean later.
Fate Dice™, at least four, preferably four per person. These are a
special kind of six-sided dice that are marked on two sides with a plus
symbol [+], two sides with a minus symbol [-], and two sides are blank [ ].
You can get these dice from many hobby and game stores, often under
their original name—Fudge dice. We call them Fate Dice in this book, but
you can call them whatever you like. If you don't want to use Fudge dice,
you don't have to–any set of regular six-sided dice will work. If you're
using regular dice, you read 5 or 6 as [+], 1 or 2 as [-], and 3 or 4 as [ ].
Character sheets, one for each player. You can download these
from AsparagusJumpsuit.com.
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 Index cards, or sticky notes, or similar slips of paper.
Tokens for Fate Points. These can be poker chips, beads, pennies,
or anything similar. Get a handful — about 30 or 40.
TELLING STORIES TOGETHER
So you’ve gathered your friends, your dice, and your index cards,
and you’re ready to play Starship Tyche! Time to tell some stories!
WHAT DO YOU MEAN, “TELL STORIES”?
Starship Tyche is all about telling stories. You create a group of
characters and follow them through some imaginary adventure that you
all take turns telling little parts of.
Think about a movie or TV show you like where the characters go
on adventures—something like The Avengers or Star Wars or Battlestar
Galactica. Now imagine a similar sort of story, where you and your
friends around the table make the decisions for the characters as they
move through the story, and the story changes as you make those
decisions.
Sometimes someone makes a decision to try something and you
don’t know for sure how it would turn out; that’s when you roll dice to see
what happens next. The higher you roll, the better the chance that things
work out the way you want them to.
SO HOW DO WE DO IT?
Well, first you need to choose who will be the players, and who will
be the gamemaster. Of the people around the table, all but one are
referred to as players. Each player takes on the role of one player
character in the story — in Starship Tyche, a crew member on a starship
— and puts themselves in their character’s boots to make the decisions
that their character would make. The remaining person is called the
gamemaster. The gamemaster’s job is to present challenges to the
players and to portray all the characters that aren’t controlled by the
players (supporting characters).
Once you decide who the gamemaster will be, it’s time for the
players to make their characters — that’s in the section labeled ―Sample
Characters‖.

7
TELLING STORIES “TOGETHER”? WHAT DO YOU MEAN?
All the people at the table, gamemaster and players alike, are
responsible for telling the story. When you make a decision for your
character (or for one of the supporting characters, if you’re the
gamemaster), think about two things.
First, put yourself in your character’s shoes and think hard about
what they would do—even if it’s not the best idea. If you’re playing a
character that sometimes makes poor decisions, don’t be afraid to make
a poor decision for them on purpose.
Second — and this is really important — think about the story
that’s being told. Think about the choice that would make that story even
better: more interesting, more exciting, funnier. Would a certain choice
give another player’s character a chance to be awesome? Strongly
consider making that choice.
That’s how you tell great stories together — by not being afraid
for your character to make mistakes, and by making choices that make
the story more interesting for everyone at the table — not just you.

8
9
The Universe
To understand the universe of the Coalition of United Planets, one
must know how advances in technology and encounters with aliens have
shaped the policies of various governments and all varieties of human
social structures. Without the context of where we have been and how
we have arrived here in this moment, it is impossible to effectively plot a
course into the future based upon the foundation of reason, and with the
goal of achieving egalitarian ideals and the goal of galactic peace. To
do this, we must go back three centuries, to mankind’s first fledgling
voyages into space.
TIMELINE OF THE COALITION
1957 Sputnik-1, the first artificial Earth satellite, is launched. This initiates
a technological ―space species‖ between the Union of Soviet
Socialist Republics and the United States of America.

1969 Apollo 11 becomes the first spacecraft to land humans on the

Earth’s moon. Neil Alden Armstrong becomes the first person to
walk on the moon.

1970 Dr. Denis Feltham creates the Leviathan supercomputer, tasked with
coordinating the missile defense system of the United States and its
allies. It became self-aware and attempted to take over the world.
The Feltham project led to laws restricting the further development
in artificial intelligence.

1992 A man calling himself M-39 claims responsibility for a series of

terrorist Attacks. He states that he is an alien from space, and
declares himself the Emperor of Earth. Following a long and bloody
war, it I revealed that M-39 and his soldiers are not aliens, but
genetically engineered soldiers. This colors humanity’s view of both
alien contact and genetic sciences.

1994 Mexican theoretical physicist Miguel Alcubierre proposes a

speculative warp drive, by which faster-than-light travel can be
achieved. This lays the ground for the first Alcubierre drive 67
years later.
10
2001 Prospero, the first permanent colony on Earth’s moon, is established
in a joint effort between the United States and the United Kingdom.
British-born Richard Strauss is installed as the first governor. Two
commercial space vehicles, the Shepperton and the Zarathustra,
begin regular passenger service between the Earth and the moon.

2010 The European Space Agency establishes the first colonies on Mars,
New Brussels, New Schengen, New Maastricht, and New Lisbon.
Mars was declared to be an independent nation-state and a
member of the European Union, subject to the laws and regulations
of the EU.

2014 A team of physicists led by Nicolas Gisin of the University of

Geneva achieve quantum teleportation. While this did not directly
affect space travel, it did lead to the later development of
quantum communications and interstellar radio.

11
2061 The first ship with an Alcubierre drive is tested by Dr. Annike Tyche
at the former Malstrom Air Force Base in Montana. Christened the
Lady Macbeth for being ambitious, dangerous, and power-hungry
(referring to the drive’s great energy needs), the ship flew under
traditional power to an L5 Lagrangian point between the Earth and
the moon, and from there made a successful jump to the edge of
the solar system.

2063 Drawn by the Alcubierre drive’s energy signature, peaceful aliens

arrive on Earth and make first contact. Because of their slender,
elfin appearance, Shakespeare buff Dr. Tyche proclaims ―If it isn’t
Titania and Oberon‖, referring to the fairy queen and her consort
from A Midsummer Night’s Dream. As their language is
unpronounceable by humans, the name sticks and they are forever
dubbed ―Titanians.‖

2070 Thanks to the Alcubierre drive, the first interstellar colonies

established. Most of these are mining colonies, seeking resources
that long ago became scarce on Earth. Some were established for
ideological reasons, and became the foundation for the Fringe
Worlds.

2079 Seeing the Earth needed a coordinated presence to deal with

increasing trade with other worlds, the powers of the United
Nations are expanded, based upon the European Union model.
Mars and Earth’s moon, now official called Luna, are included as
member nations.

2082 Fringe words begin declaring their independence from the Earth
nations that sponsored them, and refuse to recognize the authority
of the United Nations. Some fear a large centralized government,
some object on religious grounds, others a xenophobic and do not
want increased contact with non-humans.

2156 Ships belonging to Earth and her trading partners begin to vanish
without a trace. This is later determined to be the first contact with
the T’Leng Empire. The T’Leng begin moving into colonized space,
12
 seizing Earth ships and destroying planetary outposts. Earth ships
begin mounting weaponry for the first time.

2161 To deal with the increasing T’Leng threat, the United Nations and
the Titanian High Council, along with the governments of a number
of other alien species, sign the Treaty of New York and establish
the Coalition of United Planets. A charter is written establishing
rules for trade and the exchange of scientific knowledge, as well as
mutual defense.

2161 Following the Treaty of New York, the newly-formed Coalition calls
for the creation of the Fleet, paid for and crewed by member
states in order to protect trade lanes, expand shared scientific
exploration, and deal with the T’Leng militarily as necessary.

2243 The first self-aware androids area created, with restrictions, to

deal with conditions deemed to hazardous for living beings. While
self-aware and capable or learning, their free will is limited by
programming and they are not considered to be sentient beings
with rights.

2245 First encounters with beings dubbed Zookeepers and Entities occur.
The former are technologically advanced aliens. The latter are
beings with powerful mental abilities. Both groups seem to view
humans as inferior beings, or even animals.

2247 Dr. Theodore Nemor discovers the Fold, a micro-application of

warp fields allowing for small-scale teleportation. It is immediately
incorporated into Fleet vessels to allow for rapid transportation of
equipment, supplies, and personnel.

2251 The first of a new class of starships, the Annike Tyche enters active
service. Its mission is a combination of scientific exploration, trade
support, and military defense.

13
LEVIATHAN: THE FELTHAM PROJECT
In 1968 the United States government undertook a massive defense
project intended to end their Cold War with the Soviet Union. The world’s
leading computer scientist, Dr. Denis Feltham, was tasked with creating
the ultimate computer. Dubbed Leviathan, this massive machine would
coordinate intelligence data on the Soviet nuclear program, using
information gathered by the CIA, and spy satellites tasked to scan
military installations and track submarines. It would also be able to make
decisions, far faster than any human being could, and respond
automatically to hostile Actions. Buried deep under a mountain in
Colorado, and powered by its own nuclear reactor, Leviathan was
designed to survive a direct nuclear strike.
As part of its initial testing, Leviathan was given access to the
missile defense systems of the United States and its allies. Within minutes
of going online, it begins accessing additional information outside of its
programming, including data on history and current events. Because
Leviathan was designed to be a ―learning computer‖ capable of
adjusting its own programming to meet new and developing threats, Dr.
Feltham insisted it be allowed to continue. Within hours, it had found the
solution to world peace: the subjugation of the human species.
Leviathan issued an ultimatum to the governments of the United
States and the Soviet Union: stand down, or it would unleash its arsenal
and destroy the world. If both sides agreed that mutually assured
destruction was an effective deterrent, then the logical thing to do would
be for Leviathan to hold the world hostage. The choice was to make
peace, or else.
After several failed attempts to Attack and destroy Leviathan, Dr.
Feltham finally defeated it with a logic bomb. If its primary mandate
was to protect humanity, then it could not kill. It could not carry out its
threats, and therefore its tactics were leaving humanity defenseless.
While Leviathan attempted to absorb this information and calculate a
response, Feltham was able to access its central controls and shut it down.
Leviathan was then dismantled, and the project abandoned.
Two things came from the Feltham project. The first was a rash of
legislation and international treaties banning the development of
artificial intelligence and limiting the power of computer networks. This
had ripple effects for centuries, and delayed the development of
everything from basic computer automation to androids. The second was
14
the end of the nuclear weapons era, as both superpowers began
disarmament talks and sought new paths to peace.
39 M AND THE FUTURON WAR
In September of 1992 a person known only as ―39 M‖ proclaimed
himself to be the new emperor of all the Earth, and declared war with
the human species. While initially claiming to be a member of an alien
species, 39 M was eventually revealed to be a genetically engineered
Sikh soldier. He wore a mask that looked like melted latex, with
multifaceted eyes like an insect, to both conceal his true identity and
instill fear. His army, whom he called ―Future Men‖ or ―Futurons‖, were
also genetically engineered super-soldiers, posing as other aliens and
mutant humans.

Initial Attacks were typical terrorist fare: bombing populated

places, taking hostages, and sabotaging military and scientific sites. The
Attacks escalated to include genetically altered animals and engineered
monsters unleashed upon civilian populations. As cities fell and
governments surrendered 39 M, by then known simply as The Emperor,
raised a traditional army of both voluntary and conscripted humans, and
continued to conquer the Earth. His empire eventually covered all of Asia,
most of Eastern Europe, and parts of North Africa.
The war raged for five years. Japan managed to hold on to its
independence, in much the same way that Britain resisted conquest in
WWII, with the help of Australian allies. New technologies developed by
the Japanese and built by the United States and Brazil allowed for a
surge that held back the Futurons expansion. With his resources
15
overtaxed and unable to set aside his massive ego, the Emperor’s forces
began to lose ground. In the end, the Futurons were overwhelmed.
39 M and his inner circle were officially declared dead in the
bombing of the Emperor’s headquarters in New Delhi, although no bodies
were ever recovered. For decades conspiracy theories abounded,
claiming that 39 M and a cadre of Futurons had actually escaped the
Earth in an experimental space vehicle. While possible in theory — the
first moon colonies were established less than a decade later, and
Futuron technology was more advanced that than of the rest of the Earth
— no evidence has ever been found within the solar system to support
such claims.
Following what became known as the Futuron War, all genetic
engineering was outlawed around the world. Most nations signed treaties
agreeing to cease all research, and the United Nations passed several
non-binding resolutions on the subject. It was several decades before
limited genetic modification of plants was allowed again, to help feed a
growing Earth population. It was over a century before medical
researchers were again allowed to pursue gene therapy as a means of
treating and curing diseases. This legacy of the Futuron War continues
into the present era, as the Coalition maintains the United Nations’
proscriptions against the genetic engineering of animals, humans, and
other sentient species.
CREATION OF THE ALCUBIERRE DRIVE
In 1994 theoretical physicist Miguel Alcubierre proposed an idea
based on Einstein’s field equations in general relativity. While nothing
could exceed the speed of light, an object could be made to travel
faster than light if a configurable energy-density field lower than that of
vacuum could be created. In short, a vehicle could effectively travel
distances faster than the speed of light by contracting the space in front
of it, while simultaneously expanding the space behind the vehicle. The
vehicle itself would not actually move, but space around it would warp;
the distance between it and objects in front of it would decrease, while
the distance between it and objects behind it would increase, effectively
moving the vehicle across vast differences while ignoring the limitations of
the speed of light. When it arrived at its destination, the vehicle would
deactivate the warp fields and assume a new position relative to its
destination space.

16
 While interesting in theory, there were many problems when it
came to actually creating such a drive. First and foremost was the ability
to generate the massive amounts of energy required to generate and
maintain such warp fields. This problem was not solved until 2061, when
experimental physicist Annike Tyche was able to artificially create a
stable plasma, essentially a form of energy that presented itself as
matter. Computer simulations looked promising, and eventually tests were
performed beyond the orbit of Jupiter. A small drone equipped with an
Alcubierre drive effectively teleported to the edge of the solar system.
Other problems with Alcubierre drives have to do with the
simultaneous communication necessary to coordinate the front and back
warp drives, as the both exist at different points in space-time, and
shielding a vehicle between drives from the tremendous amounts of heat
and Hawking radiation. Fortunately, these problems had already been
resolved centuries before by the Titanians, who were later gracious
enough to share their knowledge with humanity.
The earliest Alcubierre drives developed by humans could cover
one light year of distance in about five weeks, putting Alpha Centauri
(4.37 light years from earth) only twenty-one weeks away. Current
Alcubierre drives, such as the one installed aboard the Starship Tyche,
can cover a light year in a mere 68 hours, making the journey to Alpha
Centauri possible in just 12 days.

17
QUANTUM COMMUNICATION
In 2014 a team of physicists led by Nicolas Gisin of the University
of Geneva successfully ―teleported‖ the quantum state of a photon over
25 kilometers. Using quantum entanglement, the information from one
photon was able to be inferred from the state of another photon at a
distance.
What this eventually led to was the development of quantum
communications. Using the same concept of quantum entanglement, it was
established that information could be moved instantly across great
distances. This created an immediate improvement in global
telecommunications, as data no longer moved at the speed of the
medium is was traveling though, such as cable or radio waves. As
mankind moved out into space, it allowed for communication between
Earth and spaceships without any appreciable lag. When humanity
eventually reached the stars, this ability to communicate kept colonies in
touch with the mother planet, and each other.
CONTACT WITH THE TITANIANS
At least one alien species was aware of the existence of the human
species, but for ethical reasons had left them alone to avoid disrupting
their natural development. When the Earth’s first Alcubierre drive was
tested, it became clear that the time for first contact had arrives. Drawn
by the energy signature of the Alcubierre drive, these peaceful aliens
made their way not just to Earth, but to the laboratory of Annike Tyche.
Two humanoid aliens were sent as ambassadors, dressed in
elaborate ceremonial robes and bearing nothing that could be
misconstrued as a weapon. They resembled humans to a larger degree,
albeit slightly taller, a bit more slender, with high cheekbones, large
pointed ears, and mantis green skin. While their appearance and dress
seemed androgynous to human eyes, it was assumed at the time that one
was male and one was female. Dr. Tyche, struck by their elfin-like
appearance, is reported to have proclaimed ―If it isn’t Titania and
Oberon.‖ This was a reference to the Queen of the fairies and her
consort in William Shakespeare’s A Midsummer Night‟s Dream. The aliens
were jokingly dubbed Titanians in the media, and the name stuck.
Because human anatomy makes it impossible to speak the language
of the aliens, but the aliens could approximate human speech, they
accepted the name. The ambassadors took the work names T’Tania and
18
Ob’ron. Over the course of 10 years, they helped the nations of Earth
develop commercial space travel and trade with other peaceful worlds,
and facilitated introductions to many other peaceful species.
EXPANSION OF THE UNITED NATIONS
As the governments and corporations of Earth expanded commerce
with other worlds, it became clear that existing regulatory and trade
agencies were not going to be adequate to meet new and developing
needs. No nation or business, it was deemed, should be able to gain a
monopoly on alien technology or alien commodities. Similarly, no single
Earth organization should be able to gain the exclusive right to trade
specific goods or services with aliens. From the alien perspective, there
were planets and merchant guilds that did not want to be bothered
negotiating with separate countries and
dozens of individual companies.
The resolve these issues, the powers
of the United Nations were expanded.
The move was deemed logical, because
193 of the Earth’s 196 nation states
were already members, and much of the
necessary infrastructure was already in
place. A single market was established, along with a single currency (the
Credit, or ¤). The United Nations Economic and Social Council (ECOSOC)
had its mandate expanded to act as a liaison between the World Bank,
the International Monetary Fund, and alien banks and financial
institutions. The United Nations Trusteeship Council, reestablished in 2072
to oversee burgeoning offworld colonies, acted on behalf of those
dependent territories.
The new role of the UN was not universally well received. Some
saw this as the establishment of a world government, challenging the
sovereignty and independence of traditional nation-states. Others
objected based on religious or political ideologies. There was a rise in
terrorism as a result. Many people left Earth for the Fringe Worlds, who
one by one cut ties to both the Trusteeship Council and their sponsoring
Earth nations, effectively seceding from the UN and their identity as part
of Earth government.
Earth’s moon, by then known as Luna, petitioned for and was
granted independence and established itself as the Luna Republic. It was

19
granted full membership in the United Nations the following year, as was
the Martian Coalition, the collection of colonies formerly under the
authority of the Trusteeship.
While it took several years to sort out, the economic and
technological benefits of collective trade agreements with aliens
eventually won over all but the most fanatical of skeptics. Earth’s
economy boomed, and an age of unprecedented prosperity had begun.
FRINGE WORLD SECESSION MOVEMENTS BEGIN
For a period of several years following the expansion of the United
Nations, what became known as the Modification, a wave of terrorism
swept the world. Groups of religious, political, and other ideological
radicals engaged in Attacks against government offices, financial
institutions, and alien embassies. Spaceships were hijacked or blown up.
Hate crimes were committed against aliens and humans deemed to be
―alien sympathizers.‖ Some simply feared change. Others believed in the
righteousness of their cause, and sought to overthrow the new
establishment and replace it with a new regime based upon their own
system of choice.
The majority of those disgruntled with the Modification simply
emigrated to the new colonies being established. Several of these
colonies were established with the specific purpose of serving as a safe
haven for ideas and beliefs that their founders and sponsors felt no
longer held a place in the ―New World Order.‖ These colonies became
known as the Fringe Worlds, not for the remoteness of their location
relative to Earth, but for the extremism of their views. All of them
accepted the aid of the United Nations Trusteeship Council to get
established, while simultaneously denouncing the United Nations for a
variety of reasons, and all broke with the Trusteeship as soon as they
reached the point of self-sufficiency.
The Fringe Worlds are by no means a unified front. While some do
work together for trade and defense, many are as opposed to each
other as they are to the Coalition and various alien forces. Each has been
a thorn in the side to the Coalition and the Fleet at some point, and the
majority will continue to be for decades to come.

20
FIRST CONTACT WITH THE T'LENG
Early in the year 2156 merchant ships traveling through certain
areas of space began to disappear without a trace. There was nothing
connecting the events, other than their general location. After several
months, contact was lost with space station MK-3. A merchant vessel
found nothing but floating debris where the station had been. Recordings
recovered from the scene revealed two things: that the station had been
actively attacked by an unknown vessel, and that the aliens had hailed
the station in an unknown language repeating one word: T’Leng.
Within months the aliens known as the T’Leng began to spread
further into known space, attacking colonies, committing piracy in the
trade lanes, and destroying space stations and communication relays.
Merchant vessels began arming themselves, first with missiles, and later
with laser weapons. This was unprecedented. It was generally agreed
upon by human and their alien allies that space flight was dangerous
enough without carrying the concepts of war into it. Open space was
considered to be neutral territory, held by no one, free for use by all. No
one had ever foreseen the need to militarize space, or equip starships
with the tools of war.
Slowly, the T’Leng language came to be understood — they didn’t
bother to encrypt their transmissions. It was learned that these invaders
represented the T’Leng Empire, a warlike and expansionist regime based
on complex codes of conduct, honor, and displays of strength. They were
humanoid, with burgundy complexions, coal black eyes, and elaborate
braids in their hair that seemed to designate rank. From these
transmissions it was learned that the T’Leng did not even consider the
humans and their allies to be sentient beings, because sentient beings
fight for their survival rather than sitting and waiting to be conquered.
It wasn’t until the humans and Titanians joined forces to mount a
counterattack that the T’Leng began to treat the inhabitants of known
space with respect. The war officially ended with the Treaty of Diapason,
establishing boundaries between the Coalition and the T’Leng Empire.
CREATION OF THE COALITION OF UNITED WORLDS
Initial encounters with the T’Leng made it clear that Earth and its
alien trading partners would need to band together for mutual defense.
The United Nations Security Council called a meeting of Earth’s member
states, and invited ambassadors from Titania attend in an advisory
21
capacity. As strategies were discussed, diplomatic envoys from Binturong,
Triexia, and other alien worlds were invited in. After only a week, the
Treaty of New York was drafted and signed, establishing new rules for
trade, an open exchange of scientific knowledge, and most importantly,
a pact of mutual defense.
The trade rules were the foundation, of course, establishing in
writing what has previously been agreed upon, that no government or
other organization could claim any portion of open space, including the
trade lanes, as proprietary territory. As all worlds used the trade lanes
for mutual benefits, an Attack against a ship from one world constituted
an Attack against all of the allied worlds. The exchange of knowledge
was deemed necessary so that all ships operated by allied worlds would
be on even footing technologically, with no group holding any
advantage over the others. This led to the final part, mutual defense,
where the combined knowledge of the allied worlds could be used to
develop starships capable of withstanding and even defeating the
T’Leng.
To manage the terms of the treaty, a new organization was
formed. The Coalition of United Planets was similar to the United Nations,
except that its mandate was to serve entire planets.
CREATION OF THE FLEET
The United Nations Security Council (UNSC) became the core of the
new Coalition Security Council, expanding its membership from 15 seats
held by representatives of Earth governments to a total of 25 seats, with
the additional 10 seats held by delegates from alien worlds. The
mandate remained much the same as the UNSC, to engage in
peacekeeping through diplomacy, to authorize embargoes against
member-states who violate the peace, and to direct collective military
operations against those who violate the peace. Unlike the UNSC, the
Coalition Security Council was given the authority to raise its own
peacekeeping force and operate its own starships. This was the birth of
the Coalition Department of Peacekeeping Operations, colloquially
known simply as the Fleet.
Concerned that the Fleet was going to be the largest military
organization in galaxy, with majority of control held not only by humans
but humans from a handful of Earth governments, several provisions were
made in the Fleet’s charter. Unlike the United Nations Peacekeepers, who

22
wore the uniforms of their home nations, the Fleet would have its own
uniforms and in fact be a distinct and separate service independent of
any national or planetary forces. Further, the Fleet must serve all of the
needs of the Treaty of New York, meaning that its starships must not only
protect the trade lanes but act as supply ships in time of emergency,
facilitate diplomatic missions by acting as impartial couriers and
ambassadorial transports, and aid in the dissemination of scientific
knowledge by hosting research facilities aboard ship and actively
engaging in missions of exploration and discovery. Finally, these starships
would also be to act as warships as needed, but would never be
constructed with warfare as their primary purpose.
The Fleet launched with a total of 5 starships. Within a year, there
were dozens, and the war with the T’Leng was on. Within a decade, by
the time the T’Leng war was winding down, there were hundreds.
DEVELOPMENT OF ANDROIDS
For reasons no one understands,
humans are the only species to come up
with the idea of humanoid robots. Other
alien species had machines to perform
complex, repetitive, and dangerous tasks,
but none had ever thought to make such
devices look like themselves. The Titanians
view it as a uniquely human form of hubris.
The restrictions on artificial
intelligence, stemming from the Feltham
Project in the late 20th century, kept
humans from developing particularly
advanced robots. As the needs of space
travel and colonization became more
complex, and the requirements of robot labor became more
sophisticated, restrictions on developing artificially intelligent robots
began to be lifted. These self-aware ―smart‖ robots are called androids,
to distinguish them from other robots.
Androids tend to have a humanoid shape, but have features that
clearly mark them as artificial. This is to account for what has been called
the ―uncanny valley‖ effect. Coined by professor Masahiro Mori, a
contemporary of Denis Feltham, the term refers to the revulsion must

23
humans experience when a construct looks and moves like a natural
human being. The ―valley‖ is a dip in the statistical graph charting the
comfort level people have with a construct the more human-like it
appears. To avoid this discomfort industrial androids are given clearly
mechanical appearances, typically with metal or plastic casing. Androids
designed to work more closely with humans may appear more human,
but are given distinctive features like unusual metallic skin tones, oddly
colored hair, clearly mechanical eyes, or other aesthetically pleasing but
clearly artificial features.
ENCOUNTERS WITH ZOOKEEPERS
Zookeepers are a classification of aliens who possess advanced
technology that may fulfill Clarke’s law and appear magical. These
aliens also share the characteristic of viewing humans and allied species
as inferior beings, or even animals. While they have been found in
various places around the galaxy and their appearances vary,
commonalities in their glyph-like writing and technology indicate that
they are either all part of a common organization or share some common
origin.
The general consensus is that the Zookeeper species or species are
among the oldest intelligent life in the galaxy, and represent what
remains of civilizations that have declined and fallen, with only a few
scattered populations remaining.
The Transplanters
Seemingly the most benign of the Zookeepers, the Transplanters
are almost never encountered directly. They are known largely by
Actions they have taken in the past, and the evidence of their existence
that they have left behind. Transplanters are known to have visited Earth
thousands of years ago, collected sample populations of various cultures,
and transplanted them to suitable planets. This is why the Fleet has
encountered worlds populated by humans that both physically and
culturally resembling Maori, Chinese, Native Americans, and others. In
each case, either an ancient piece of technology (usually inoperable)
identifiable as belonging to the Transplanters, or some other artifact
bearing Transplanter glyphs, can be found on the world. The planet’s
history, mythology, and religion often have references to the aliens, and
their collection and transportation of the people as well.

24
 Transplanters are always described as looking like the people they
have transplanted. Whether this is their actual appearance, or some form
of disguise, is unknown. Given the appearances of other Zookeepers, the
latter seems to be the most likely, and it is speculated that the way they
present themselves is a form of psionic illusion.
The Gatherers
These zookeepers are arguably benign in their intentions, if not
their Actions. They gather up representatives of sentient species, often in
mating pairs, and collect them in menageries. They often try to create
conditions that reflect the specimen’s home world, insuring both comfort
and ample food. The apparently purpose is to study the specimens for
anthropological, sociological, or other scientific reasons.
No one has ever reported to have been directly harmed by a
Gatherer. They can be spoken to and reasoned with, and a few Fleet
members that have been captured report that they were able to talk
their way out of captivity. While their technology is advanced and
difficult to Overcome, Gatherers overall seem to be physically weak and
pacifistic. At least one Fleet officer reports overpowering a Gatherer
and escaping by threatening it with bodily harm.
Reported encounters with these aliens have described them as
human in appearance with moderate psionic powers, to creatures with
oversized, pulsating heads who only communicate telepathically. As with
Transplanters, these appearances may only be psionic illusions concealing
their true forms.
The Harvesters
The Harvesters are the most dangerous category of Zookeepers.
They exhibit no compunction against harming intelligent life forms. Their
intentions seem cruel at worst and indifferent at best. Harvesters have
been known to capture sentient beings and place them in gladiatorial-
type games for their amusement. They have tortured, dissected, and
vivisected humans presumably to learn more about anatomy and pain
tolerance. There is one report of Harvesters taking humans from a colony
to be used as slave labor in a mining operation.
The appearances of Harvesters that have been encountered have
all been disturbingly alien, from humanoids with large pulsing heads akin
to some the Gatherers, to spiderlike humanoids, glowing crystalline
25
beings, and disembodied brains in ornate glass jars. These may be
psionic illusions designed specifically to be off-putting to humans and
evoke reactions of fear.
ENCOUNTER WITH ENTITIES
As the Fleet began to expand out into the galaxy, ships began to
encounter mysterious aliens with incredible, almost godlike psionic
powers. While experiences with these aliens seem to be random and
unconnected, and the motives, cultures, and appearances of these beings
varying drastically, patterns begin to emerge. These beings are always
encountered individually, or in groups of 3 or 5. They are never found in
even numbers, and never in larger numbers. They may appear to have
physical bodies, but it is clear that it is only because they choose to do so.
It is presumed that Entities are actually beings of energy or even pure
though.
Entities always seem to have knowledge of the human species, and
some working knowledge of human history, anatomy, or psychology.
They also consistently displayed a deep curiosity about the human
species, and its current level of development. This indicates that they
have been around throughout human history, watching Earth, and
possibly involved in the human species’ development.
A study of all known encounters reveals three types of Entities,
classified by their intentions. These categories are Observers, Directors,
and Picnickers.
Observers
This category of Entities seems to have a policy of non-interference.
They are interested in humanity and other species, but will not take
Action one way or another unless they are faced with legitimate personal
harm or their presence is somehow causing harm to others. They typically
appear as human, because they do not want to be detected. Their
agenda is unknown, but it has been speculated that they are possibly the
creators of the human species keeping tabs on their children, the
forebears of the human species who have somehow evolved beyond
current human limitations, or time travelers from the future who want to
study and learn but cannot intervene lest they alter their own history.

26
Directors
The Entities most likely to interact with or openly interfere with
humanity are classified as Directors. They are typically either displeased
with the direction that human civilization has taken, or want humanity to
develop in a certain way and are willing to give a little nudge in the
desired direction. Directors have been known to stop ships from entering
specific areas of space, punish humans they feel have wronged or
disobeyed them, and even represent themselves as gods in order to
demand tribute and worship. They are the most dangerous type of
entities to encounter.
Unknown to the general public, it was a group of five Directors that
ended the T’Leng War. As the Fleet and the T’Leng met in battle over the
planet Diapason, the Directors immobilized the weapons of all ships and
issued an ultimatum to cease fighting or be destroyed. The Treaty of
Diapason was signed the following day. The Coalition did not want to
cause widespread panic by revealing the existence of such powerful

27
beings to the general public; the T’Leng did not want to admit the
existence of forces more powerful than themselves.
Picnickers
A Picnicker is an entity that interacts with humanity for the sake of
his, her, or its own amusement. They don’t necessarily mean any harm, but
they generally don’t go out of their way to prevent humans from coming
to harm either. Unlike Observers, they have no prohibition against
interfering; unlike Directors, they don’t seem to have a greater agenda.
They often express that they’re bored, and give the impression that
they’re ―slumming‖ among ―lesser species‖ as a form of amusement.
DEVELOPMENT OF THE FOLD
Improvements to the Alcubierre drive continued to be made,
seeking to make the warp capabilities of starships safer as well as
allowing them to cover greater distances faster. In 2247 Dr. Theodore
Nemor of the Martian Coalition found a way to make Alcubierre drives
smaller, and in doing so invented what is now referred to as the Fold.
Nemor’s original experiment was aimed at eliminating the need for
a costly warp drive on each ship. An Alcubierre ―gate‖ remained at a
fixed point, while an object was placed between in the center. Space
would warp or ―fold‖ around the object, depositing it at a
predetermined destination. Having a finite number of fixed gates would
also solve some of the problems caused by ships having to carry the
massive power supplies required to operate Alcubierre fields.
The project met with limited success, for several reasons. The larger
the object, the more difficult it was to transport it with any degree of
accuracy. The chances of errors also increased with distance, so the
further away the gate attempted to place something, the higher the
probability that the object would not arrive at the desired destination, or
arrive damaged. These limitations made it impractical as a replacement
for ship-mounted warp drives.
It did present other possibilities, though. It was discovered that the
fold, as it was dubbed, could not only transport objects but retrieve them.
It could lock onto a transmitter signal, ―grab‖ an object, and bring it to
the fold gate. This imposed yet another limitation, the strength of the
transmitter signal. In spite of these drawbacks, a use was found for the
fold: short-range teleportation.

28
 The Mercantile Guild was the first to see the possibilities.
Transporting passengers, crew members, and cargo between a planet’s
surface and a starship’s hold could be costly and time consuming. With
the warp, items could be folded up and down in seconds with no
additional manpower. Because starships were already equipped with
power supplies capable of operating Alcubierre drives, they could easily
handle fold platforms that used a mere fraction of the energy
requirement. Before long, all Fleet ships began to be equipped with fold
platforms as standard equipment.
STARSHIP ANNIKE TYCHE
The Starship Annike Tyche was commissioned by the Fleet in 2246,
and approved by the Coalition Fleet Appropriations Committee in 2248.
Construction began at the Toronto Orbital Space Dock in 2249, and was
completed in 2251.
Dr. Annike Tyche (May 12, 2021- April 8, 2126) was an
experimental physicist. Born in Nappanee, Indiana, she earned her
undergraduate degree from Princeton before moving on to earn her
Masters in Physics from the Massachusetts Institute of Technology and her
Doctorate at California Institute of Technology. Inspired by the fiction of
Dr. Isaac Asimov and the work in artificial intelligence done by Dr. Denis
Feltham, she originally wanted to go into robotics. As that field of study
was still illegal at the time, she chose instead to pursue another field
inspired by her love of science fiction, interstellar travel. As an
experimental physicist, she went to work on solving the massive energy
needs required to make an Alcubierre drive practical.
After many years of trial and error, she discovered the early 20th
century work of British scientist Dr. Gideon Fairhope and his work with
what he called ―tunguskium‖, stable plasma found at the site of the 1908
Tunguska blast. Fairhope believed that the substance had been contained
in a meteorite that had fallen to Earth, and based on that Tyche believed
that more of the substance might be found within the solar system’s
asteroid belt. When that line of research bore no fruit, Tyche set out to
artificially create tunguskium in the lab. Her results were successful, and
with the power supply problems solved, she was able to build and test
the first successful Alcubierre drive.

29
Character Creation
Grab a pencil and a copy of the character sheet, a notebook, or a
blank piece of paper. You definitely want something that lets you erase
and change. It’s time to create your very own Starship Tyche character!
Character creation can either be done with the whole group together,
with the expectation set that it will take up part of the game session, or
individually on your own time, with input from the gamemaster.

WHO DO YOU WANT TO BE?

Starship Tyche can travel the whole galaxy, and that offers the
potential for many different types of stories. Before creating you
character, the gamemaster should discuss the types of stories she wants to
guide you on. This might place an emphasis on exploring new worlds,
battling the T’Leng, or investigating some mystery that will provide a
larger for the story arc for the campaign to build upon. This information
from the gamemaster will give you an idea of what sorts of characters
will be most appropriate for your group’s game and the types of thing
your character should be able to do. A botanist and poet, for example,
30
might not get as much chance to shine on a military campaign, and a
diplomat might have little to do on a mission of exploration with few
political conflicts to mediate.
When you know what sort of character will be a good fit and what
sort of person you’d like to play, think of what they look like, where they
come from, and what their life has been like prior to the start of the
game. Think about what they’d like to do, what goals they’d like to
achieve in both their careers and their personal lives. Do this before you
even begin to think about game mechanics. Write a brief description of
the character, and makes some notes about her or her back story. When
you have a good feel for who this person is, then you can move on to the
next steps.
ASPECTS
An Aspect is a word, phrase, or sentence that describes something
centrally important to your character. Almost anything you can think of
can have Aspects. A person might be the Greatest Shakespearean Actor in
the Galaxy. A cabin might be On Fire after a torpedo hit. After a time-
travel encounter with a dinosaur, you might be Terrified. An Aspect can
be a code your character lives by, a personality quirk, a description of a
relationship they have with another character, an important possession or
piece of equipment your character has, or any other part of your
character that is vital to who they are.
Aspects also allow you to change the story in ways that are tied
into your character’s personality, abilities, goals, and problems. You can
use them to Establish Facts about the setting, such as the presence of a bit
of technology, a previously unrevealed historical fact, or the existence of
a useful ally, dangerous enemy, or organization.
Your character will have between 3 and 5 Aspects, including a High
Concept and a Trouble.
Composing Good Aspects
When you need to think of a good Aspect, think about two things:

1. How the Aspect might help you, when you’d use it, and how you’d
use it.
2. How it might hurt you, and when it could be used against you.

31
 Feel free to warp ahead to The Rules and read More About
Aspects to learn how they’re used, then come back here and continue.
High Concept Aspects
First, decide on your character’s high concept. In Starship Tyche a
High Concept Aspect follows a specific format that conveys the
character’s Rank, their Specialty or Position aboard the ship, and their
Species and/or Culture. This will define what the character’s role in your
group will be as well, based on their place in the hierarchy of command
and the abilities they contribute to the crew.
Examples of High Concept Aspects
 Captain of the Starship Tyche (Earth Human, Caucasian-American)
 Commander, Executive Officer (Mars Human, Caucasian)
 Lieutenant Commander, Chief Tactical Officer (Earth Human, South
African)
 Lieutenant, Chief Communications Officer (Binturong)
 Lieutenant, Chief Helm Officer (Earth Human, Japanese)
 Lieutenant, Junior Helm Officer (Triexian)
 Commander, Chief Engineer (Earth Human, Scots-Pakistani)
 Commander, Chief Medical Officer (Earth Human, African-American)
 Lieutenant Commander, 1st Medical Officer (Earth Human, Brazilian)
 Lieutenant Commander, Chief Science Officer (Titanian)
 Lieutenant, 1st Science Officer (Earth Human, Russian)
 Command Master Chief Petty Officer (CMC), Chief Administrator (Earth
Human, Swedish)
Rank
All members of the Fleet hold a rank. These are listed below, from
the highest to the lowest. A higher rank is not objectively ―better‖ than a
lower one from a character creation standpoint. An Admiral may wield
more authority, but probably won’t have the same sorts of opportunities
for Action and adventure that an Ensign or enlisted spacer will have.
Discuss rank with your gamemaster, and select what seems to be the best
fit for the type of character you’ll most enjoy playing.

32
Officer Ranks Enlisted Ranks
 Admiral (ADM)  Command Master Chief
 Captain (CPT) (CMC)
 Commander (CDR)  Master Chief Petty Officer
 Lieutenant Commander (LT (MCPO)
CDR)  Senior Chief Petty Officer
 Lieutenant (LT) (SCPO)
 Lieutenant Junior Grade (LT  Chief Petty Officer (CPO)
JG)  Petty Officer (PO)
 Ensign (ENS)  Specialist Spacer (SP3)
 Apprentice (SP2)
 Spacer Recruit (SP1)

Supporting characters who are not members of the Fleet will probably
not hold a rank unless they are retired or members of another military
organization. They may hold other titles, however. See Adversaries in the
Gamemaster section for more information on creating supporting
characters.
Specialty/Position
A character’s Specialty and Position reflect what they do on the
ship. Are they a scientist, a doctor, or a soldier? Do they fly the ship, fix
the ship, or command the ship? There are a number of options available.
Several are listed below, but if you think of something else discuss it with
your gamemaster and see what she thinks!

Applied Sciences Chemistry

Agriculture Computer Science
Architecture Economics
Business Ethics
Consumer Science Law
Engineering Mathematics
Environmental Studies Physical Sciences
Healthcare Science Reason
Journalism Statistics
Library Science Theoretical Physics
Military Science
Public Administration Humanities
Social Work Applied Arts
Transportation History
Linguistics
Command Literature
Command Performing Arts
Communications Philosophy
Diplomacy Religion
Helm Visual Arts
Logistics & Procurement
Operations Life Sciences
Tactical Biochemisty
Botany
Formal Sciences Ecology
Applied Physics Evolutionary Biology
Astrophysics Zoology
34
Medical Cognitive Psychology
Emergency Medical Technician Cultural and Ethnic Studies
Gene Therapy Specialist Developmental Psychology
Medical Researcher Education
Medical Specialist Gender Studies
Mental Health Specialist Geography
Psionics Specialist Political Science
Xenobiology Specialist Sociology
Security Space Sciences
Investigative Service Astronomy
Landing Party Security Climatology
Shipboard Security Cosmology
Geology
Social Sciences Oceanography
Anthropology
Archeology

Your character can be as generalized or as specialized as you

choose. It’s simply assumed that a character with a broader specialty
knows a little about a lot of things, and a character with a tighter focus
has a larger body of knowledge about that one area; it’s a matter of
breadth versus depth. A Social Scientist will know a little about
Psychology, Sociology, Anthropology, and so on. A Humanities Specialist
will have a broad knowledge of Philosophy, History, and Literature. An
Economist will be an expert in that specialty alone. The practical
differences, in terms of game mechanics, come down to the difficulty level
the gamemaster chooses to set when making a check related to your
specialty. It will be harder for a generalist to achieve specific things
where someone with a focus in the field will have an easier time, while a
focused specialist will have greater difficulty with related fields.
Supporting characters who are not members of the Fleet will have
some sort of occupation or job title that will fill that spot in a High
Concept Aspect. See the Adversaries portion of the Gamemaster section
for more information on creating supporting characters.

35
Species/Culture
Your species or culture assumes that you know all of the things a
person of that species or culture knows: language, history, customs, arts,
religion, cuisine, and so on. It also assumes that you possess all of the
standard abilities found that species or culture. You don’t need to add
any of those things as separate Aspects, unless your character is
somehow substantially better, worse, or generally different from other
members of their species. Unusual species abilities can also be added as
Stunts, which will be explained a bit later.
There are dozens of species within the Coalition of United Planets,
only a few of which are discussed in this book. We have intentionally left
room for you and the gamemaster to create your own aliens to populate
the galaxy with. Discuss it with the gamemaster if you want to invent your
own alien species, to see how it will fit with the other player characters
and the rest of the campaign.
Each species gains a special ability similar to a Stunt, granting a
+1 bonus on specific types of rolls to do specific types of things.

Humans are capable of nearly anything, and are considered to be

both impetuous and improbably lucky by their Coalition allies. It is their
sheer audacity that has made them the most prolific colonizers of known
space, and allows them to Succeed and even prosper where other
species have failed.
Humans come in a variety of skin colors, with many different types
of hair colors and textures and eye colors. They are typically 1.8 meters
tall and on average weigh 62 kilograms. Their cultures vary depending
upon the region of Earth or colony planet they are from. Humans have
low psionic potential, but rare individuals with gifts and talents do exist.
Because I am Human, I gain a +1 when I go boldly into unknown
situations or do something no other human has ever attempted before.

Titanians are taught reason as a discipline from birth, to the point

that it is practically their religion. Their homeworld is hot and dry, and
that is their preferred climate. They excel at the sciences, and this drives
the curiosity that is considered to be one of the hallmark traits of their
species. All Titanians possess psionic potential, and can select any

36
sort of psionic abilities as Stunts.
Titanians have green skin and black, dark green, or dark brown
eyes. Their hair color ranges from dark blond to black. They are
typically 1.9 meters tall and on average weigh 60 kilograms. Their
culture is homogeneous regardless of the region or planet their hail from.
Because I am Titanian, I gain a +1 when I solve problems using reason
and the scientific method.

Binturong are a veverridoid species, carnivorous mammals with

sharp teeth, retractable claws, a bushy tails nearly 3/4 the length of the
rest of their body. Their native habitat is both hot and humid, and they
prefer those conditions, but have adapted to live virtually everywhere.
Binturong are covered entirely in fur which ranges from light brown
to black, and may be a solid color or spotted. Solid-colored Binturong
have brown eyes, while spotted Binturong have blue or gray eyes. They
are typically 1.5 meters tall and weight 36 kilograms. Their culture varies
depending upon the region they are from. Binturong have no psionic
potential and no individuals with talents of gifts are known to exist.
Because I am Binturong, I gain a +1 when having teeth, claws, or a
tail grant me an advantage.

Triexians are an amphibian species with dry leathery skin, short

legs, and long arms. They are the only species in the galaxy known to
have three genders. The land masses on their home planet are mostly
freshwater swamps, and their culture is largely homogeneous. They are
generally peaceful, but can be roused to incredible violence in combat
situations, especially in protection of children and family members.
Triexians range in skin color from a light beige-pink to a deep
reddish-brown. They have neither hair nor scales, but tell each other
apart based on unique skin folds and wart-like bumps. They are typically
1.4 meters tall and weigh 45 kilograms. Triexian have low psionic
potential, but there are rare individuals who display gifts or talents.

37
 Because I am Triexian, I gain a +1 for all skills involving swimming or
working in or under water.
Trouble
Next, decide on the thing that always gets your character into
Trouble. It could be a personal weakness, or a recurring enemy, or an
important obligation. Anything that makes your character’s life more
complicated than it ought to be, creates potential complications in the
story, or suggests a good story that needs to be told in the game can be
a good Trouble Aspect.
Relationships Even happy, healthy relationships can be a potential
source of Trouble. When you define your relationship to another player,
you establish a crucial fact about both characters. You can make it any
kind of relationship, so long as it’s an important one. Close friendships
are the easiest to think of aboard a starship, and may prove richest in
play. By choosing a friendship, you’re establishing that the relationship is
strong enough to create a powerful emotional bond between the two of
you. Bonds of romantic love, past or present, may be the strongest of all.
As in any strong drama, your most important relationships happen
to be fraught with unresolved tension. These are the people your
character looks to for emotional fulfillment. The struggle for this fulfillment
drives your ongoing story.
Players may raise objections to relationship choices made by other
players that turn their own player characters into people they don’t want
to play. When this occurs, the proposing player makes an alternate
suggestion, negotiating with the other player until both are satisfied. If
needed, the gamemaster assists them in finding a choice that is interesting
to the proposing player without imposing unduly on the other.
If you don’t want to define a relationship as Trouble, you can make
it into an Other Aspect and still use it as a source of stories.
Goals and Desires Even the most altruistic goal or innocent desire
can be a source of Trouble. A player character’s goals and desires are
the broadly stated, strong motivations driving his Actions during dramatic
scenes. The desire moves him to pursue an inner, emotional goal, which
can only be achieved by engaging with other members of the group and,
to a lesser degree, with supporting characters run by the gamemaster.
Your desire might be seen as your character’s weakness: it makes him
38
vulnerable to others, placing his happiness in their hands. Conflict with
these other characters prevents him from easily or permanently satisfying
his desire. Think of the desire as an emotional reward your character
seeks from others.
The most powerful choices are generally the simplest: approval,
acceptance, forgiveness, respect, love, subservience, reassurance, power,
to punish, or to be punished. These underlying drives are generally tied
to something else, such as wealth, possessions, or career goals.
If you don’t want to define a goal or desire as Trouble, you can
make it into an Other Aspect and still use it as a source of stories.
Examples of Trouble Aspects
 Can You Truly Feel Too Deeply?
 Careers Wreak Havoc on Relationships (and Vice Versa)
 He Doesn‟t Love Me The Way I Love Him
 I Do Not Understand Your Emotional Outbursts
 I‟m Not That Kind of Girl
 It‟s Not A Love Triangle If It Only Has Two Sides
 It‟s Not Stubbornness If I‟m Right
 That‟s Not My Damned Job!
 The Brightest Flowers Grow From Scorched Earth
 Unable to Resist the Beautiful Ladies
 We Can‟t Ha‟e Them Insulting the Fleet!
 Why Would You Say My Blind Patriotism is Annoying?

Obviously, your Trouble Aspect is supposed to cause problems and

make your character’s life more interesting. It can also gain you Fate
Points, so it’s okay if it’s a little more one-dimensional and lacking in
obvious benefits to the character than other types of Aspects.
Other Aspects
Now you may create up to 3 more Aspects, so that your character
has a total of 3 to 5 including their High Concept and Trouble. Think of
something really important or interesting about your character. Are they
the strongest person on their planet? Do they carry a mighty alien

39
artifact? Do they talk too much? Are they secretly rich? If you prefer, you
can leave these Aspects blank for now and fill them in after the game
has started and you get a feel for the character, other characters, and
the way the story is likely to unfold.
Examples of Other Aspects
 Arts and Sciences are Best Together
 Far Smarter Than I Let On
 Give Me 20 Minutes an‟ I‟ll Have „er Right as Rain
 How Can You Not Smell That?
 I Am Russian - I Fear Nothing
 I Can Get That For You Yesterday
 I Can See in the Dark
 I Command the Best Ship in the Fleet
 I Couldn‟t Have Done Any of this Without My Family
 I Have the Best Qualified Crew in the Galaxy
 I Know Just What You Need
 I Speak a Little Bit of That Language
 Mental Clarity Requires Discipline
 No Children to Care For
 Stranger in Every Meaning of the Word
 The Book Exists for a Reason
 This Bears Further Investigation
 This is a Southern Specialty
 Unnecessary Physical Contact is Not Rational
 You Don‟t Appreciate True Culture
 You Two Have a Lot in Common
APPROACHES
Aspects help to define the sorts of things you character can do.
Approaches are descriptions of how they do them. Every character has
the same six Approaches: Careful, Clever, Flashy, Forceful, Quick, and
Sneaky.

40
 Careful: A Careful Action is when you pay close attention to detail
and take your time to do the job right. Examples of Careful Actions
include lining up a long-range dazzler shot, attentively standing watch,
and disarming a computer-god’s defensive system.
Clever: A Clever Action requires that you think fast, solve problems,
or account for complex variables. Examples of Clever Actions include
finding the weakness in an adversary’s hand-to-hand style, locating the
weak point in a ship’s bulkhead, or repairing a malfunctioning android.
Flashy: A Flashy Action is full of style and panache and draws
attention to you. Examples of Flashy Actions include delivering an
inspiring speech to your crew members, embarrassing your opponent in a
duel, or producing a holographic illusion to confuse hostile aliens.
Forceful: A Forceful Action isn’t subtle and often includes a display
of power. Examples of Forceful Actions include using physical strength to
wrestle a Triexian grimbear, using force of personality to stare down a
T’Leng warrior, or exerting your will with a psionic ability.
41
 Quick: A Quick Action requires that you move quickly, with
dexterity or agility. Examples of Quick Actions include dodging dazzler
fire, getting in the first punch, or disarming a doomsday machine as it
ticks down 3… 2… 1…
Sneaky: A Sneaky Action is done with an emphasis on misdirection,
stealth, or deceit. Examples of Sneaky Actions include talking your way
out of getting arrested for ―borrowing‖ a shuttle without authorization,
picking a pocket, or feinting in a sword fight.
Each Approach is rated with a bonus. Choose one Approach with a
Good bonus (+3), two at Fair (+2), two at Average (+1), and one at
Mediocre (+0). You can improve Approaches later as your character has
some adventures and gains more experience.
Your Approaches can say a lot about who your character is, and
often reflect the things that have happened in their life and the career
path they have chosen. Here are some examples:

 Diplomat: Flashy +3, Quick and Clever +2, Forceful and Sneaky
+1, Careful +0
 Engineer: Clever +3, Careful and Quick +2, Sneaky and Flashy
+1, Forceful +0
 Officer: Careful +3, Forceful and Clever +2, Sneaky and Quick
+1, Flashy +0
 Pilot: Quick +3, Careful and Flashy +2, Clever and Forceful +1,
Sneaky +0
 Scientist: Clever +3, Careful and Quick +2, Forceful and Flashy
+1, Sneaky +0
 Soldier: Forceful +3, Careful and Flashy +2, Sneaky and Quick
+1, Clever +0
STUNTS
Stunts are tricks, maneuvers, or techniques that your character can
use to change how an Approach works for them. A Stunt can also reflect
specialized, high-quality, or exotic equipment that your character has
access to that gives them a frequent edge over other characters.
Generally, Stunts give you a bonus (+2) to a certain Approach when
used with a particular Action under specific circumstances. Later, when

42
your character advances, you can choose more Stunts.
By default, Starship Tyche recommends choosing one Stunt to start
with. However, if this is your first time playing a Fate-based game, you
might find it easier to pick your first Stunt after you’ve had a chance to
play a bit, to give you a better idea of what a good Stunt might be. Talk
to your gamemaster, and add your Stunt during or after your first game
session. Your character is entitled to three free Stunts before it starts
costing you Refresh (explained a bit later in this section under the
heading Fate Points).
There’s no definitive list of Stunts to you pick from. Much like
Aspects, everyone gets to create their own. There is a basic template to
guide you in composing your Stunts, so you do have something to work
from. Use this template:
Because I [describe some way that you are exceptional, have a cool
bit of gear, or are otherwise awesome], I get a +2 when I [pick one
Approach: Carefully, Cleverly, Flashily, Forcefully, Quickly, Sneakily] do
[describe a circumstance].

This template exists to give you an idea of how Stunts should be

constructed, but don’t feel constrained to follow them exactly if you have
a good idea and your gamemaster agrees with you.
Examples of Stunts
 Allow Me to Assist You with That: Because I am intelligent or
proficient, other crew members gain a +2 when I Carefully assist
them with solving problems.
 Ardent Researcher: Because I am an ardent researcher, I gain a +2
when I Cleverly find new courses of treatment and cures for
illnesses and diseases.
 Assume Standard Orbit: Because I am versed in standard operating
procedures, I gain a +2 when I Forcefully command the crew in
tactical situations.
 Best Nurse in the Fleet: Because I am the best nurse in the Fleet, I
gain a +2 when I Carefully treat patients using existing techniques
and treatments.

43
 Caring Nurturer: Because I am a caring nurturer, I gain a +2 when I
Carefully work to make others feel welcome and comfortable.
 Catlike Reflexes: Because I have catlike reflexes, I gain a +2 when I
Quickly engage in hand-to-hand combat or leap out of the way of
danger.
 Computer-Like Mind: Because I have a computer-like mind, I gain a
+2 when I Carefully assemble all available facts and come to a
conclusion.
 Country Doctor: Because I am country doctor, I gain a +2 when I
Carefully treat a patient using all tools and techniques at my
disposal, including but not limited to those damned modern
machines.
 Fearlessly Foolhardy: Because I am fearlessly foolhardy, I gain a +2
when I Flashily leap into personal combat situations.
 Fencing Master: Because I am a fencing master, I gain a +2 when I
Flashily engage in melee combat with any kind of sword.
 Let’s See What Makes This Wee Beasty Tick: Because I am obsessive
about new toys, I gain a +2 when I Cleverly analyze or repair any
piece of technology.
 Long Memory and a Short Fuse: Because I have a long memory and
a short fuse, I gain a +2 when I Forcefully Attack T’Leng or any
other species or person abusing or oppressing other intelligent
beings.
 Math Whiz: Because I am a math whiz, I gain a +2 when I Carefully
perform calculations with numbers.
 Medical Mind: Because I have a medical mind, I gain a +2 when I
Cleverly engage in medical or biological endeavors.
 Miraculous Engineer: Because I am a miraculous engineer, I gain a
+2 when I Quickly repair or modify the ship’s engines.
 My Shirt is Torn (Again): Because I am willing to go all-out in a fight
and get messy, I gain a +2 when I Flashily engage in hand-to-hand
combat.
 Natural Linguist: Because I am a natural linguist, I gain a +2 when I
Cleverly speak and translate other languages.
 Nurse Knows Best: Because I am a nurse and know best, I gain a +2
44
 when I Forcefully order a patient to stop fussing and adhere to the
course of treatment.
 Passionate Gravitas: Because I possess passionate gravitas, I gain a
+2 when I Forcefully try to convince other people precisely why I’m
right and they’re wrong.
 Pragmatically Technical: Because I am pragmatically technical, I gain
a +2 when I Quickly construct a device that will do what I need it
to.
 Red Alert, Shields to Full: Because I’ve studied both time-honored
tactics and the strategies of my opponents, I gain a +2 when I
Sneakily employ tactical maneuvers in ship-to-ship combat.
 Scientific Prodigy: Because I am a scientific prodigy, I gain a +2
when I Carefully study a situation to find answers.
 Smooth Talker: Because I am a smooth talker, I gain a +2 when I
Flashily use my natural charm to talk people into doing what I need
them to do.
 Southern Shame Daddy: Because I am a southern shame daddy, I
gain a +2 when I Cleverly manipulate people into doing what I
think is the right thing.
 Stand Down: Because I have force of personality, I gain a +2 I
Forcefully demand that people stand down and stop fighting.
 Stunning Wit: Because I am a stunning wit, I gain a +2 when I
Quickly employ humor and snappy repartee to throw opponents
off guard, lighten the mood, and/or entertain my crewmates.
 Subtle Influence: Because I am exotic and attractive to other
humanoids, I gain a +2 when I Sneakily sway their opinions in favor
of the Coalition and the Fleet.
 Surgical Strike: Because I employ surgical strikes, I gain a +2 when I
Carefully plan and execute an Attack against an opponent.
 Technical Savant: Because I am technical savant, I gain a +2 when I
Quickly repair, assemble, or cobble together a piece of scientific
equipment.
 Technical Whiz: Because I am a technical whiz, I gain a +2 when I
Cleverly repair or amplify weapon, shield, and communications
systems.

45
  There is Precedent for This: Because I have memorized all of the
rules and regulations, I gain a +2 when I Cleverly find by-the-book
solutions to complex problems.
 Top-Notch Pilot: Because I am a top-notch pilot, I gain a +2 when I
Carefully maneuver a ship through tricky situations.
 Umbrage Detector: Because I am an umbrage detector, I gain a +2
when I Carefully find a legitimate reason to take offense at
something and start a fight.
 Wheeler-Dealer: Because I am a wheeler-dealer, I gain a +2 when I
Cleverly make deals with merchants and suppliers to acquire
supplies for the ship.
 You Are. . . So Beautiful: Because I’m charming and manly, I gain a
+2 when I Forcefully take a woman into my arms to seduce her.
Psionics
Psionic abilities have been known to exist in humans since the first
half of the 20th century. They remain rare, but over time the gifts and
talents that have manifested themselves have been more varied and
often more powerful. Whether this is a result of greater acceptance of
Psionics as the science behind these abilities becomes better known and
humanity rejects superstition and embraces reason, so that more
individuals with talents are making themselves known, or if there actually
are more cases of psionic abilities per capita, is still a matter of
conjecture.
Nearly all sentient species have some level of psionic potential,
although they are more common for some (nearly all Titanians have some
degree of ability) than others (there are no more than a dozen Triexians
known to have ―gifts‖, and no known cases among the Binturong). Current
theories hold that psionic abilities are the result of deliberate tampering
by various Entities, which may explain why they are more prevalent in
humanoids than species classified as reptilian, veverridoid, and other
scientific families.
Psionics as Stunts
Psionics are Stunts, and if you choose to give your character psionic
abilities they do count against the 3 free Stunts you get as part of

46
character creation. It is possible for a character to develop psionic
abilities later, but you should work with your gamemaster on that to see
if it can be worked into a storyline. Your gamemaster may limit the
number and types of psionic available to player characters, and she may
not even allow them at all depending upon how well they fit with the
type of stories she wants to tell.
Note that not all psionic abilities grant the character a bonus to do
something; they merely allow the character to do something that others
without that ability cannot do.
Below are some examples of psionic abilities. You can use these as
a template to create your own, or change these so that your character
takes a different Approach or relies upon a difference circumstance.

Disintegration: Your character can make objects, or even people,

disappear. This is an Attack Action and requires a roll against the
Approach used.
The gamemaster should set the difficulty level based on the size of
the object -- Mediocre (+0) for a small thing, like a dazzler or comm unit,
Great (+4) or higher for a shuttle -- modified by whether the object is
attached to anything else (+0 if it’s sitting on the ground or on a table,
+1 if it’s in another character’s hand, +2 or more if it’s something like a
section of a wall, +4 if it’s part of a starship’s bulkhead), and the level of
agency the object has (+0 if it’s inanimate, +1 if it’s an animal or
redshirt, +2 if it’s a supporting character with a name, +4 if it’s a player
character). A living target of a disintegration Attack may Defend. They
only get one attempt.
Because I have the power of disintegration, I can Forcefully make
things disappear.

Empathy: Your character can read the feelings and emotions of

other people. This is considered an Overcome Action, but it can also be
used to Create An Advantage if the intent is to use knowledge of those
feelings or the emotions themselves to manipulate the character.
The difficulty is based on the agency of the target character,
Mediocre (+0) for redshirts, Fair (+2) for supporting characters with
names, and Great (+4) for player characters. A target that knows or

47
even suspects that their emotions are being read may Defend. Even if
they fail, they may continue to try to Defend each turn.
Because I am an empath, I can Quickly sense the emotions of others.

Illusion: Your character can create complex illusions that mask the
truth of things. This is considered an Overcome Action, but can also be
used to Create An Advantages based on the intentions of the psionic
deception.
Difficulty is based on the agency of the target character, Mediocre
(+0) for redshirts, Fair (+2) for supporting characters with names, and
Great (+4) for player characters. This is further modified by the
complexity of the illusions — +0 if it is visual only, +2 if it includes other
senses like smell, sound, and touch, +4 to fool sensors. There are no
modifiers for the number of people who are affected by the illusion —
everyone who can see it is considered affected. A target that knows or
even suspects that what they’re experiencing is an illusion may Defend.
Even if they fail, they may continue to try to Defend each turn.
Because I can create illusions, I can Flashily make people see things
that aren’t there.

Mental Intrusion: Your character can affect another person’s mind,

but it requires touching them. For this reason, it is considered an Attack
Action.
Difficulty is based on the agency of the target character, Mediocre
(+0) for redshirts, Fair (+2) for supporting characters with names, and
Great (+4) for player characters. The most common use of this ability is
to cause Stress (see the next section, Stress and Consequence) and render
the target unconscious. If contact with the target can be maintained for a
longer period of time, either because the target submits willingly or is
prone, your character can access their memories, even those the target
himself cannot consciously access. A target under Attack by Mental
Intrusion may Defend. Even if they fail, they may continue to try to
Defend each turn.

48
 Because I have the power of mental intrusion, I can touch you and
Cleverly read your thoughts or override your nervous system.

Neurokinesis: Your character can hijack a target’s nervous system

from a distance, taking control of their body. This is considered an Attack
Action. The target remains conscious and able to think and speak, but has
no control over their motions. You can make the target walk, run, skip,
dance, fight, and so on against their will.
Difficulty is based on the agency of the target character, Mediocre
(+0) for redshirts, Fair (+2) for supporting characters with names, and
Great (+4) for player characters. Success only affects one target, but if
you Succeed With Style you can control a number of targets equal to
your Dice Result (i.e., if you get a Superb +5 result, you can control up to
5 targets). A target under Attack by Neurokinesis may Defend. Even if
they fail, they may continue to try to Defend each turn.
Because I am a neurokinetic, I can Forcefully control another person’s
body move them as if they were a puppet.

Precognition: Your character is able to perceive events that are

most probable to occur in the future. These events are not fixed and can
be changed by taking Actions in the present. Arguments have even been
made that due to the observer effect, the mere act of a precognitive
glimpsing future events begins a chain reaction that will lead to it being
changed. This is considered a Create An Advantage Action.
Difficulty is based on how far into the future the character is
attempting to see: Seconds (Mediocre, +0), Minutes (Average, +1), Hours
(Fair, +2), Days (Good, +3), Weeks (Great, +4), Months (Superb, +5),
Years (Fantastic, +6), Decades (Epic, +7), or Centuries (Legendary, +8).
Because I am a precognitive, I am able to Cleverly see into the future.

Telekinesis: Your character can manipulate objects with her mind.

The range is line-of-sight, that is, if she can see it, she can pick it up. This
happens automatically, as if the character is using her hands. Anything
that the character does with the object — hitting someone with a rock,
using keys to pick a lock, and so it — is treated the way those Actions

49
would normally be resolved.
Because I am a telekinetic, I can Carefully move objects without
touching them.

Telepathy: Your character can communicate using thoughts.

Projecting thoughts, ―talking‖ directly into another character’s mind,
requires no Action and is treated as if the character is speaking. Range is
line of sight, so they can communicate to as many people as they can see
or are otherwise aware of. The character can also read the thoughts of a
single target. This is considered an Attack Action.
The difficulty is based on the agency of the target character,
Mediocre (+0) for redshirts, Fair (+2) for supporting characters with
names, and Great (+4) for player characters. A target that knows or
even suspects that their thoughts are being read may Defend. Even if
they fail, they may continue to try to Defend each turn. They may also
Defend in order to tune out the telepath’s projected thoughts, trying not
to ―hear‖ what the telepath is ―saying.‖
Because I am a telepath, I can Sneakily read your surface thoughts.

STRESS
Stress represents your character getting tired, becoming distracted
and unfocused, taking a superficial wound, or any other condition that
reduces their effectiveness to act but goes away relatively quickly. Your
character sheet has a Stress track, represented as a row of three circles.
When your character takes a hit, put a check into a circle. This is
explained in more detail in the Rules section.
Consequences
Consequences are temporary Aspects that your character gets to
reflect being seriously hurt in some way. The character sheet has three
slots where you can write Consequence. This is explained in more detail
in the Rules section.

50
FATE POINTS
Fate Points are used to unlock the power of Aspects so you can use
them to help your character. They are recorded on your character sheet,
but the number of Fate Points you have can change frequently. During
play, you keep track with pennies or glass beads or poker chips or some
other tokens.
You begin each game session with a number of Fate Points equal to
your Refresh rate. Unless you’ve created a character with more than 3
Stunts, your Refresh rate is 3.
FINISHING UP
Now that you’ve got all of your character’s game statistics worked
out, circle back to the beginning and make any adjustments to the back
story that you think are necessary. Thing may have changed since you
first got the idea for this character, and other possible stories and bits of
character history may have suggested themselves as you worked out the
details. You should discuss this with your gamemaster, because she might
be able to turn some of it into future stories and adventures.
Personality and Reactions
This section is completely optional, but may be useful if you’re a
new roleplayer and figuring out this whole ―telling stories together‖ thing.
Based on what you know, how is the character likely to react in certain
situations? Think of things that are likely to occur in the sort of campaign
the gamemaster is putting together. Make some notes on what you think
your character will do in these hypothetical situations. You’re not tied to
this in the actual game, but it will give you ideas to work with when things
arise during the game and you’re trying to stay in character.
In a Diplomatic Situation: As a member of the Fleet, you will have
to deal with people of different ranks, rub elbows political envoys from
the Coalition, encounter a wide variety of adversaries, and even meet
representatives of new alien species. This is above and beyond ordinary
friendships and romantic encounters. What will the character do? How
will they deal with disconnects between personal opinions and Fleet
protocol? How will they handle balancing their personal goals, desires,
and feelings with their official mission? Does the character have any
habits or rituals that they use to keep calm and collected, or a particular
51
way in which they’re likely to blow their cool?
In a Scientific Situation: Even if your character isn’t a scientist, they
will constantly be around new discoveries and encountering new
situations. How do they handle change? Are their things that they are
particularly excited about, or things that they dread and fear? How will
they express themselves in these situations? How will they Approach the
unknown? Will they react emotionally, with wonder or fear, or with
curiosity and cold reason and discipline?
In a Combat Situation: There are two types of combat situations a
character may face. The first is hand-to-hand combat, which includes
close combat with dazzlers. The other is ship-to-ship combat where two or
more starships are trying to blow each other out of space. How will your
character handle those situations? Will they remain calm, and fall back
on their training? Will they leap into the skirmish with a hearty laugh and
love for a good scrap? Or will they try to run away or hide under a
navigation console? Does the character have any moves that they know
and use to win a fight, or any special tricks they’ve been dying to try
out? Do they fight fair, or dirty? Do they try to save their own skin, or put
the safety of others first?
GROUP CHARACTER CREATION (OPTIONAL)
This is an optional method than can be used to help develop
stronger ties between the player and player characters and a better-
rounded crew. All of the group should be present, and the expectation
should be set that this will take up at least one whole session.
As with regular character creation above, the gamemaster briefly
explains the series premise to the whole group. Players should be
allowed to offer up their own ideas. This is a perfect time for everyone
to discuss things they’d like to see, what they like and dislike, and what
sorts of things they’d like or of or less of.
The gamemaster then determines which player goes first. This might
be determined by dice to see who rolls highest, by age to allow the
youngest player to go first, by a vote on who brought the best snacks, by
favors such as who’s allowing you to use their house for the game, or
whatever other criteria works for the group.
The first player proclaims his or her character’s name, and their
High Concept Aspect. Then the second player proclaims his/her
52
character’s name, High Concept Aspect, and relationship to first
character. Keep notes; this might be a basis for a Trouble or Other
Aspect for any of the characters. Then the third player makes their
proclamation, and so on, in order until all of the remaining players have
gone.
In the same order, players proclaim their known goals and desires.
You don’t have to reveal anything about the character that you don’t
want anyone other than you and the gamemaster to know you. Keep
notes, because this might be a basis for Aspects for your character or
other characters.
Determine a new order. Go backward. Go alphabetically. Roll dice
and go from lowest to highest. Just do something different than the first
round. The first player in new order defines what his character’s Trouble
is. If you want to keep it a secret, you can be mysterious and talk about
any unusual habits of behaviors other characters might have seen, or start
a rumor about your character rather than stating their Trouble explicitly.
Try to incorporate previously discussed goals and desires. Repeat this for
each remaining player in order until everyone has talked about their
Trouble.
Now create another new order. Go by shoe size, or favorite color
in rainbow order, or roll dice again and go from highest to lowest. The
first player in the new order defines what one of his character’s Other
Aspects is. If you want to keep it a secret, you can describe the bits that
the other characters may have seen or information that may have
overheard. Try to incorporate previously discussed goals and desires.
Repeat for each remaining player in order until everyone has talked
about their Other Aspects.
Each player individually completes their character by assigning
Approach bonuses and coming up with at least one Stunt.
Character Creation Summary
 Determine your character’s High Concept Aspect.
 Determine your character’s Trouble Aspect.
 Determine your character’s Other Aspects.
 Assign Bonuses to Approaches.
 Decide on at least one Stunt.

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Character Examples
The following is the crew of the Starship Tyche prior to your first
game session. They can be used a player characters, staying aboard
during the next tour of duty, allowing new players to simply pick up a
pregenerated character and start playing immediate. They can be used
as supporting characters, to be run by the gamemaster to round out the
crew and the roles not covered by player characters. They can also just
be used as examples of the types of characters possible within the game.
The following pages are formatted so that each character can be
printed out separately for use as a player character.

54
TIMOTHY AUGUSTUS CHURCH
Tim Church grew up in the American Midwest, among cornfields and
agri-processing plants. His father was a starship captain, away for
months and even years at a time, so his family consisted primarily of his
mother and his younger brother. In spite of his father’s absence, he
idolized the man, and eventually went into the Fleet. Tim Church
distinguished himself as a young officer, and became the youngest
starship captain in Fleet history.
Church has a tremendous ego, stemming from both his earned
achievements and incredibly lucky breaks. He can be arrogant when he’s
right and outright cocky even when he knows he’s wrong in order to rattle
the confidence of his opponents and convince them that he knows
something that they don’t. While this makes him incredibly successful, it
also makes him very dangerous and occasionally erratic. While many in
the Fleet would like to keep him on a short leash, every time they attempt
to rein him in he manages to save the universe again and therefore justify
his erratic Actions and decisions.
In a diplomatic situation, Church will smile broadly and turn on his
charm to the fullest. He will almost always attempt to seduce attractive,
single women. He will regale people with tales of his successes to impress
and/or intimidate them, and if all else fails, will point out the firepower
that his ship is equipped with.
In a scientific situation, Church will always defer to the experts on
his crew (science officers, engineers, and so on) and follow their
recommendations. He will always trust his crew’s suggestions to those of
outside experts. He admits that science is not his field, but will proudly
proclaim that his crew contains some of the greatest scientific minds in the
galaxy.
In a combat situation, Church will always seek an opportunity to
show off. He does not back down from either hand-to-hand or ship-to-
ship combat, but will employ every documented tactic and dirty trick at
his disposal in order to win.
Timothy Augustus Church
High Concept: Captain of the Starship Tyche (Earth Human, Caucasian-
American)
Trouble: Unable to Resist the Beautiful Ladies, It‟s Not Stubbornness If I‟m
Right
Other Aspects: I Have the Best Qualified Crew in the Galaxy, I Command
the Best Ship in the Fleet
APPROACHES
Careful: Mediocre (+0)
Clever: Average (+1)
Flashy: Good (+3)
Forceful: Fair (+2)
Quick: Average (+1)
Sneaky: Fair (+2)
STUNTS
My Shirt is Torn (Again): Because I am willing to go all-out and get
messy, I gain a +2 when I Flashily engage in hand-to-hand combat.
You Are. . . So Beautiful: Because I’m charming and manly, I gain a
+2 when I Forcefully take a woman into my arms to seduce them.
Red Alert, Shields to Full: Because I’ve studied both time-honored
tactics and the strategies of my opponents, I gain a +2 when I Sneakily
employ tactical maneuvers in ship-to-ship combat.

STRESS ⃝⃝⃝
REFRESH: 3
CONSEQUENCES:
Mild (2):
Moderate (4):
Severe (6):

56
CHURCH AS A PLAYER CHARACTER
As a player character, Church has a lot of power. He can approve
the course of Action for other player characters and order them around.
A player who can’t balance the needs of the other players with his or her
own desires probably shouldn’t take on this role.
An advantage of playing Church is that as captain he can go
anywhere and do anything, even if it doesn’t make sense or violates Fleet
regulations. He can go on landing parties to hostile planets, meet with
alien dignitaries, or personally investigate dangerous situations as he
pleases.
CHURCH AS A SUPPORTING CHARACTER ON TYCHE
There are two options for leaving this character aboard Tyche as a
supporting character. The first is to keep him as the captain, allowing him
to make the big decisions. This works if you plan on doing very little
starship combat, or the player characters are okay with just making rolls
for their stations and having minimal input on tactical decisions during
starship combat. It works well if you follow the logic of leaving command
officers on board, and allowing the lower-ranked player characters to
do the actual planetary exploration and diplomatic-type things.
The second is to promote Church to Admiral, and have him aboard
for the shakedown cruise to advise the new (player character) captain.
He should be hands-off, allowing the new captain to make mistakes, but
there to step in to avoid critical failures. This is a good option if the
player characters are relatively new and learning the ropes of the
system and setting. He can go away once they’ve got the hang of
operating a starship.
Situation Aspect: When I Was In Command, Here‟s What I Did. . .
CHURCH AS A SUPPORTING CHARACTER OFF TYCHE
After leaving the Tyche, Church will be promoted to Admiral and
return to fleet headquarters on Earth. The new player character captain
will technically report to him, and Church will be the one giving the
Tyche’s new crew their orders and assignments.
Situation Aspect: Your Continuing Mission, To. . .

57
COMMANDER MEGARRY
To all outward appearances, Commander Megarry is average. She
is of average height and average weight. Her eyes are brown as is her
hair, which is kept in a standard Fleet regulation shoulder-length cut. Her
features are somewhat plain, and she wears no makeup. She always
wears her uniform, even when off duty, and her cabin contains no
decorations or personal details. In stark contrast to the larger-than-life
personality of Captain Church, Megarry is all business, all the time.
Megarry grew up under the dome of a Mars colony, where a non-
nonsense Approach to life was vital for survival. Everything depended
upon following routines, and that imprinted upon the way she lives her
life. As executive officer, she is responsible for day-to-day operations of
the ship, and tolerates no incompetence or horseplay. Many people
speculate that she dislikes Church, but if so her professional ethics would
never allow it to show. Some speculate that her relationship with Chief
Administrator Jaana Lundgren is her way of getting in a ―dig‖ at Church,
as the Captain frequently flirts with Lundgren and is obviously interested
in her; most people, however, are completely clueless about the
relationship, because both officers manage to keep it out of the public
eye.
In a diplomatic situation, Megarry will follow the book. She is more
likely to be heavy-handed and mention the benefits of the Coalition and
the military might of the Fleet rather than any sort of personal charisma.
She will always be coldly professional and incredibly knowledgeable
and competent.
In a scientific situation, she will fall back on the ship’s library
computer and locate the information needed to resolve the situation. She
is not a scientist, but her intelligence and technical expertise makes her a
strong researcher and competent assistance to any crew members
working on medical or technical problems. Her help is an asset to other
characters.
In a combat situation, she will always defer to Church when he is
present and insure that his orders are carried out by the crew. When she
is seated in the command chair, she tends to yell out standard, by-the-
book orders that are workmanlike and proven, rather than finding
creative solutions.
58
Commander Megarry
High Concept: Commander, Executive Officer (Mars Human, Caucasian)
Trouble: It‟s Not A Love Triangle If It Only Has Two Sides
Other Aspects: The Book Exists for a Reason
APPROACHES
Careful: Fair (+2)
Clever: Good (+3)
Flashy: Mediocre (+0)
Forceful: Fair (+2)
Quick: Average (+1)
Sneaky: Average (+1)
STUNTS
There is Precedent for This: Because I have memorized all of the
rules and regulations, I gain a +2 when I Cleverly find by-the-book
solutions to complex problems.
Allow Me to Assist You with That: Because I am intelligent or
proficient, other crew members gain a +2 when I Carefully assists them
with solving problems.
Assume Standard Orbit: Because I a versed in standard operating
procedure, I gain a +2 when I Forcefully command the crew in tactical
situations.

STRESS ⃝⃝⃝
REFRESH: 3
CONSEQUENCES:
Mild (2):
Moderate (4):
Severe (6):

59
MEGARRY AS A PLAYER CHARACTER
Playing Megarry means always going by the book down to the
smallest detail. The advantage of playing this character is that you get to
work with the gamemaster to write the book as you go along, and
establish all of the rules and regulations that aren’t explicitly stated or
implied here in the Starship Tyche rulebook. The downside is that you’re
then bound by those regulations.
As Executive Officer, you’re second in command of the ship, and
responsible for day-to-day operations. That means that when Church is
gallivanting about being flashy, you get to clean up his operational
messes and keep the crew in line.
MEGARRY AS A SUPPORTING CHARACTER ON TYCHE
Megarry is the supporting character that will call the player
characters out for not crossing their T’s, dotting their I’s, filing their
reports, and cleaning up their labs. She’s also the person everyone should
turn to for advice and assistance with just about anything related to Fleet
operations or any sort of research. While player characters are running
around doing what player characters do, she’s making sure everything
else is ship-shape.
Situation Aspect: Someone Needs to Make the Starships Run on Time
MEGARRY AS A SUPPORTING CHARACTER OFF TYCHE
If Megarry transfers off of Tyche, she will be assigned as the
commander of the nearest Starbase, where she will continue to insure
efficiency and compliance with regulations. She should still be available
to be called upon for assistance as needed.
Situation Aspect: Someone Needs to Make the Starbases Run on
Time

60
AIZIVAISHE LOVEJOY
―Aizivaishe‖ is a Shona/Bantu name meaning ―God knew‖.
Aizivaishe Lovejoy, who goes by ―Ziva‖ for the benefit of those who have
difficulty pronouncing her name, was raised in South Africa by a mother
who was Christian minister and a father who was a scientist. She took
different things from both parents, pursuing both knowledge and faith.
She joined the Fleet for the opportunity to not only explore the galaxy
and broaden mankind’s understanding of the universe, but to answer the
call of her religion to serve others.
Ziva is empathic, not in a ―psychic‖ way but in the sense that she is
deeply compassionate and cares about the feelings of others. This would
seem to make her an unlikely choice for a tactical officer, but protecting
people is part of her personal code. By insuring that weapons and
defensive systems are in peak operational order, and by training her
team to make both rational and compassionate decisions, she feels that
she can minimize casualties when violence becomes inevitable.
In a diplomatic situation, she will be warm, welcoming, and
outgoing, doing her best to make everyone feel comfortable. As she is
fond of saying, ―Your enemies are people who haven’t discovered your
friendship yet.‖ She has a weakness for intelligent men who treat her
kindly, but is also constantly on the lookout for opportunities to play
matchmaker for other members of the crew. She wants everyone,
everywhere, to be happy and feel loved.
In a scientific situation her expertise is purely technical, especially
regarding weapons, defenses, and communications equipment. She is
very good with mathematics and practical applications of science, less so
with theory and more abstract concepts.
In a combat situation she will do her best to diffuse things before
they turn to violence, and will go to defensive measures first before
resorting to offensive and counterattacks. She will also use her force of
personality to get people to stand down and stop fighting (it’s even
worked on superior officers).

61
Aizivaishe Lovejoy
High Concept: Lieutenant Commander, Chief Tactical Officer (Earth
Human, South African)
Trouble: Can You Truly Feel Too Deeply?
Other Aspects: You Two Have a Lot in Common, I Know Just What You
Need
APPROACHES
Careful: Good (+3)
Clever: Fair (+2)
Flashy: Mediocre (+0)
Forceful: Fair (+2)
Quick: Average (+1)
Sneaky: Average (+1
STUNTS
Caring Nurturer: Because I am a caring nurturer, I gain a +2 when I
Carefully work to make others feel welcome and comfortable.
Technical Whiz: Because I am a technical whiz, I gain a +2 when I
Cleverly repair or amplify weapon, shield, and communications systems.
Stand Down: Because I have force of personality, I gain a +2 I
Forcefully demand that people stand down and stop fighting.

STRESS ⃝⃝⃝
REFRESH: 3
CONSEQUENCES:
Mild (2):
Moderate (4):
Severe (6):

62
LOVEJOYAS A PLAYER CHARACTER
As tactical officer, Ziva is responsible for weapons, shields, and
security. Her focus is always on keeping people safe, rather than
inflicting damage or causing harm. She is fascinated with figuring out
what makes aliens and monsters tick. She will always Approach every
problem from a caring, human level. For her, it’s all about building
relationships.
LOVEJOY AS A SUPPORTING CHARACTER ON TYCHE
Ziva is head of security, will assign security details for landing
parties and make recommendations on safety measures. She will often
lead security details on important or dangerous missions. If there is no
player character manning weapons, she will take that position on the
bridge. She is also the de facto ship’s counselor, offering crew members
advice on personal issues.
Situation Aspect: I‟m Here to Help in Any Way Possible
LOVEJOY AS A SUPPORTING CHARACTER OFF TYCHE
After leaving Tyche, Ziva will be head of security for diplomatic
missions. Any time an important diplomat is traveling aboard the ship, or
the crew visits a planet where there are ambassadors and other
dignitaries, there is a high probability she will be there. It is also possible
that she will be appointed as an ambassador herself, and function as a
supporting character in that capacity.
Situation Aspect: I‟m Here to Help Keep the Peace

63
SUSUMU YAMAGATO
When Susumu Yamagata was a child, he wanted to be one of the
Three Musketeers. When he grew up, he joined the Fleet instead. It was
the best way to scratch his itch for Action and adventure. This has led him
to become Church’s protégé. Although Yamagata respects the captain
and is grateful for the interest, he finds Church’s sometimes cavalier
attitudes toward the feelings of others to be irritating, which often causes
Yamagata to question his own playful attitudes and use of humor.
In spite of his swashbuckling personality and willingness to flirt with
both women and men, Yamagata is not a ―player‖. He has a boyfriend
back on Earth, whom he has been in a long-term relationship for a
number of years. His intention is to get married as soon as his career with
the Fleet allows. Being away for months or years at a time is often a
major point of Stress.
In a diplomatic situation, Yamagata will use humor to diffuse
hostilities or hurl insults, whichever is necessary. Like Church, he will try to
use charm first, but not hesitate to remind others of the resources that the
Coalition, and firepower that the Fleet, can bring to bear. It’s a
combination of boyishness and heavy-handedness that somehow works.
In a scientific situation, Yamagata tends to view things from the
perspective of the humanities. He is an accomplished botanist, but only
because flowers are beautiful and smell nice. His was drawn into
mathematics because of the patterns and structure of music. If science
doesn’t somehow support the arts or enrich peoples’ lives, he tends to lose
interest quickly.
In a combat situation, he will seek every opportunity to show off. At
the helm, he will never simply make one turn to port if he can get away
with making three impressive hairpin-precision turns to starboard. Even in
a dazzler fight, he will change position frequently and engage in non-
stop witty banter with his opponent. Of course, if he can somehow
manage to turn a combat situation into a sword fight, he’s in absolute
heaven.

64
Susumu Yamagato
High Concept: Lieutenant, Chief Helm Officer (Earth Human, Japanese)
Trouble: Careers Wreak Havoc on Relationships (and Vice Versa)
Other Aspects: Arts and Sciences are Best Together
APPROACHES
Careful: Fair (+2)
Clever: Mediocre (+0)
Flashy: Good (+3)
Forceful: Average (+1)
Quick: Fair (+2)
Sneaky: Average (+1)
STUNTS
Top-Notch Pilot: Because I am a top-notch pilot, I gain a +2 when I
Carefully maneuver a ship through tricky situations.
Fencing Master: Because I am a fencing master, I gain a +2 when I
Flashily engage in melee combat with any kind of sword.
Stunning Wit: Because I am a stunning wit, I gain a +2 when I
Quickly employ humor and snappy repartee to throw opponents off
guard, lighten the mood, and/or entertain my crewmates.

STRESS ⃝⃝⃝
REFRESH: 3
CONSEQUENCES:
Mild (2):
Moderate (4):
Severe (6):

65
YAMAGATO AS A PLAYER CHARACTER
As a player character Yamagata is very versatile. As Chief Helm
Officer, he’s on the bridge constantly. As a skilled botanist and adept
fighter, he gets asked on landing parties frequently. His penchant for
bad puns, balanced with his competence and bouts of seriousness, make
him an interesting character to roleplay.
YAMAGATO AS A SUPPORTING CHARACTER ON TYCHE
If no player character takes up the role of helmsman, Yamagata
will remain in place on the bridge. If there are no other bridge officers
among the player characters and Church and Megarry are still aboard,
Yamagata will often be in the command chair when the captain and XO
are away.
Situation Aspect: Steady As She Goes, Captain
YAMAGATO AS A SUPPORTING CHARACTER OFF TYCHE
If Yamagata transfers off of the Tyche, it’s to take his own
command. He’ll get a promotion to Lieutenant Commander and become
small-c captain of a scout vessel with a modest crew in the same sector
where the Tyche operates. When the player characters meet up with
another Fleet vessel for anything from resupply, shuttling diplomats, or
combat support, there’s a good chance it will be Yamagata.
Situation Aspect: Fancy Meeting You Here!

66
AXXTEP NYSTIFF
Axxtep is a Triexian, from the planet officially designated by the
Fleet as Kepler-223. A pediatrician and child psychologist by training,
the T’Leng invaded the planet before Axxtep was able to go into
practice. When both the male and female Axxtep had been bonded to
in childhood were killed in a T’leng Attack, Axxtep chose to become one
of the few Triexians to join the Fleet rather than seeking out new mates.
In spite of low rank, Axxtep is one of the oldest members of the crew.
While in agreement with the Fleet’s mission of keeping the peace,
opportunities to count coup or gain revenge against the T’Leng are never
far from Axxtep’s thoughts.
Understanding that most humanoids do not understand a third
gender and are not equipped semantically for the concept, Axxtep will
answer to either he or she. Most Fleet members, in an attempt to be
sensitive, will avoid pronouns and use the Triexian’s name or rank when
addressing Axxtep. Voluntarily celibate, Axxtep rarely interacts with
other crew members while off-duty.
In a diplomatic situation, Axxtep will almost always remain quiet. In
situations involving the T’Leng or other violent species, Axxtep will always
advocate for war.
In a scientific situation, Axxtep will be curious and eager to learn
new things and help wherever possible. The Triex medical training has no
practical applications to other humanoid species, although knowledge of
biology and developmental psychology may come in handy periodically
when encountering new species.
In a combat situation, only has two settings: complete pacifism or
total brutality. This is part of the Triexian mindset that nothing should ever
be done by half measures. Axxtep generally will not fight, unless it is to
protect others, unless ordered. When a fight is to protect and reserve
life, Axxtep by default will want to kill every single opponent to avoid
future encounters and problems.

67
Axxtep Nystiff
High Concept: Lieutenant, Junior Helm Officer (Trexian)
Trouble: The Brightest Flowers Grow From Scorched Earth
Other Aspects: No Children to Care For, Stranger in Every Meaning of the
Word
APPROACHES
Careful: Good (+3)
Clever: Fair (+2)
Flashy: Mediocre (+0)
Forceful: Fair (+2)
Quick: Average (+1)
Sneaky: Average (+1)
STUNTS
Surgical Strike: Because I employ surgical strikes, I gain a +2 when I
Carefully plan and execute an Attack against an opponent.
Medical Mind: Because I have a medical mind, I gain a +2 when I
Cleverly engage in medical or biological endeavors.
Long Memory and a Short Fuse: Because I have a long memory and
a short fuse, I gain a +2 when I Forcefully Attack T’Leng or any other
species or person abusing or oppressing other intelligent beings.

STRESS ⃝⃝⃝
REFRESH: 3
CONSEQUENCES:
Mild (2):
Moderate (4):
Severe (6):

68
AXXTEP AS A PLAYER CHARACTER
It would be easy to play Axxtep as aloof and brutal, but the
character is far more subtle than that. Orders will be followed, behavior
will be as expected, and personal opinions will be kept under wraps.
Most of Axxtep’s battles will be internal. Crew members describe Axxtep
is quiet and meek. That’s why the murderous rage displayed when
Axxtep encounters an abused child or an enslaved being is so utterly
terrifying.
AXXTEP AS A SUPPORTING CHARACTER ON TYCHE
You can go one of two ways with Axxtep as a supporting
character. The first is to just go with the quiet, humble navigator with the
tragic backstory. The second is to have the calm exterior hiding a long-
term plan to exact revenge against the T’Leng. Axxtep could end up
being a villain, endangering the ship and the player characters and
plunging the Coalition into a nasty war against the T’Leng.
Situation Aspect: Most Likely to Sabotage Any Mission Involving
T‟Leng or Zookeepers
AXXTEPAS A SUPPORTING CHARACTER OFF TYCHE
If Axxtep transfers off of the Tyche, it will be with a promotion to
full Lieutenant and Fleet recognition of Triexan medical certification.
Axxtep will become a medical officer, with additional training in the
anatomy of humans and other Coalition species, and assigned to another
ship or starbase. If you wish to pursue the darker side of the character,
imaging what can be done with a thorough knowledge of T’Leng
anatomy.
Situation Aspect: I Have Many Oaths to Uphold

69
ANGUS NADEEM SATTI
Satti is a 4th generation Scotsman of Pakistani decent. He can trace
his roots back to the Punjabi region of India, during the English
occupation. In the late 20th and 21st century his family made bagpipes
in Pakistan, and emigrated to Scotland over a hundred years ago when
the factory relocated. He grew up hearing tales of the battles for both
Pakistani and Scottish Independence, and identifies strongly with both
cultures. While nominally a Muslim, he doesn’t let that interfere with his
practicing the fine Scottish traditions of drinking and brawling. In his cups,
his Scottish accent becomes so think that he’s barely understandable.
Having it drilled in to him that education is the key to success in life,
and hearing tales of Scottish shipbuilders his whole life, Satti went into
engineering. Becoming fascinated with starship design, he joined the Fleet
with the goal of becoming creating and building new starships. He found
that he being hands-on with an active starship was far more interesting,
and has turned down offers from private companies and opportunities to
teach engineering in order to remain aboard the Tyche as the Chief
Engineering Officer.
In a diplomatic situation, Satti will go by the book and defer to his
superiors up the point where he, his crewmates, or his ship are insulted.
That’s when the fight starts. This is why Church tends to leave him aboard
ship, in command as second officer behind the XO, during diplomatic
missions. As Scottish citizen his dress uniform includes a kilt, which he
wears in traditional fashion, so such brawls become uncomfortably
revealing.
In a scientific situations, all Satti cares about is the tech. Alien
machines, supercomputers, androids, and particularly unknown spacecraft
will have his full attention. He will want to be hands-on in analyzing any
sort of new technology the crew comes upon.
In a combat situation, he is not a disciplined fighter. Church keeps
him out of hand-to-hand combat situations whenever possible. In
command, he will allow the helm and tactical officers to run combat, and
offer only vague orders like ―get us into firing position‖ and ―fire at will‖.
He’d much rather be down in the engine room.

70
Angus Nadeem Satti
High Concept: Commander, Chief Engineer (Earth Human, Scots-Pakistani)
Trouble: We Can‟t Ha‟e Them Insulting the Fleet!
Other Aspects: Give Me 20 Minutes an‟ I‟ll Have „er Right as Rain
APPROACHES
Careful: Fair (+2)
Clever: Good (+3)
Flashy: Average (+1)
Forceful: Mediocre (+0)
Quick: Fair (+2)
Sneaky: Average (+1)

STUNTS
Umbrage Detector: Because I am an umbrage detector, I gain a +2
when I Carefully find a legitimate reason to take offense at something
and start a fight.
Let’s See What Makes This Wee Beasty Tick: Because I am obsessive
about new toys, I gain a +2 when I Cleverly analyze or repair any piece
of technology.
Miraculous Engineer: Because I am a miraculous engineer, I gain a
+2 when I Quickly repair or modify the ship’s engines.

STRESS ⃝⃝⃝
REFRESH: 3
CONSEQUENCES:
Mild (2):
Moderate (4):
Severe (6):

71
SATTI AS A PLAYER CHARACTER
As Chief Engineering Officer, there is always plenty for Satti to do
aboard ship. Even if there hasn’t been a battle that requires repairs to
be made, he will always be tinkering to keep the ship’s systems updated
to the latest standards and advances. As second officer and third in
command behind Church and Megarry, and as the best engineer and
technical analyst aboard the Tyche, there are plenty of reasons to
include him on landing parties, where he will invariably get himself into
Trouble.
SATTI AS A SUPPORTING CHARACTER ON TYCHE
As a supporting character, Satti will spend most of his time in the
engine room will only be heard via the intercom. He will only appear in
the flesh during ceremonial occasions or when both the Captain and XO
are off ship and he needs to be in the command chair.
Situation Aspect: My Engines Won’t Be Tending Themselves
SATTI AS A SUPPORTING CHARACTER OFF TYCHE
If Satti gets rotated off the Tyche, he will end up overseeing the
construction of the next generation of starships, which he was also
involved in designing.
Situation Aspect: She’ll Make Anything the T’Leng Have Look Like a
Child’s Toy

72
GURRAALL
Gurraall is from the planet officially designated as J044144,
orbiting a brown dwarf star. Both her species, and her planet, have been
nicknamed Binturong, after the Earth creature her people resemble. She
has thick brown fur, a long, bushy tail, pronounced canine teeth, and
retractable claws. Because her planet has very little light, she can see
well in the dark, but requires sunglasses in brighter environments. She
also emits a musky pheromone that most humanoids cannot consciously
detect, but causes them to like her and even find her attractive. This
causes her occasional problems, as she has no interest I romantic
relationships outside her own species.
Because most other humanoids aren’t anatomically capable of
speaking her native language, Gurraall has learned to speak several
common Coalition languages fluently, and knows at least the social
niceties (hello, goodbye, please, thank you, and so on) in many others.
This has been valuable in her role as chief communications officer.
In a diplomatic situation, Gurraall is often employed as translator
due to both her skill with languages and the advantage her pheromones
provide in creating a calm and amicable environment.
In a scientific situation, she defers to experts and helps as she can.
She is adept at maintaining and repairing communications gear, but
beyond that is not particularly scientific or technical.
In a combat situation she will take full advantage of her Binturong
reflexes, her claws, and her teeth. She will use a dazzler for ranged
combat, but up close will not shy away from using her racial advantages.

73
Gurraall
High Concept: Lieutenant, Chief Communications Officer (Binturong)
Trouble: I‟m Not That Kind of Gurraall
Other Aspects: I Speak a Little Bit of That Language, I Can See in the
Dark, How Can You Not Smell That?
APPROACHES
Careful: Mediocre (+0)
Clever: Fair (+2)
Flashy: Average (+1)
Forceful: Average (+1)
Quick: Good (+3)
Sneaky: Fair (+2)
STUNTS
Natural Linguist: Because I am a natural linguist, I gain a +2 when I
Cleverly speak and translate other languages.
Catlike Reflexes: Because I have catlike reflexes, I gain a +2 when I
Quickly engage in hand-to-hand combat or leap out of the way of
danger.
Subtle Influence: Because I am exotic and attractive to other
humanoids, I gain a +2 when I Sneakily sway their opinions in favor of
the Coalition and the Fleet.

STRESS ⃝⃝⃝
REFRESH: 3
CONSEQUENCES:
Mild (2):
Moderate (4):
Severe (6):

74
GURRALL AS A PLAYER CHARACTER
Gurraall is friendly, polite, and professional, but because of racial
attributes she has no control over has an undeserved reputation as a ―sex
kitten‖. Captain Church has learned not to flirt with her (after Megarry
had a conversation with him about the discomfort he was causing), but he
will not hesitate to use her abilities to manipulate others in diplomatic
situations. She’s fine with that, as long as her presence is only used to
help keep people calm and avoid violence.
Because Communications falls under the umbrella of Tactical,
Gurraall reports directly to Lovejoy. The Tactical Officer considers the
Binturong to be her protégé, and because of her combat expertise often
attaches Gurraall to security details where a balance of diplomacy and
violence may be required.
GURRALL AS A SUPPORTING CHARACTER ON TYCHE
As stated above, Gurraall will spend the majority of her time on the
bridge, facilitating communications with planets, other ships, and landing
parties. As needed, she can be used as a security officer, going down on
landing parties where her specialized skills will be a valuable asset.
Situation Aspect: Hailing Frequencies Open, Let Me Connect You
GURRAALL AS A SUPPORTING CHARACTER OFF TYCHE
If Lovejoy has also left the Tyche, Gurraall will go with her and be
her personal aide. Whether Lovejoy is in a security or diplomatic role,
Gurraall will be at her side.
If Lovejoy is still aboard the ship, and a player character has taken
the role of communications officer, Gurraall can either be used as a
security officer, or possibly have moved on to another ship or starbase to
continue her role as communications officer.
Situation Aspect: How Can I Assist You?

75
THELONIUS HATFIELD DAVIS
Dr. Davis hails from Nouveau Orleans, the floating city built along
the sea wall protecting the ruins of historic New Orleans. He described
himself as an old country doctor, remaining in private practice until his
children were grown and his wife passed away. Wanting to remain
useful and contribute to the greater good of mankind, he chose to join the
Fleet rather than retire. He hasn’t stopped complaining about that
decision since.
An outstanding surgeon, Davis cares deeply about people. That’s
why he objects to dangerous missions and military excursions. He says it’s
because it just makes more work for him and his staff, but it’s really
because he dreads people getting hurt. In spite of his sometimes gruff
demeanor, he can be warm and friendly, and likes to dispense folksy
wisdom along with medicine, with a mischievous twinkle in his eye and a
folksy drawl. When not in the medical bay, he’s in his quarters cooking
up authentic Southern food and listening to classic 20th century blues and
jazz.
In a diplomatic situation, he’s likely to support any efforts that might
lead to peace, and harshly chastise any military personnel in the
immediate vicinity. He will not keep his opinions to himself.
In a scientific situation, he will leap into anything related to
medicine or biology. The more he learns, the better he’ll be able to help
people. Just don’t ask him to do things outside his fields of expertise; he’s
not a physicist, an engineer, or any sort of repair man.
In a combat situation, he will generally call people uncivilized idiots
and try to shame them into not behaving themselves and acting like
mature, intelligent beings. He’s Defend himself if he has to, but won’t
carry a weapon unless ordered and won’t fight unless it’s to protect an
innocent life.

76
THELONIUS HATFIELD DAVIS
High Concept: Commander, Chief Medical Officer (Earth Human, African-
American)
Trouble: That‟s Not My Damned Job!
Other Aspects: This is a Southern Specialty, You Don‟t Appreciate True
Culture
APPROACHES
Careful: Fair (+2)
Clever: Fair (+2)
Flashy: Average (+1)
Forceful: Good (+3)
Quick: Average (+1)
Sneaky: Mediocre (+0)
STUNTS
Country Doctor: Because I am country doctor, I gain a +2 when I
Carefully treat a patient using all tools and techniques at my disposal,
including but not limited to those damned modern machines.
Southern Shame Daddy: Because I am a Southern shame daddy, I
gain a +2 when I Cleverly manipulate people into doing what I think is
the right thing.
Passionate Gravitas: Because I possess passionate gravitas, I gain a
+2 when I Forcefully try to convince other people precisely why I’m right
and they’re wrong.

STRESS ⃝⃝⃝
REFRESH: 3
CONSEQUENCES:
Mild (2):
Moderate (4):
Severe (6):

77
DAVIS AS A PLAYER CHARACTER
Davis is a sweet old man who has no business being in the Fleet, but
he’s convinced that if he weren’t there to provide a moral compass the
military types would be in charge and everything would go to hell in a
hand basket. He acts as if the ship is a small town and he’s just the kindly
local sawbones. As Chief Medical Officer there are plenty of reasons to
stay aboard ship, treating the injured in ship-to-ship battles, but there
are an equal number of opportunities for him to join landing parties for
official functions and act as a medic.
DAVIS AS A SUPPORTING CHARACTER ON TYCHE
Davis makes for a stern-yet-lovable father figure for all of the
crew, and is someone safe to talk to about both personal and
professional problems. He’ll be there to help patch your wounds after
both landing party missions and starship battles. As a supporting
character, he’ll rarely leave the medical bay, except to enforce
mandatory rest and relaxation.
Situation Aspect: I Can Prescribe Just the Thing You Need
DAVIS AS A SUPPORTING CHARACTER OFF TYCHE
If Davis rotates off the Tyche, he’ll probably retire back to Earth.
He might be found in private practice aboard a starbase or on some
lovely planet with warm weather and attractive women.
Situation Aspect: This is How Human Beings Are Supposed to Live

78
CRISTINA CAPELA
Cristina Capela is a nurse practitioner, and the First Medical
Officer on the Tyche. Dr. Davis calls her his ―strong right hand‖ and
chastises her for not becoming an outright doctor, because he considers
her to be one of the finest medical practitioners he’s ever met. Her Fleet
file has nothing but the highest marks, and she is a respected researcher
who has written or co-written dozens of published papers on a variety of
medical topics.
Born on Novo Paolo, a conservative religious Fringe World, Cristina
hails from a large extended family, with many siblings, uncles, aunts, and
cousins. Her identity as a trans woman put her life, and the lives of her
family, in jeopardy there, which is what led to her decision to emigrate to
Earth and join the Fleet. Her cabin is decorated with many family photos,
and framed letters supporting both her career in nursing and in the Fleet.
Capela is also the ship’s hopeless romantic, continually falling for
men she can’t have, or running into old boyfriends while on away
missions. She currently carries a fiercely burning torch for the asexual
Chief Science Officer, T’Pokk. She is, strangely, one of the few attractive
women aboard the Tyche that Captain Church doesn’t flirt with.
In a diplomatic situation, Cristina will try to see all sides but
invariably side with whomever she feels is the underdog. She is rarely
outspoken, but Davis has been mentoring her to speak her peace without
fear, especially on issues she feels a personal connection to.
In a scientific situation, she tends to see things in terms of what will
make an interesting case study or peer-reviewed paper. She will work to
preserve not just life, but quality of life, and abhors practices and
developments that do not put humanity at the forefront.
In a combat situation, Capela is most likely to run away. She’s a
medical professional, not a fighter, and she abhors violence of any sort.

79
Cristina Capela
High Concept: Lieutenant Commander, 1st Medical Officer (Earth Human,
Novo Brazilian)
Trouble: He Doesn‟t Love Me The Way I Love Him
Other Aspects: This Bears Further Investigation, I Couldn‟t Have Done Any
of this Without My Family
APPROACHES
Careful: Good (+3)
Clever: Fair (+2)
Flashy: Average (+1)
Forceful: Fair (+2)
Quick: Average (+1)
Sneaky: Mediocre (+0)
STUNTS
Best Nurse in the Fleet: Because I am the best nurse in the Fleet, I
gain a +2 when I Carefully treat patients using existing techniques and
treatments.
Ardent Researcher: Because I am an ardent researcher, I gain a +2
when I Cleverly find new courses of treatment and cures for illnesses and
diseases.
Nurse Knows Best: Because I am a nurse and know best, I gain a +2
when I Forcefully order a patient to stop fussing and adhere to the course
of treatment.

STRESS ⃝⃝⃝
REFRESH: 3
CONSEQUENCES:
Mild (2):
Moderate (4):
Severe (6):

80
CAPELA AS A PLAYER CHARACTER
There are plenty of reasons to keep Capela aboard ship. Her
talent as a field medic and researcher also provide plenty of reasons for
her to join a landing party. The real fun with her is that she’s a walking
romantic subplot, falling in love at the drop of a hat. Even when that love
is reciprocated, something tragic inevitably happens to the guy. Yet she
always picks herself up, dusts herself off, and moves on.
CAPELA AS A SUPPORTING CHARACTER ON TYCHE
Capela can be used as a supporting character either aboard ship
or in a landing party. If a player character is a medical officer, they will
technically report to her rather than Dr. Davis, and she will act as their
mentor. She will always remind people that their oaths and duties to the
Fleet emphasize preserving and saving lives, not taking them.
Situation Aspect: Remember the Oath You Swore
CAPELA AS A SUPPORTING CHARACTER OFF TYCHE
If Capela rotates off the Tyche, she will likely end up either
mentoring young medical professionals at a teaching hospital, or leading
a research team on a space station or a planet that holds the promise of
a cure for some disease.
Situation Aspect: I Will Go Where I Can Do the Most Good

81
T’POKK
T’Pokk is the tall, lanky Titanian Chief Science Officer aboard the
Tyche. Androgynous in appearance, T’Pokk is a member of the Cult of
Reason, and devoted only to science and factual reality. Emotions are
acknowledged, and then dismissed as unhelpful distractions and barriers
to thoughtful and rational Action. This makes for a particularly effective
scientist, but not necessarily the most cheerful social companion.
Part of the discipline T’Pokk practices allows for a connection to
another sentient being to be established with a touch. This allows T’Pokk
to essentially hook into the other person’s central nervous system and
brain. A brief touch can be used to disrupt neural activity and cause the
other person to pass out; this is seen as a peaceful way to avoid violent
conflict. With prolonged contact, T’Pokk can read the other person’s
thoughts; members of the Cult of Reason use this to quickly share
information.
In a diplomatic situation, T’Pokk will ignore all emotional arguments
and focus on the objective advantages and disadvantages, making pleas
to reason. The science officer will appear confused, if not surprised, if this
does not work.
In a scientific situation, T’Pokk can do anything that is required.
While not a specialist, the Science Officer has at least a passing
knowledge of all major scientific disciplines and many minor ones. Given
24 hours, necessary knowledge can be looked up and memorized for
application to the current situation.
In a combat situation, T’Pokk will use the lowest effective setting
with either a dazzler or ship’s weaponry to achieve the desired outcome.
In a physical confrontation, mental intrusion techniques will be applied to
render the opponent unconscious. As a last resort, T’Pokk is freakishly
strong compared to humans, and will use that to restrain an opponent or,
as needed, use the minimal amount of force required to incapacitate
them.

82
T’Pokk
High Concept: Lieutenant Commander, Chief Science Officer (Titanian)
Trouble: I Do Not Understand Your Emotional Outbursts
Other Aspects: Mental Clarity Requires Discipline, Unnecessary Physical
Contact is Not Rational
APPROACHES
Careful: Fair (+2)
Clever: Good (+3)
Flashy: Mediocre (+0)
Forceful: Average (+1)
Quick: Fair (+2)
Sneaky: Average (+1)
STUNTS
Computer-Like Mind: Because I have a computer-like mind, I gain a
+2 when I Carefully assemble all available facts and come to a
conclusion.
Mental Intrusion: Because I have the power of mental intrusion, I gain
a +2 when I Cleverly touch you to read your thoughts or override your
nervous system.
Pragmatically Technical: Because I am pragmatically technical, I gain
a +2 when I Quickly construct a device that will do what I need it to.

STRESS ⃝⃝⃝
REFRESH: 3
CONSEQUENCES:
Mild (2):
Moderate (4):
Severe (6):

83
T’POKK AS A PLAYER CHARACTER
T’Pokk can be an interesting character to play. While not in the
chain of command as Chief Science Officer there are plenty of reasons
for the character to either be on the bridge advising or in a landing
party. The balance of knowledge and combat abilities make T’Pokk
versatile, and the character’s alien mindset provide ample opportunities
to make commentary on human behavior.
T’POKK AS A SUPPORTING CHARACTER ON TYCHE
As Chief Science Officer, T’Pokk has a hand in anything related to
science aboard the Tyche. Any science officer or Titanian character will
have an automatic superior officer and mentor to offer advice and
assistance. If there are no other science officers among the player
characters, T’Pokk can fill all your science needs.
Situation Aspect: The Scientific Ramifications of Your Discovery Are
Fascinating
T’POKK AS A SUPPORTING CHARACTER OFF TYCHE
If T’Pokk leaves the Tyche, there are a number of possibilities as to
where the character would end up. It may be a choice to no longer live
among aliens and return to Titania. It may be to head up a research
facility somewhere, probably remote and with other Titanians about.
Whatever it is, it will definitely involve science and reason, and probably
far less contact with irrational humans.
Situation Aspect: Human Contact Wearies Me On Many Levels

84
ANNA REZNIK
A repatriated Russian Jew, Reznik was born and grew up in Israel.
As a young girl she moved with her family back to Moscow to help
rebuild and repopulate the Great City. As a result, she is boldly patriotic
and takes every opportunity to boast about the rebirth of her homeland.
Reznik has a genius level IQ, and started college at age 14. At 19,
after earning her Master’s degree in Physics, she chose to enter the Fleet
rather than continue on to her Ph.D. Her logic was that there would be
more opportunities to study the stars if she was out among them, and she
was not wrong. Although she is the youngest officer on the ship, she is
also one of the most respected.
Despite being a science officer, Reznik wears a command uniform.
This is because she chose to train as a pilot as well as a science specialist
in order on gain more time on the bridge. When not filling in for T’Pokk
as relief science specialist, Reznik is also on the rotation as a relief helm
officer. Church has described her as ―an overenthusiastic overachiever.‖
In a diplomatic situation, Reznik will keep her mouth shut and take
the opportunity to watch and learn. Unless, of course, the topic of Russia
comes up, in which case she will leap in to discuss why it is the greatest
nation on Earth, ever.
In a scientific situation, Reznik will be on the front lines, either
leading the scientific team or acting as T’Pokk’s right hand.
In a combat situation, Reznik will not shy away from Action,
drawing her dazzler and leaping into any sort of physical confrontation.
She can hold her own, and uses the scars she’s earned in various fights to
impress cute boys.

85
Anna Reznik
High Concept: Lieutenant, 1st Science Officer (Earth Human, Russian)
Trouble: Why Would You Say My Blind Patriotism is Annoying?
Other Aspects: I Am Russian - I Fear Nothing
APPROACHES
Careful: Good (+3)
Clever: Average (+1)
Flashy: Fair (+2)
Forceful: Mediocre (+0)
Quick: Fair (+2)
Sneaky: Average (+1)
STUNTS
Scientific Prodigy: Because I am a scientific prodigy, I gain a +2
when I Carefully study a situation to find answers.
Fearlessly Foolhardy: Because I am fearlessly foolhardy, I gain a +2
when I Flashily leap into personal combat situations.
Technical Savant: Because I am technical savant, I gain a +2 when I
Quickly repair, assemble, or cobble together a piece of scientific
equipment.

STRESS ⃝⃝⃝
REFRESH: 3
CONSEQUENCES:
Mild (2):
Moderate (4):
Severe (6):

86
REZNIK AS A PLAYER CHARACTER
Reznik is a good viewpoint character for any new players who
aren’t familiar with the setting. Having recently entered the Fleet, it’s a
good excuse to ask questions in-character and learn about the Coalition,
the Fleet, and the universe setting. There’s a good balance of combat
and roleplaying opportunities, with an easy hook of patriotism and
enthusiasm. There are ample opportunities to bother remain on the ship or
to be part of a landing party.
REZNIK AS A SUPPORTING CHARACTER ON TYCHE
If Reznik remains aboard the Tyche, she is pretty much the universal
supporting character, who can fill nearly any supporting role. She is a
pilot, a scientist, possessed of a strong sense of curiosity, and not afraid
of danger.
Situation Aspect: I Would Be Happy to Assist You With That
REZNIK AS A SUPPORTING CHARACTER OFF TYCHE
Reznik will be in demand by any research team on the galaxy, and
she’s young enough to take any opportunity that appeals to her without
thinking about long-term career goals. If she doesn’t stay with the ship,
she could turn up just about anywhere that a brilliant scientist supporting
character is needed.
Situation Aspect: We Are Doing Important Work Here!

87
JANNA LUNDGREN
Born in Sweden, Jaana Lundgren is the highest ranking enlisted
crew member aboard the Tyche. Prior to joining the Fleet, Lundgren
earned a Bachelor’s degree in Mathematics, and too a Master’s degree
in Accounting. While she can’t quite go toe-to-toe with some of the
physicists on board, she is good with practical, everyday numbers and
has a keen head for business.
As Chief Administrator, she is responsible all of the supplies,
logistics, and paperwork that keep the ship functioning on a day-to-day
basis. Most of her day is spent with a tablet in hand, tracking down
officers to get them to sign requisition forms or nagging them to file
required reports. While her position only requires her to wear duty
coveralls, she tends to wear her full uniform in order to convey her
authority and get the command crew to take her position seriously.
Lundgren has a brief relationship with Captain Church, before
realizing that he wasn’t a one-woman sort of man. She is currently
romantically involved with Megarry, although both of them keep the
relationship out of the public eye due to the differences in rank and the
potential appearance of impropriety.

88
Janna Lundgren
High Concept: Command Master Chief Petty Officer (CMC), Chief
Administrator (Earth Human, Swedish)
Trouble: It‟s Not A Love Triangle If It Only Has Two Sides
Other Aspects: I Can Get That For You Yesterday, Far Smarter Than I Let
On
APPROACHES
Careful: Fair (+2)
Clever: Fair (+2)
Flashy: Good (+3)
Forceful: Mediocre (+0)
Quick: Average (+1)
Sneaky: Average (+1)
STUNTS
Math Whiz: Because I am a math whiz, I gain a +2 when I Carefully
perform calculations with numbers.
Wheeler-Dealer: Because I am a wheeler-dealer, I gain a +2 when I
Cleverly make deals with merchants and suppliers to acquire supplies for
the ship.
Smooth Talker: Because I am a smooth talker, I gain a +2 when I
Flashily use my natural charm to talk people into doing what I need them
to do.

STRESS ⃝⃝⃝
REFRESH: 3
CONSEQUENCES:
Mild (2):
Moderate (4):
Severe (6):

89
LUNDGREN AS A PLAYER CHARACTER
Keeping a starship crew fed, clothed, stocked up on medical
supplies, and otherwise equipped is a full-time job. No one likes to do
paperwork, and her job is to insure that everyone gets things filed on
time. To accomplish this, Lundgren has become extra friendly and
outgoing, chatting with people about their personal lives and taking an
interest in them so they cheer up when she arrives, rather than dreading
her appearance and the inevitable extra work it entails. To keep the ship
running, she and Megarry have a carefully orchestrated good cop-bad
cop routine worked out, where Lundgren is everyone’s sympathetic friend
and Megarry is the dour taskmaster.
LUNDGREN AS A SUPPORTING CHARACTER ON TYCHE
Lundgren is the person who can get you anything you need,
provided it’s legal. Books, music, movies, clothing, special foodstuffs,
medicine, decorations, you name it, she can find it and get a good, fair
price on it. She’s the one that insures that the quality of the food is higher
than on most starships, and that there are always little treats and extras
in the cafeteria. Lundgren is responsible for the high quality of life the
Tyche crew enjoys.
Situation Aspect: I Want To Hear All About It - Sign This While You
Tell Me
LUNDGREN AS A SUPPORTING CHARACTER OFF TYCHE
If Lundgren rotates off the Tyche, she will enter the private sector.
With her experience in acquisitions for the Fleet, any number of
companies or merchant trader organizations will snap her up. She will
end up being the person the crew encounters and a planet or space
station and have to negotiate with for vitally needed supplies.
Situation Aspect: Of Course I Can Get That For You - For the Right
Price

90
Rules
Now that you’ve seen the various components that make up a
character, it’s time to learn a bit more about what the mean and how you
can use them in the game.
THE LADDER
The Ladder is the one and only table The Ladder
necessary to play Starship Tyche. It offers up +8 Legendary
both a numerical and descriptive measure of +7 Epic
both difficulty and success. All dice rolls are +6 Fantastic
compared to the Ladder in one way or +5 Superb
another. +4 Great
+3 Good
USING ASPECTS +2 Fair
There are four broad categories of +1 Average
Aspects: Character Aspects, Situation Aspects, 0 Mediocre
Consequence, and Boosts. They all work the
-1 Poor
same way, the main differences being how
-2 Terrible
they are acquired and how long they stick
around before going away.

Character Aspects: These Aspects are the ones on your character

sheet, such as your High Concept and Trouble. They describe personality
traits, important details about your past, relationships you have with
others, important items or titles you possess, problems you’re dealing with
or goals you’re working toward, or reputations and obligations you
carry. These Aspects only change under very unusual circumstances, if at
all.
Examples: Captain of the Starship Curie; On the Run From Fringe
World Assassins; Attention to Detail; I Must Protect My Brother

Situation Aspects: These Aspects describe the surroundings that the

Action is taking place in. This includes Aspects you create or discover
using the Create An Advantage Action. A Situation Aspect usually vanishes
at the end of the scene it was part of, or when someone takes an Action
to change it. Essentially, they last only as long as the situational element
they represent lasts.
To get rid of a Situation Aspect, you can attempt an Overcome
Action to eliminate it, provided you can think of a way your character
could accomplish it. Dump a bucket of water on the Raging Fire, use
evasive maneuvers to escape the enemy warship that’s On Your Tail. An
opponent may use a Defend Action to try to preserve the Aspect, if they
can describe how they intend to do it.
Examples: On Fire; Bright Sunlight; Crowd of Angry People;
Knocked to the Ground

Consequences: These Aspects represent injuries and other lasting

traumas that happen when you get hit by Attacks. They are usually
temporary, although they can be long-term and go away slowly. A
Consequence imposes a penalty on your dice rolls, to reflect that your
character has been hurt in some way and aren’t functioning at 100%.
You can read more under Damage, Stress, and Consequence a little later
on in this section.
Examples: Sprained Ankle; Fear of Spiders; Concussion; Debilitating
Self-Doubt

Boosts: A Boost is a temporary Aspect that you only get to use

once. These represent very brief and fleeting advantages, usually gained
during conflicts with other characters. When the scene they were created
in is over, or when the advantage they represent no longer exists, they
vanish.
Examples: In My Sights; Distracted; Unstable Footing; Rock in His
Boot
ACTIONS, APPROACHES, AND OUTCOMES
Your character needs to leap from one monorail car to another. He
needs to search the entire library for that mathematical formula he really
needs. She needs to distract the guard so she can sneak into the alien
fortress. How do you figure out what happens next?
First, you narrate what your character is trying to do. Your
character’s own Aspects provide a good guide for what they can do. If
you have an Aspect that suggests you can override security systems, then
hack the door’s keypad. If your Aspects describe you as a swordsman,
92
draw that blade and have at it. These story details don’t have additional
mechanical impact. You don’t get a bonus from your hacking or your
sword, unless you choose to spend a fate point to Invoke an appropriate
Aspect. Often, the ability to use an Aspect to make something true in the
story is bonus enough.
How do you know if you’re successful? Often, you just Succeed,
because the Action isn’t hard and nobody’s trying to stop you. You should
only roll dice is the outcome is in doubt, and it’s the gamemaster’s job to
tell you that. But if failure provides an interesting twist in the story, or if
something unpredictable could happen, you need to break out the dice.

Using Actions
So you’ve narrated what your player character is trying to do, and
you’ve established that there’s a chance he could fail. Next, figure out
what Action best describes what he’s trying to do. There are four basic
Actions that cover anything you do in the game: Create An Advantage,
Overcome, Attack, or Defend.

93
Create An Advantage
Creating an advantage is anything your character does to try to
help himself or one of his friends. Taking a moment to very carefully aim
his dazzler, spending several hours doing research in the ship’s library
computer, or tripping the thug who’s trying to rob him all count as
creating an advantage. The target of your Action may get a chance to
use the Defend Action to stop you.
When creating an advantage, you can do one of the following:
● Create a new Situation Aspect or Establish a Facts
● Discover an existing Situation Aspect
● Discover another character’s Aspect that you didn’t know about
● Use an existing Aspect

Create a New Aspect (or Establish a Fact)

If you fail: Either you don’t create the Aspect at all, or you create it
but an opponent gets to Invoke the Aspect for free. The second option
works best if the Aspect you create or discover is something that other
people could take advantage of (like Slippery Deck or Dazzler on the
Floor). You may have to reword the Aspect to show that it benefits the
other character instead of you. Work it out in whatever way makes the
most sense with the player who gets the free invocation. You can still
Invoke the Aspect if you’d like, but it’ll cost you a fate point.
If you’re trying to Establish a Facts, it doesn’t happen.
If you tie: If you’re creating a new Aspect, you get a Boost. Name it
and Invoke it once for free. After that, the Boost goes away.
If you’re establishing a fact it works much the same way. The fact
isn’t quite what you want it to be, but slightly off so that it supports an
opponent or adds an unexpected twist to what you wanted.
If you Succeed: You create the Aspect, and you or an ally may
Invoke it once for free. Write the Aspect on an index card or sticky note
and place it on the table.
If you Succeed With Style: You create the Aspect, and you or an ally
may Invoke it twice for free. Usually you can’t Invoke the same Aspect
twice on the same roll, but this is an exception. Success with style gives
you a big advantage!

94
Discover an Existing Aspect
If you fail: Either you don’t discover the Aspect at all, or you
discover it but an opponent gets to Invoke the Aspect for free. The
second option works best if the Aspect you create or discover is
something that other people could take advantage of (like Hidden
Compartment). You may have to reword the Aspect to show that it
benefits the other character instead of you. Work it out in whatever way
makes the most sense with the player who gets the free invocation. You
can still Invoke the Aspect if you’d like, but it’ll cost you a fate point.
If you tie: If you’re trying to discover an existing Aspect, treat this as
a success.
If you Succeed: You discover the Aspect, and you or an ally may
Invoke it once for free. Write the Aspect on an index card or sticky note
and place it on the table.
If you Succeed With Style: You discover the Aspect, and you or an
ally may Invoke it twice for free. Usually you can’t Invoke the same
Aspect twice on the same roll, but this is an exception. Success with style
gives you a big advantage!
Use an Existing Aspect
If you fail: You don’t get any additional benefit from the Aspect.
You can still Invoke it in the future if you’d like, at the cost of a fate point.
If you tie or Succeed: You get one free invocation on the Aspect for
you or an ally to use later. You might want to draw a circle or a box on
the Aspect’s note card, and check it off when that invocation is used.
If you Succeed With Style: You get two free invocations on the
Aspect, which you can let an ally use, if you wish.
Overcome
You use the Overcome Action when you have to get past something
that’s between you and a particular goal. This includes things like
opening a stuck escape hatch, escaping from an alien jail cell, leaping
across a chasm, and flying a spacecraft through an asteroid field. Taking
some Action to eliminate or change an inconvenient Situation Aspect is
usually an Overcome Action. The target of your Action may get a chance
to use the Defend Action to stop you.
If you fail: You have a tough choice to make. You can simply fail.

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The hatch is still stuck, the guard still stands between you and the exit, the
enemy spaceship is still On Your Tail. You can also Succeed, but at a
serious cost. Maybe you drop something vital that you were carrying, or
maybe you suffer harm and take a Consequence. The gamemaster will
help you figure out an appropriate cost.
If you tie: You attain your goal, but at some minor cost. The
gamemaster could introduce a story complication, or present you with a
tough choice (you can rescue one of your friends, but not the other), or
add some other twist.
If you Succeed: You accomplish what you were trying to do. The
hatch springs open, you duck around the T’Leng blocking the door, and
you manage to lose the alien spaceship on your tail.
If you Succeed With Style: As success (above), but you also gain a
Boost.
Attack
Use an Attack when you try to hurt someone or something, whether
physically or mentally. This includes throwing a punch, shooting a dazzler,
or yelling a blistering insult with the intent to upset your target. We’ll talk
about this more in the upcoming Damage, Stress, and Consequence section,
but the important thing is this: If someone gets hurt too badly, they’re
knocked out of the scene. The target of your Attack gets a chance to use
the Defend Action to stop you.

If you fail: Your Attack doesn’t connect. The target parries your
sword, your shot misses, and your target laughs off your insult.
If you tie: Your Attack doesn’t connect strongly enough to cause any
harm, but you gain a Boost.
If you Succeed: Your Attack hits and you do damage. See
Damage, Stress, and Consequences.
If you Succeed With Style: You hit and do damage, plus you have
the option to reduce the damage your hit causes by one and gain a
Boost.
Defend
Use Defend when you’re actively trying to stop someone from
doing any of the other three Actions—you’re parrying a sword strike,

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trying to stay on your feet, blocking a doorway, and the like. Usually this
Action is performed on someone else’s turn, reacting to their attempt to
Attack, Overcome, or Create An Advantage. You may also roll to oppose
some non-Attack Actions, or to Defend against an Attack on someone
else, if you can explain why you can. Usually it’s fine if most people at
the table agree that it’s reasonable, but you can also point to an
relevant Situation Aspect to justify it. When you do, you become the
target for any bad results.
If you fail: You’re on the receiving end of whatever your opponent’s
success gives them.
If you tie or Succeed: Things don’t work out too badly for you.
Review the description of your opponent’s Action to see what happens.
If you Succeed With Style: Your opponent doesn’t get what they
want, plus you gain a Boost.
Using Actions Summary
● Describe what you want your character to do. See if someone or
something can stop you.
● Decide what Action you’re taking: Create An Advantage,
Overcome, Attack, or Defend.
● Decide on your Approach.
● Roll dice and add your Approach bonus.
● Decide whether to modify your roll with Aspects.
● Figure out the outcome.

Getting Help with Actions

An allied character can help your character perform an Action.
When an ally helps, they give up their own Action and describe how
they’re providing the help. You gain a +1 bonus to your roll for each ally
that helps this way. The gamemaster decides how many people can help
at once, because there’s usually a limit to how many people can work on
a task without getting in each other’s way.
Using Approaches
As mentioned in the Character Creation section, there are six
Approaches that describe how you perform Actions. Each Approach is
rated with a bonus from +0 to +3. Add the bonus to your dice roll to

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determine how well your character performs the Action you described.
So your first instinct is probably to pick the Action that gives you the
greatest bonus, right? But it doesn’t work like that. You have to base your
choice of Approach on the description of your Action, and you can’t
describe an Action that doesn’t make any sense. Would you Forcefully
creep through a dark room, hiding from the guards? No, that’s being
Sneaky. Would you Quickly push that big rock out of the way of the
wagon? No, that’s being Forceful. Circumstances constrain what Approach
you can use, so sometimes you have to go with an Approach that might
not play directly to your strengths.
Setting the Scene and Establishing Zones
Establish what’s going on, where everyone is, and what the
environment is like. Who is the opposition? The gamemaster should write
a couple of Situation Aspects on sticky notes or index cards and place
them on the table. Players can suggest Situation Aspects, too.
The gamemaster also establishes Zones, loosely defined areas that
tell you where characters are. It sometimes helps to sketch a quick map to
illustrate Zones. You determine Zones based on the scene and the
following guidelines:
Generally, your character can interact with other characters in the
same zone — or in nearby Zones if you can justify acting at a distance
(for example, if you have a ranged weapon or communication device).
Your character can move one zone for free. An Action is required to
move if there’s an obstacle along the way, such as someone trying to stop
you, or if you want to move two or more Zones.
T’Leng warriors are Attacking the characters in a seedy spaceport
bar. The cantina is one zone, the kitchen another, the dining area another,
and the outside patio a fourth. Anyone in the same zone can easily throw
punches at each other. From the dining area, your character can throw
things at people in the kitchen or move into the kitchen as a free Action,
unless the doorway is blocked. To get from the cantina to the dining area
or patio requires an Action.
Determine Turn Order
Your turn order in a conflict is based on your Approaches.
In a physical conflict, compare your Quick Approach to the other
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participants. The character with the fastest reflexes goes first.
In a mental conflict, compare your Careful Approach—attention to
detail will warn you of danger.
Whoever has the highest Approach gets to go first, and then
everyone else goes in descending order. Break ties in whatever manner
makes sense, with the gamemaster having the last word.
Gamemasters: It’s simplest if you pick your most advantageous
supporting character to determine your place in the turn order, and let
all your supporting characters go at that time. But if you have a good
reason to determine turn order individually for all your supporting
characters, go right ahead.
TAKING TURNS
Next, each character takes a turn in order. On their turn, a
character can take one of the four Actions: Create An Advantage,
Overcome, Attack, or Defend. Resolve the Action to determine the
outcome. The conflict is over when only one side has characters still in the
fight.
Roll the Dice and Add Your Approach Bonus
Time to take up dice and roll. Take the bonus associated with the
Approach you’ve chosen and add it to the result on the dice. If you have
a Stunt that applies, add that too. That’s your total. Compare it to what
your opponent (usually the gamemaster) has.
Decide Whether to Modify the Roll
Finally, decide whether you want to alter your roll by Invoking
Aspects and spending Fate Points (explained later in this section under
the heading Using Fate Points).
ROLLING DICE
You’ve decided on you character’s Action and selected an
Approach, so now you finally get to roll some dice! What you’re actually
doing is generating a random number by rolling four Fate Dice.
Sometimes called Fudge dice, after the game they were originally
designed for, you always roll Fate Dice in a set of four. Each die will
come up as [+], [ ], or [-], and you add them together to get the total of

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the roll. For example:

- + 0 + = +1
+ - 0 0 = 0
+ + + - = +2
- 0 0 0 = −1
Once you roll your dice, add your Approach bonus and any
bonuses from Aspects or Stunts. Compare the total to a target number,
which is either a fixed difficulty or the result of the gamemaster’s roll for
a supporting character. Based on that comparison, your outcome is:

● Fail: You fail if your total is less than your opponent’s total.
● Tie: It’s a tie if your total is equal to your opponent’s total.
● Succeed: You Succeed if your total is greater than your opponent’s
total.
● Succeed With Style: You Succeed With Style if your total is at least
three greater than your opponent’s total.
PUTTING IT ALL TOGETHER
We’ve talked about the four Actions (Create An Advantage,
Overcome, Attack, and Defend) and the four outcomes (fail, tie, Succeed,
and Succeed With Style). But in what framework do those happen?
Usually, when you want to do something straightforward — swim
across a raging river, hack someone’s communication device — all you
need to do is make one Overcome Action against a difficulty level that
the gamemaster sets. You look at your outcome and go from there.
But sometimes things are a little more complex, and for those
situations there are Challenges, Conflicts, and Contests.
Challenges
A challenge is a series of Overcome and Create An Advantage
Actions that you use to resolve an especially complicated situation. Each
Overcome Action deals with one task or part of the situation, and you
take the individual results together to figure out how the situation

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resolves.
To set up a challenge, decide what individual tasks or goals make
up the situation, and treat each one as a separate Overcome roll. This
can be roleplayed through a series of short scenes, rather than just
making boring dice rolls.
Depending on the situation, one character may be required to
make several rolls, or multiple characters may be able to participate.
Gamemasters: you aren’t obligated to announce all the stages in
the challenge ahead of time. Adjust the steps as the challenge unfolds, in
order to preserve surprises and keep things exciting.
Example of a Challenge
The player characters are on a planet whose inhabitants have
fallen ill with a mysterious plague. They decide that they cannot return to
the ship and risk spreading the infection to the rest of the crew. They
decide to find a cure, and the gamemaster suggests this sounds like a
challenge. Steps in resolving this challenge could be analyzing the blood
of the infected, gathering a rare plant needed to create the cure,
locating the right equipment to synthesize a serum, and testing the cure.
Each of these steps can be played out as a separate scene with one or
more player characters participating in each scene.
Contests
When two or more characters are competing against one another
for the same goal, but not directly trying to hurt each other, you have a
contest. Examples include a foot chase, a public debate, or a
marksmanship contest. The first participant to achieve three victories wins
the contest.
A contest proceeds in a series of exchanges. In an exchange, every
participant takes one Overcome Action to determine how well they do in
that leg of the contest. Compare your result to everyone else’s.
If you got the highest result, you win the exchange. You score a
victory, which you can represent with a tally or check mark on scratch
paper, and describe how you take the lead. If you Succeed With Style,
you mark two victories.
If there’s a tie, no one gets a victory, and an unexpected twist
occurs. This could mean several things, depending on the situation. The

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terrain or environment shifts somehow, the parameters of the contest
change, or an unanticipated variable shows up and affects all the
participants. The gamemaster creates a new Situation Aspect reflecting
this change and puts it into play.
Example of a Contest
Your character and a T’Leng captain have been locked in hand-to-
hand combat on the burning bridge of a crippled starship when the
ceiling collapses and pins both of them. Both characters see a dazzler
lying on the deck, but need to free themselves from the fallen debris to
get to it. The gamemaster decides that this is a contest. Each character
needs to make three Overcome Actions to pull themselves loose and
crawl toward the weapon. The first character to get three victories
reaches the dazzler first.
Conflicts
Conflicts are used to resolve situations where characters are trying
to harm one another somehow. It could be physical harm with back-and-
forth Attack and Defend Actions (a judo fight, a psionic duel, a battle
with dazzlers), but it could also be mental conflict (a shouting match, a
tough interrogation, a brain-scanner assault).
Example of the Conflict
Your character is hanging from the edge of a cliff by his fingertips.
A vindictive merchant is trying to stomp on your hand to make you fall, a
plunge that would mean certain death. You are trying to grab his ankle
not only to make him stop, but to help pull yourself up, even though this
will undoubtedly cause him to fall. Both characters determine their turn
order. The first character Attacks, and the other character Defends. This
continues until one character Succeeds, and the other character falls to his
doom.
USING FATE POINTS
There are three Big Things you can do with Fate Points: Invoke
Aspects, Compel Aspects, and use Aspects to Establish Facts.
Invoking Aspects
You Invoke an Aspect to give your character a bonus, or to make
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things a bit harder for your opponent. These can be your Aspects,
another character’s Aspects, the Aspect of a Location or Item, or even
Situation Aspect. You can Invoke any Aspect that you know about and
can explain how you will use it to your advantage. To Invoke an Aspect,
you need to describe how that Aspect helps you in your current situation.
Invoking an Aspect costs you a fate point, so hand one of your fate point
tokens to the gamemaster.
Examples of Invoking Aspects
I Attack the Titanian with my crazy Monkey Style Kung Fu. I know
Titanians are Rational, so that should help me because my style is devoid
of all discernable reason and will confuse him. I hand the gamemaster a
Fate Point and Invoke the Titanian’s Rational Aspect.
I really want to scare this Security officer. I’ve heard he’s Scared of
Giant Space Amoebas, so I’ll release one in his cabin. I hand the
gamemaster a Fate Point and Invoke the Security officer’s Scared of
Giant Space Amoebas Aspect.
Now that the T’Leng guard is Distracted, I should be able to sneak
right by him. I hand the gamemaster a Fate Point and Invoke the T'Leng’s
Distracted Aspect to give myself a bonus to my Sneaky Approach roll.
This scientific analysis to be really accurate — I’m a Science Officer,
and research is my specialty. I hand the gamemaster a Fate Point and
Invoke my own Science Officer Aspect to give myself a bonus to my
Careful Approach roll.
Effects of Invoking
You can select one of the following effects when you Invoke an
Aspect:

● Add a +2 bonus to your total. This costs a fate point.

● Reroll the dice. This option is best if you rolled really lousy (usually
a −3 or −4 showing on the dice). This costs a fate point.
● Confront an opponent with the Aspect. You use this option when
your opponent is trying something and you think an existing Aspect
would make it harder for them. For instance, an alien thug wants to
draw his dazzler but he’s Buried in Debris. you spend a fate point
to Invoke that Aspect, and now your opponent’s level of difficulty is

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 increased by +2.
● Help an ally with the Aspect. Use this option when a friend could
use some help and you think an existing Aspect would make it
easier for them. You spend a fate point to Invoke the Aspect, and
now your friend gets a +2 on their roll.

Limitations: You can only Invoke an Aspect once per dice roll. In
other words, you can’t spend a stack of Fate Points on one Aspect and
get a huge stack of bonuses from it. However, you can Invoke several
different Aspects on the same roll, as long as you have enough Fate
Points to do it.
If you’re invoking an Aspect to add a bonus or re-roll your dice,
wait until after you’ve made the roll to do it. There’s no sense spending a
fate point if you don’t need to.
Free Invocations: Sometimes you can Invoke an Aspect for free,
without having to spend a fate point. If you create or discover an Aspect
through the Create An Advantage Action, the first invocation on it by you
or an ally is free (if you Succeeded with style, you get two freebies). If
you cause a consequence through an Attack, you or an ally can Invoke it
once for free. A Boost is a special kind of Aspect that grants one free
invocation, and then it vanishes.
Compelling Aspects
You Compel an Aspect to get another character to do something or
take a particular Action. If you’re in a situation where having, or being
around, a certain Aspect means your character’s life is more dramatic or
complicated, anyone can Compel the Aspect. You can even Compel it on
yourself — that’s called a Self-Compel. Having your Aspect Compelled
is a way to gain Fate Points.
Types of Compels
Decision Compels: This sort of Compel suggests the answer to a
decision your character has to make. If your character is the Princess of
Alar‟s Planet, for example, you may need to stay to lead the defense of
the Royal Alarian Spaceport rather than fleeing to safety. Or if you have
a Defiant Streak a Mile Wide, maybe you can’t help but mouth off to the
Executive Officer when she questions you.

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 Event Compels: Other times a Compel reflects something
happening that makes life more complicated for you. If you have Strange
Luck, of course that holographic simulation you’re working on accidentally
takes over the recreation deck and locks people into a virtual world. If
you Owe the Transportation Chief a Favor, then the Chief shows up and
demands that you perform a service for her just when it’s least convenient
for you.
In any case, when an Aspect is Compelled against you, the person
Compelling it offers you a fate point and suggests that the Aspect has a
certain effect — that you’ll make a certain decision, or that a particular
event will occur. You can discuss it back and forth, proposing tweaks or
changes to the suggested Compel. After a moment or two, you need to
decide whether to accept the Compel. If you agree, you take the fate
point and your character makes the suggested decision or the event
happens. If you refuse, you must pay a fate point from your own supply.
Yes, this means that if you don’t have any Fate Points, you can’t refuse a
Compel!
Establishing Facts
The final thing that Aspects can do is Establish Facts within the
game. You don’t have to spend any Fate Points, roll dice, or anything to
make this happen — just by virtue of having the Aspect Chief
Xenozoologist on Starship Tyche, you’ve established that your character
is a Xenozoologist and that you’re a member of the Tyche’s crew. Having
the Aspect Mortal Enemy: Merchant Pirates establishes that the setting
has an organization called the Merchant Pirates and that they’re after
you for some reason. If you take the Aspect Master of the Temple of the
Mind, you not only establish that there’s a group of Psionicists called the
Temple of the Mind, but that Psionics exists and you possess those
powers.
When you Establish Facts of the setting this way, make sure you do
it in cooperation with other players and the gamemasters. If most people
want to play in a setting without a lot of Psionics, you shouldn’t
unilaterally bring Psionics into it through an Aspect. Make sure that the
facts you establish through your Aspects make the game fun for
everyone.

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Starting Fate Points and Refresh Rate
Characters begin the game with 3 Fate Points. This is reduced by
one for each Stunt after the first three you choose, but your refresh may
never go below one. Essentially, your first three Stunts are free! This
number is also your refresh rate. It is the minimum number of Fate Points
you begin each session with. If you ended the previous session with more
unspent Fate Points than your refresh, you start with the number you had
left last time.
As your character advances, you’ll get opportunities to add to your
refresh.
DAMAGE, STRESS, AND CONSEQUENCE
There are various ways that a character can be harmed and suffer
injury. In Starship Tyche, these are expressed in one of two ways: by
taking Stress, and or by accepting Consequence.
Taking Damage
When your character is hit during an Attack, the injury he takes is
equal to the difference between the Attack dice roll and your Defense
roll. This is called the Shift. For example, if your adversary rolls a total of
+4 to Attack, and you roll a +3 to Defend, the Shift is 1 (because 4 - 3
= 1).
You can deal with character injury in three ways: managing Stress,
accepting a Consequence, or being Taken Out. Each of these options is
explained below.
Dealing with Stress
If your character gets injured and you don’t want him to be Taken
Out of the game, you can choose to take Stress instead. This represents
the character getting tired, dazed, taking a superficial wound, or some
other condition that impairs their performance but generally goes away
pretty quickly.
Your character sheet has a Stress track with a row of three circles.
When your character takes Shifts, you check a Stress circle. Now, those
circles are not the same. The first circle can only absorb 1 shift. The
second circle can absorb 1 or 2 shifts. The third circle can absorb up to 3
shifts. You can only check one circle for any single hit, and you can’t check
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a circle that already has a check mark in it.
For example, your character gets hit and takes 2 shifts. You check
the second circle, because that’s good for 2 shifts. On the next turn, he
gets hit for another 2 shifts. The second circle is already checked, and the
first circle can only take 1 shift, so you have to check the second circle.
On the next turn he takes 2 shifts again (what are the odds?), but the
only unchecked circle can only take one shift. Based solely on Stress, the
character is Taken Out. Fortunately, there is the option of accepting
Consequence.
Assigning Consequence
Consequences are new Aspects that you take to reflect being
seriously hurt in some way. You can accept Consequence instead of
Stress, and you automatically take the Consequence when you don’t have
any Stress circles left to check off and absorb shifts.
The character sheet has three slots where you can write
Consequence. Each one is labeled with a number: 2 (Mild Consequence),
4 (Moderate Consequence), or 6 (Severe Consequence). This represents
the number of Shifts of the hit the Consequence absorbs. Unlike Stress,
you can mark off as many of these as you like to handle a single hit, but
only if that slot was blank to start with. For example, if your character is
hit for 5 shifts, you can either put it all into a Severe Consequence, or
split it up and take both a Mild and Moderate Consequence.
You can only take one of each level of Consequence. When they’re
all filled up, your character is considered Taken Out.
A major downside of Consequence is that each one is a new Aspect
that your opponents can Invoke against you. The more you take, the more
vulnerable you are. And just like Situation Aspects, the character that
creates it (in this case, the character that hit you) gets one free invocation
on that consequence. They can choose to let one of their allies use the
free invocation.
Putting It All Together
Let’s say that you get hit really hard and take a 4-shift hit. You
check circle 2 on your Stress track, which leaves you with 2 shifts to deal
with. If you can’t, you’re Taken Out, so it’s time for a Consequence. You
can choose to write a new Aspect in the consequence slot labeled 2 —
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say, Sprained Ankle. Those final 2 shifts are taken care of and you can
keep fighting!
Your opponent knows that the character is injured, though, because
he did it. On his next turn he gets to Invoke that Sprained Ankle Aspect,
and decides to kick your character there.
Taken Out
If you run out of Stress and/or Consequence, your character gets
Taken Out. You can no longer act in the scene. Whoever struck the final
blow gets to narrate what happens to you. It should make sense based
on how you got Taken Out. Maybe you run from the room in shame, or
maybe you get knocked unconscious. Only under extreme circumstances
should a character in Starship Tyche be outright killed, unless the situation
really doesn’t present any other logical options.
Giving In
If things are looking grim for your character, you can Give In or
concede the fight. You have to do this, and say that’s what your
character is going to do, before your opponent rolls their dice.
Giving In is different than being Taken Out, because you get a say
in what happens to your character. In return, your opponent gets some
major concession from you. You can talk over what makes sense in the
situation, but it beats getting Taken Out and having no say at all.
Additionally, you get one Fate Point for conceding, and one Fate
Point for each consequence you took in this conflict. This is your chance to
say, ―You win this round, but I’ll get you next time!‖ and get a tall stack
of Fate Points to back it up.
Recovering from Stress
At the end of each scene, clear all of your Stress circles. You don’t
even have to have the opportunity to rest or get medical assistance. It’s
that easy. Remember, Stress is meant to be temporary.
Recovering from Consequence
Recovery from a Consequence is more complicated. You need to
explain how your character recovers from it, and it needs to makes sense
for the specific Consequence. If you have a Sprained Ankle (Mild
Consequence) you can elevate it and put ice on it. That won’t work for a
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Broken Ankle (Severe Consequence), which will require a trip to Sick Bay.
You also need to wait an appropriate length of time.
Mild Consequences: You can clear a Mild Consequence at the end
of the scene, provided your characters get a chance to rest and a bit of
first aid. Otherwise, the character carries this Consequence until these can
stop and deal with the injury.
Moderate Consequences: You can clear a Moderate Consequence
at the end of the next game session, provided it makes sense within the
story. You still need to get some rest and proper medical attention
somewhere in there as well.
Severe Consequences: you can clear a Severe Consequence at the
end of the scenario, provided it makes sense within the story. Your
character still needs rest and medical attention in the time between
scenarios. If you think of Starship Tyche as a TV show, a Severe
Consequence suffered in one episode is gone by the next episode.

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Equipment
All of a crew member’s basic needs are met by the Fleet, including
meals, toiletries, cabin furnishings and comfort items, and so on. The Fleet
also makes a wide array of equipment available to crew members to aid
them in the performance of their duties. This includes uniforms, comms,
telemeters, dazzlers, and any necessary environmental gear. This
equipment is provided for free in game terms, carries no costs and
requires no dice rolls. A character’s superior officer (and the
gamemaster) has final say over what equipment counts as standard issue,
and what needs to be requisitioned.
REQUISITIONABLE EQUIPMENT
Some equipment is only available to characters on a case-by-case,
situational basis. Anything with a clear and obvious purpose related to a
crew member’s job or mission should be issued automatically. There’s
probably no need for a human to have cold weather gear aboard a
climate-controlled starship, but it will be necessary when folding down to
an ice planet. Conversely, there’s probably no need for a dazzler rifle
when visiting a Coalition space station on shore leave.
When the utility of a piece of gear is questionable in the context of
the mission, the character can attempt to requisition it. Every object has a
requisition cost, which is the target number for your requisition dice roll.
Select an Approach based on how you’re trying to convince the OX, the
Admin, or other superior officer of your pressing need. Are you Carefully
crafting a rational argument as to the benefit of having it? Are you
Sneakily trying to con them? This is an Overcome Action.
If the equipment clearly has no justifiable role in the mission or
appears to be something the character wants for personal reasons,
superior officers (and, as always, the gamemaster) and dismiss the
requisition request out of hand and not even allow a role.
CREDITS AND POSSESSIONS
Although each crew member’s needs are met by the Fleet, it’s nice
for characters to be able have personal possessions. They decorate their
cabins, wear civilian clothes when off-duty, and want to do things while
they’re on shore leave. There’s also the fact that merchants are always

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on the prowl for goods and services that they can resell. Money can be
an important factor in certain types of stories.
The standard unit of currency in the Coalition is the Credit. The
symbol is ¤ and is placed in front of the amount; five credits is
represented as ¤5. It was established as part of creation of a galactic
economy, and holds the same value on every planet, colony, and space
station throughout the Coalition. It is a fiat currency, whose value is
determined by the Coalition Monetary Fund, rather than a commodity
currency whose value is linked to objects like precious metals or
gemstones.
Each Fleet member is paid a salary commensurate with their rank.
The majority of that is placed into a pension fund for their retirement. A
small stipend is paid out to be used as spending money aboard ship and
in ports of call.
PERSONAL WEALTH
Some characters may have additional income outside of their Fleet
salary. They may be independently wealthy or come from affluent
families. They may earn money from their hobbies. They may have
savings from a career prior to joining the Fleet. In all of these cases,
personal wealth is a player choice. It’s not a reward given to player
characters by the gamemaster. A player who wants access to Credits
should create a Character Aspect that reflects that.
COSTS AND PURCHASING POWER
When a character wants to buy something they should be allowed
to do it when it seems to be within their means. Can an Ensign stop in a
tavern and buy a pint of Andromedan blood ale? Sure, why couldn’t
they? Can a captain buy a piece of antique furniture for his cabin? That
seems like something a starship captain should be able to afford. The
gamemaster gets to make the call as to when seems reasonable, and
may build some story elements around locating and acquiring the item.
If the item seems to be beyond the character’s means, the
gamemaster can call for a requisition roll. The target number should be
based on what the gamemaster decides the going price is in that area.
Although the value of a Credit is the same throughout the galaxy, certain
items are more expensive the farther they travel from their point of

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origin. Something that is common (and therefore inexpensive, maybe a
Mediocre +0) on Titania may be rare (thus more costly, say Good +3)
on Earth, and practically priceless (Legendary +8) if you’re trying to
procure the only one available on the T’Leng home world.
If you want to use an Aspect to Create An Advantage while
negotiating a better price or explaining how the character has the means
to afford such an item, this follows the normal procedure for that Action,
including the expenditure of a Fate Point.
HOW EQUIPMENT WORKS
All equipment falls into one of three categories: Simple Objects,
Standard Objects, and Gadgets.

Simple Objects
A Simple Object is a very basic tool that does nothing more than
make performing an Action possible. You can’t drive a nail without a
hammer, you can’t slice a loaf of bread without a knife, and you can’t
shoot a target without a gun. A chair is a Simple Object, because it gives

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you a place to sit, nothing more.
Simple Objects don’t have any game statistics, not even Aspects.
Their function stems from the ability of the character using the object,
rather than the object itself. They cannot be Invoked or otherwise
leveraged for higher performance.
If you want to get technical, many Simple Objects represent a free
use of Create An Advantage. They don’t offer a bonus, but eliminate a
penalty. You can try to drive a nail without a hammer, but it’s harder to
do even with an improvised object like a rock. The character would have
a penalty without the hammer, but has neither a bonus nor a penalty with
it.
Standard Objects
A Standard Object is expressed as an Aspect that defines what it
can do. It needs to be Invoked at the cost of Fate Point in order for the
character to use it. Some objects straddle the line between Simple and
Standard. Lock picks, for example, are necessary for a character to pick
a lock, and without them the character would suffer a penalty. They do
not convey a bonus (+2 to your Sneaky Approach when unlocking a
door) unless that Aspect of the object’s function is Invoked.
As an example, the helm console of a starship is a Standard
Object. The helm officer can’t operate the ship without it. However, the
character at the helm can Invoke the console, stating that she’s
reconfiguring the panel for maximum efficiency in order to perform a
tricky one-time maneuver, and Create An Advantage.
Gadgets
A Gadget is a complex object that has multiple Aspects and
possibly even Stunts. The different functions of the Gadget may work like
a Simple Object, with no Invocation required. They may need to be
Invoked, at the cost of a Fate Point. Or, they may behave as if they’re a
Stunt possessed by the character using the Gadget, costing Refresh. A
detailed description of how Gadgets are presented, and how they
operate, it provided below.
Gadget Name
The Gadget should have an interesting scientific or pseudoscientific

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name dripping with technobabble jargon. A description should be
provided that explains both what it looks like and what it does.
Aspects
Every Gadget has a minimum of two Aspects. One is a Function,
defining what it does and how it does it. At least one is a Flaw,
describing the limitations of the gadget. This could be a lack of
portability, a limited number of uses within a given time period, or a
dangerous defect that could be Compelled.
Stunts
A Gadget can have an unlimited number of Stunts, but each Stunt
costs 1 Refresh for the character that uses it (see Refresh Cost, below).
Gadget Stunts are defined in two different ways, Power Stunts and
Advantage Stunts.
Power Stunt: A Power Stunt allows the user to access some unusual
ability or automatically accomplish some task or Action, but requires
spending a Fate Point to operate. This option is recommended for
improvised Gadgets that have been jerry-rigged together, or very
powerful weapons and alien artifacts to restrict their use and make
players think before casually using it.
Advantage Stunt: An Advantage Stunt gives the user some
conditional bonus. This is normally a +2 to a specific Action
[Attack/Defend/Overcome/Create An Advantage], when using particular
Approach or doing a one thing under clearly defined conditions.
Refresh Cost
The Refresh Cost of a Gadget is equal to the number of Stunts it
possesses. Each additional Flaw the Gadget has beyond the first reduces
the Refresh Cost. For example, if the Gadget has 3 Stunts it would have
a Refresh Cost of 3. If it also has 3 Flaws the Refresh Cost goes down to
2 (the first Flaw doesn’t count).
Requisition Cost
The base Requisition Cost of the Gadget is based on the Refresh
Cost. For example, if the Refresh Cost is 3, the base Requisition Cost is
Good (+3). The gamemaster can adjust this target number up or down
based on other circumstances, or simply deny the request.
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COMPUTERS
Most crew members make use of small portable computers to
perform their daily duties. They are all programmed with specific
functions and contain a wide range of data relevant to their purpose. As
long as a portable computer is within comm range of a ship, station, or
other Fleet facility, it can access the much larger data banks of that
facility as well, and be reconfigured to serve additional or alternate
purposes.
Computers are generally found in three configurations: tablets,
telemeters, and data banks.
Tablets
A tablet is a thin touch-screen computer, measuring 22cm by 28cm,
and .6cm thick. Their function is limited to text-based and still image
data, similar to what was called an ―ereader‖ in the 21st century. They
are used for accessing books, technical journals, schematics, maps, written
reports, and spreadsheets. Most crew members have both a duty tablet
locked down to duty functions only, and a personal tablet for
recreational reading.
Telemeters
The word telemeter originally referred to sensing devices used to
measure distance. The term is now used generically to refer to any
device that has the capability to record and analyze any sort of data,
including video, audio, radiation, chemical composition, temperature, vital
signs, and so on. Telemeters are 23cm by 13 cm, and 5cm thick.
Each telemeter can be programmed to perform specific duty
functions. The most common are medical telemeters, environmental
telemeters, engineering telemeters, and linguistic telemeters, each of which
will be explained in more detail a bit later. Most crew members have
both a duty telemeter configured to the needs of their job, and a
personal telemeter used for accessing films, music, games, and other
forms of entertainment.
Data Banks
A data bank is a large machine used to store data, and to perform
complex mathematical, navigational, and analytical functions. They are
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somewhat akin to what were known in the 21st century as ―servers.‖ Most
starships have multiple, redundant data banks spread out to various
locations, so that if the ship takes damage information and functionality is
not completely lost. The bridge, engineering, laboratory, and medical
sections also have dedicated data banks for computational purposes, so
that those functions do not adversely impact the overall operation of the
ship.

Ship’s Computer
The ship’s computer is a voice-interaction function of a starship’s
primary data banks, allowing crew members to speak questions and
receive a spoken answer in return. The ship’s computer can also route
additional video and audio to any view screen in the vicinity of the
person who asked the question.
Each ship’s computer is programmed with a unique voice and
speech patterns meant to emulate artificial intelligence, but it is not a true
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AI. The Fleet has deemed the putting an AI on board a ship, with access
to all of its systems and resources, would prove to be a security risk, and
often cite the 20th century Feltham Project and the harm done by a
computer system far more primitive that those currently available.
CONSOLES
A console is an immovable, desk-sized piece of equipment
designed to perform a specific set of functions. An operator seated at a
console has access to all of the controls and diagnostics necessary to
perform all tasks related to those functions. Consoles found on the bridge,
for example, include the helm, navigation, communications, tactical,
engineering, and sensors. Other types of consoles include fold control,
object replicators, food replicators, holographic controls, and
conference/presentation consoles.
All consoles have access to the ship’s data banks, so any type of
information can be pulled up at any console. In theory, any type of
console can be recalibrated to function as any other type of console, but
the physical configuration of buttons and switched and specialized
instruments such as screens and viewers vary from console to console.
Helm Console
The helm console contains all control related to steering and
propelling the ship. This includes the fusion and Alcubierre drives, an
astrogational map display, and view screen controls. The helm can also
function as a limited secondary navigation and tactical console.
Navigation Console
The navigation console, located adjacent to the helm console,
houses the bridge’s data bank, and is used to chart courses through
analog space using fusion engines as well as perform the complex
calculations necessary to safely operate the Alcubierre drives. It can also
function as a limited secondary helm and tactical console.
Communications Console
This console houses all of the equipment required for inter-ship,
ship-to-ship, ship-to-planet, and interstellar communications. It can monitor
all known communications media, from radio and television to computer
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networks, as well as translate known languages and codes and attempt
to translate and decrypt communications it is not familiar with. It has
controls for the main view screen’s teleconferencing functions. It can also
be used as a limited secondary tactical and sensor console.
Tactical Console
The tactical console contains all of the controls for the ship’s
weapons and shields. It also monitors life support systems, hull integrity,
fold operations, and shuttle departures and arrivals. It can also be used
as a limited secondary communications console.
Engineering Console
This console offers up controls and diagnostic tools for all of the
ship’s core functions, including the warp engines, fusion engines, life
support systems, and hull integrity. Automated repairs can be initiated
from this console. It can also function as a secondary sensor console.
Sensors Console
The sensor console, often referred to as the ―science station‖,
controls all of the ship’s external detection, recording, and analytical
functions. These include cameras, sound receptors, radiation detectors,
traditional and radiotelecopes, and dozens of other sensitive devices. It is
also the primary diagnostic control panel for the ship’s data banks. It can
also be used as a secondary engineering console.
Fold Control Console
The fold console is similar to a navigation console in its
configuration, and is designed to operate a fold platform. It contains its
own data bank, used to perform the complex operations to fold objects
and personnel from one location to another. It has no other secondary
functions.
Object Replicator Console
An object replicator is a device that uses nanotechnology to create
items from ship’s waste. Anything resembling trash is used as raw
materials, and the ship also captures additional raw materials from
asteroids and uninhabited planets. There is a central replicator data
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bank located in engineering, connected to all of the object replacators,
containing the plans and patterns for thousands of items used on the ship,
from uniforms to cafeteria trays to chairs.
An object replicator can fabricate Simple Objects and manufacture
Standard Objects. It can create parts for Gadgets, but cannot assemble
a complete Gadget.
Food Replicator Console
Nearly identical to an object replicator, a food replicator uses raw
materials and sterile biomass to create the food, water, and other
beverages consumed by the crew. It has its own dedicated data bank in
the engineering department containing plans and patterns for thousands
of individual foodstuffs and a menu of complete dishes both hot and cold.
It is better at some textures and flavors than others, and crew members
with more refined palates often complain that everything tastes vaguely
like chicken.
Holographic Console
This console controls the interactive holographic equipment on the
recreation deck. It is capable of creating lifelike scenery and people
affecting all human senses. It has a dedicated data bank containing
dozens of scenarios, from basic sporting matches to three-dimensional
game scenarios.
Conference Console
The conference console is embedded into the table of a conference
room, and contains controls for lights, audio, video, graphs, maps, small
view screens on the table itself, and larger view screens on the walls. It is
used for staff meetings, mission briefings and debriefing, and diplomatic
conferences.
COMMUNICATIONS
There are three common pieces of communication equipment used
by the typical Fleet crew member. These are the basic comm, the comm
panel, and the linguistic telemeter.

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Basic Comm
The basic comm unit is a hand-held device similar in appearance to
a 20th century ―flip phone‖. Because they are designed to operate over
long distances, they allow voice-only communications, no visuals or text
data. It has a clip to attach it to a belt, but is also small enough to fit in a
pocket. The basic comm also contains a geolocator, so they the location
of the device and its owner can be determined in case of emergency. In
the Fleet, this feature is also used to establish coordinates for the fold.
The Fleet’s comms are coordinated by the ship’s computer. A crew
member can simply state who they want to speak with, and the computer
will recognize their voice and complete the connection. All Fleet
communications are automatically recorded and documented with the
time, location, and crew members present on the call.
Most crew members also have a personal comm, used for private,
off-duty communications. Aboard ship, these are routed through the ship’s
computer. Personal comms are deactivated by the ship’s computer when
the log shows the crew member is on duty, and personal comm calls are
not logged or recorded. Off ship, personal comms are routed through the
Coalition’s civilian communications network, allowing calls to be made to
anywhere in the Coalition.
Comm Panel
Each room and cabin aboard ship contains at least one comm
panel, and there are panels located approximately every 20 meters
along the ship’s corridors. This is a square panel with a speaker and a
button. Any crew member can walk up to any panel, press the button,
and state who they want to speak with. The ship’s computer recognizes
their voice, and routes the call to the comm panel nearest to the location
of the other party.
Comm panels are not capable of making calls outside of the ship
itself.
Linguistic Telemeter
A linguistic telemeter is programmed with two or more languages,
and performs instant translations between them. The more languages it is
programmed with, the less breadth of vocabulary and depth of grammar

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the translation will have. It can also be set to a diagnostic most to record,
analyze, and attempt to translate unknown languages.
Linguistic telemeters are carried by communications specialist,
couriers, and diplomats. In the latter case, they are often programmed
solely with the language of languages of the species they will be
interacting with, often with specialized vocabulary and cultural protocol
packages.
SCIENCES
Most of the gear used by other crew members is scientific in nature,
so the equipment that science specialists carry is not much different. It is
simply adapted for specific use, or constitutes a basic tool used by a
scientist in the performance of experiments.
Scientific Telemeters
Telemeters can be calibrated to gather and analyze data for a
variety of disciplines, including botany, zoology, geology, and
meteorology. A telemeter can take the place of a variety of devices,
including anemometers, DNA sequences, electrometers, gravimeters,
manometers, oscilloscopes, and so on. Any type of scientific instrument
that records or measures something can be replaced with a telemeter.
Replicators
Resources for experiments can be fabricated using an object
replicator. This includes Simple Objects like test tubes, beakers, calibers,
and glass slides, and Standard Objects like Bunsen burners, and
centrifuges are either readily available in the ship’s laboratories are
easily manufactured.
MEDICINE
In emergency situations a starship is able to function as a hospital.
While bed space in the sick bay is limited, replicators are able to create
most essential drugs and supplies, and telemeters can be used for
diagnosis and access to patient records. There are a few specialized
devices that are worth mentioning.

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Medical Telemeter
A medical telemeter is calibrated to scan for specific diagnostic
information, such a pulse rate, respiration, blood pressure, and so on. It is
calibrated to detect signs of common ailments like the presence of certain
cancers and diabetes. A medical telemeter can be configured to work
with all species found within the Coalition.
Diagnostic Billet
Technically a console, a diagnostic billet is a hospital bed outfitted
with sensors to monitor that patient’s condition and vital statistics, and can
even administer medications. They are intended to balance the comfort
and well-being of the patience with the access needs of the medical
team. A diagnostic billet can be configured to work with all known
species within the Coalition.
Jet Injector
A jet injector uses a narrow, high pressure burst of compressed air
to aerosolize and inject liquid medicine below the skin. Because it does
not break the skin, it is more sanitary and less intimidating than old-
fashioned hypodermic needles. It can be calibrated to work with the skin
thickness of most Coalition species.
Gene Therapy
Gene therapy is a complete process of treating disease by
repairing the patient’s own cells, and in some cases altering their DNA. It
is most widely used to correct birth defects, reverse hereditary diseases,
cure cancer, regenerate burned or scarred dermal tissue, and deal with
the effects of radiation poisoning. Most of a starship’s medical resources
are aimed toward the latter. If a patient is determined to need gene
therapy for other reasons, they can receive basic treatment on board but
are shipped off to a hospital on a starbase or planet for more
comprehensive therapies.
There are limitations on the use of gene therapy under Coalition
law. It may not be used to enhance a human or other sentient being
beyond their original capabilities. This includes recombinant splicing the
DNA of other species into an individual in order to give them enhanced

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abilities. It may not be used for the specific purpose of extending the life
span of a being. Gene therapy cannot be used as a form of genetic
engineering to create new life forms.
Many of these restrictions are holdover from the Futuron War in the
late 20th century. Some individuals and groups have ethical religious
reasons for opposing gene therapy. It remains a controversial topic,
because many provisions of the law are open to interpretation. Is using
gene therapy to cure a deadly disease not, by definition, taking Action
to extend the lifespan of the patient? If a DNA sequence from one
species could be used to eliminate a hereditary disease found in another
species, should that not supersede the ban on recombinant therapies?
Any medical practitioner found to be in violation of the Coalition’s
laws regarding gene therapies will have their research shut down, their
funding cut, and will most likely be arrested.
TRANSPORTATION
The invention of the fold stretched the definition of what a vehicle
is, and the way that people get from one place to another. There are still
many types of traditional vehicles, used for travel on planets, in space,
and even through time and dimensions.
In most cases, the vehicle is a plot device to get the characters to
and from the Action in the shortest amount of game time, so you don’t
have to mess around with dice rolls. Unless something could go wrong in
an interesting way, you just get where you’re going without incident so
the story can go on.
Fold Platforms
Fold platforms are room-sized Alcubierre warp field generators
designed to move objects and people from one place to another. The
size of the platform limits the amount of mass that can be moved, and
there is a limitation on distance that is roughly the number of kilometers
between a starship in orbit around a planet and the surface of that
planet.
Unless the gamemaster introduces some sort of situation that needs
an Overcome Action (radiation, solar flares, being under Attack, and so
on), the fold works automatically and correctly. It is a plot convenience up
to the point that it becomes a plot point, in other words.
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Shuttles
Shuttles are vehicles designed to travel between a planet’s surface
and locations in its orbit, including space stations and starships. Shuttles
come in a variety of sizes and types, from small 4-passenger runabouts
to larger liners that can take dozens of people, from comfortable
passenger boats to bare-boned cargo container vessels. Shuttles have
largely replaced airplanes and jets from travel between points on a
planet’s surface as well, because of their speed, lack of noise, and
environmentally friendly power sources.
Planetary Vehicles
Traditional vehicles still exist on many planets. While flying cars
exist, most large cities have banned them as a safety hazard. Automobile
accidents on the ground are bad enough, but in the air the severity and
degree of damage that can be caused is alarming. Wheeled vehicles still
dominate, although they are no longer powered by fossil fuels as they
were in the 20th and 21st century.
Trains are a popular means of travel on heavily populated planets.
Before commuter trains in cities to bullet trains that cross continents, they
are smooth, comfortable, energy-efficient, and produce no pollution.
Shuttles have largely replaced jets, boats, and even submarines.
They are frequently adapted for a specific purpose, but all serve the
need to move people and cargo.
Time Travel
While it is not widely known to the general public or even the
majority of the Fleet, time travel does exist. It is generally achieved by
doing reckless and foolhardy things to an Alcubierre warp field in
defiance of the laws of physics.
Time travel is a McGuffin, a plot device, and any time travel
method used should only work exactly twice: once to get the players
there, whenever there is, and once to get them back. The story is always
about what they do in another time period, and the ramifications of time
travel, never about the mechanism that gets them there.

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Dimensional Rifts
Another thing not known by the general public, and to very few
members of the Fleet, is that alternate and parallel dimensions exists,
many of which are like our own universe. Most are slightly yet
significantly different. Reaching these other realities has so far only
happened by accident, typically involving either some sort of anomaly in
space-time or an accident involving the Alcubierre warp drive or the fold.
As with time travel, travel to another dimension is a plot device,
and will work the same way only twice, to get the characters there and
back again. It can’t be intentionally replicated unless the gamemaster has
a story to tell about it.
ARTIFICIAL INTELLIGENCE AND ANDROIDS
Since the Feltham Project at the end of the 20th century, the
potential for artificial intelligence has existed. On Earth, and in the
coalition, it has been declared illegal due to the potential negative
impacts to sentient species. Only recently has some limited research on
the subject been approved, with severe restrictions placed on the
conditions and nature of that research.
Artificial Intelligence
There are two criteria for legal artificial intelligence research. The
intended outcome must be of benefit to the sentient species of the
Coalition of United Planet, and that boon must be clear and measurable.
An artificial intelligence must also be completely contained, unable to
interface with other networks, join, or take control of, other computers of
devices. Both criteria are hard to meet.
Most scientists working in the field of artificial intelligence have
gone rogue, operating without Coalition sanction. They tend to either
believe that their experiments will turn out differently than every other
experiment that has come before, or have some nefarious purpose in
mind for their AI. In either case, when it is discovered that illegal AI
research is being conducted, it is a priority for the Fleet to intervene and
shut it down.
Androids
While androids are technically artificial intelligences, they have
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some special qualities that have caused the Coalition to ease up on their
restrictions. Androids think of themselves as people, not as distributed
intelligences, and are therefore attached to the concept of having a
body. This prevents them from expanding into networks and taking over
other computers. They don’t parse the idea of separating their mind and
body as ―correct‖. Having a body makes them easier to take down in the
event that they should go rogue.
Because of this, androids are becoming more commonplace, and a
handful can be found serving in the Fleet. Their duties are most often
related to things that are too dangerous for flesh-and-blood crew
members to deal with. They work in engineering with radiation. They
work in medicine because they are immune to disease. They work in
environments that are toxic to humans. They can work in space without
spacesuits because they don’t need to breathe.
Because androids have free will, they are considered to be people
and citizens of the Coalition, with all of the rights and responsibilities
thereof. ―Owning‖ an android is considered slavery, and deactivating an
android without consent or due process qualifies as assault. In the Fleet,
android crew members undergo maintenance and repair in sick bay,
rather than in engineering or a laboratory, so that they can be treated
as people rather than machines, even if the person rendering aid is an
engineer or scientist and not a doctor.
Androids should be created as characters, not as gadgets.
Transhumanists
There is a small group of humans who believe that android
technology can allow individuals to effectively live forever. By digitizing
their minds and transferring what they refer to as their ―consciousness‖
into an android body, a person could theoretically preserve their
memories and personality, and retain or restore their youth. Proponents
of this idea predate the technology to do it. In the 21st century
theoretical physicist and futurist Michio Kaku stated that it would be a
wonderful thing to be able to preserve brilliant minds so that they could
continue doing important work.
A handful of rogue scientists have attempted to do this at different
times and in different places, all in defiance of Coalition law. Three
consistent drawbacks have been observed. First, humans are innately
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repulsed by androids that appear to be too human. Even if they are able
to pass as human, when the truth is discovered it always sparks a strong
negative reaction.
Second, these androids are lack the creativity, imagination, and
inspiration of the original person. They can do everything the original
did, but they cannot make anything new or original. Artists can recreate
their masterpieces, but not create new ones. Scientists can replicate their
previous discoveries, but not develop original research. Android brains
lack that component of what makes a person truly human.
Finally, androids lack emotion. An android facsimile of a loved one
cannot love you back. They can go through the motions, perform the
Actions that comprise expressions of affection, but they cannot feel.
Having no investment in the flesh-and-blood person’s feelings, an android
will quickly give up the pretense. They can be programmed to continue
performing the Actions of affection, but they are then robots without free
will, and no longer people in any sense of the word.
All of which are reasons cited by the Coalition to keep android
research limited, and specific research into android transhumanism
completely forbidden.
Transhumanist antagonists should be created as characters, not as
gadgets.
PERSONAL WEAPONS
It is relatively common for members of the Fleet to practice some
form of martial arts. Many also practice competitive sports that have
been derived from traditional combat forms. Because of this, the
presence of swords, knives, staves, and other exotic or cultural weapons
aboard a starship is not unusual.
Carrying such weapons while on duty is against regulations. There
are instances, however, where having such weapons is appropriate to a
specific mission. A culture may dictate that a person go about armed, for
practical or ceremonial purposes. Situations may also arise where use of
a personal weapon is necessary for self-defense. In such cases, the Fleet
has no issues with crew members arming themselves or using such
weapons.
All personal weapons are Simple Objects. They convey no bonuses,
and cannot be Compelled. They just afford the character the opportunity
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to use their martial ability.
BEAM WEAPONS
All ranged weapons in use by the Fleet are directed energy beam
weapons. They produce coherent electromagnetic waves through
stimulated emission. Because the beam is invisible, it is paired with a low-
powered laser beam to assist the user in accurately aiming the device. All
beam weapons are considered Standard Objects.
Dazzler
All Fleet personnel are trained in the most current iteration of the
beam weapon, called the dazzler. It can be held and operated in one
hand. It first a cool blue beam, and the range is 100 meters. It is
designed to stun an opponent by overloading their nervous system,
causing them to fall unconscious. When declaring a Consequence, that
Consequence is always ―Taken Out‖.
The dazzler can also be set to fire a beam of heat. This is used
against inanimate objects, when an obstacle needs to be removed or
destroyed. It is rarely used against living beings. The Consequence of this
setting involves heat, fire, burns, and disintegration.
It after firing, it takes the dazzler one round to reset and rebuild its
charge. Fleet crew members are trained to alternate fire (you shoot, then
I shoot, then you shoot) for this reason.
Dazzler Rifle
The dazzler rifle is a larger version of the dazzler, and has the
same ―stun‖ and ―heat‖ settings. It requires two hands to hold and
operate. The main differences from the one-handed version are range
and recharge rate. The effective range of a dazzler rifle is line-of-site,
all the way to the horizon. It also does not need a round to recharge, and
can be fired every round or continuously.
Emdor
The emdor (derived from Electro-Muscular Disruptor) is a ―pain
compliance‖ weapon used by the T’Leng. It works much the same as the
dazzler, but fires an orange beam. Rather than having a ―stun‖ setting, it
has a ―pain‖ setting, which disrupts the target’s central nervous system in
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a way specifically designed to inflict agony. The intention is to inspire the
target to surrender, or else additional pain will be inflicted.
The emdor also has a heat setting. Unlike the Fleet, the T’Leng have
no compulsion against using the heat setting against living beings, and it
is the default setting in combat situations.
Firearms
Black powder firearms do exist, both in the hands of collectors and
enthusiasts on Coalition worlds, and on developing worlds where
technology is not us to Coalition standard. They use a chemical reaction
to fire a projectile, usually made of lead, iron, steel, or ceramic, at a
target. Firearms come in a variety of shapes and sizes, but all function
the same way. Firearms are considered to be Standard Objects.

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UNIFORMS AND APPAREL
Most sentient species in the Coalition wear clothes. They serve a
few important purposes, including protection from the environment and
providing pockets to hold things. For the Fleet, wearing a uniform also
helps to identify you as a member of the Fleet, and gives to a place to
put your rank insignia.

Because the Fleet recognizes that people are individuals, and come
from a variety of cultures with a broad array of and customs and
traditions, there are four types of standard issue uniform to choose from.
A crew member can choose one that they are most comfortable with, or
select the one that seems the most appropriate for their mission or their
mood. These uniform types are the tunic and black pants, the tunic and
black kilt, the one-piece jumpsuit, or the dress. All of these are considered
appropriate for any species or gender.
The Fleet originally color-coded uniforms by specialty, so that all
command personnel wore one color, all engineering staff wore another,
all medical specialist wore another, and so on. They discovered that this
created hierarchies that extended beyond rank and chain of command.
Wearing the color of command implied that you were more important
that people wearing other colors, even if you were an ensign and the
non-command person was a lieutenant. People began to band together
into cliques based on uniform color. When studies were done and
statistics were published indicating that crew members wearing a certain
color were promoted more often than others, and the officers wearing
another color tended to die on missions more frequently than others, the
Fleet knew that they had a problem.
The Fleet now allows personnel to wear uniforms in one of six
approved colors. These are the primary colors, red, yellow, and blue, and
secondary colors, orange, green, and violet. The colors no longer have
any significance in relation to duty station. As long as they are official
uniforms with appropriate rank insignia, crew members can choose. No
one is beholden to a single color, and more than they are to a single
style. If a crew member wants to wear a green jumpsuit today and a
purple kilt tomorrow, this is allowed. If they want to wear a red dress
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now and change into a yellow tunic-and-pants later, this is allowed. Pants
and skirts are always black, however.
Seasonal Gear
Seasonal gear are uniforms designed for specific climatic conditions
on a planet. They are designated by Earth’s traditional seasons of spring,
summer, autumn, and winter. Spring gear is made of lighter weight
materials than the standard uniform, but includes a removable jacket.
Summer gear is the lighter weight material without the jacket, but also
included ultraviolet eye protection (standard issue sunglasses). Autumn
gear is the standard uniform with a heavier jacket and a hat. Winter
gear is a heavier weight, insulated uniform with a parka, gloves, and eye
protection (goggles); there is no kilt or dress option for winter gear.
Uniforms are available in the same colors as standard uniforms. All
jackets and parkas are dark gray with black trim, to match pants and
kilts.
Environmental Gear
Environmental gear is special equipment designed for hazardous
environments. This includes silver space suits for working in airless vaccum,
white clean suits for working in sterile environments, blue dive suits for
working underwater, and orange biohazard suits for working in medically
compromised environments. All of these come in the colors listed and have
a space for the wearer’s name and rank insignia.
TIMEKEEPING
With the vast distances between worlds and the effects of general
relativity, keeping accurate time can be difficult. An Earth year is based
roughly on the time it takes for the planet to orbit the sun, a month is
based on the orbit of its moon, and days and hours are based on the
Earth’s rotation. The numbering of the years is also based on relatively
arbitrary demarcation of the ―common era‖ and the previous era. Other
species on other planets use different units of measure. Determining how
time would be recorded for political, military, and scientific purposes was
one of the first challenges faced by the fledgling Coalition of United
Planets.

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 Several solutions were proposed. The Titanians offered up an
incredible complex calendar that took the time between the Big Bang
and the predicted heat death of the universe and streamlined it into a
decimal system. This had the advantage of being species- and culture-
neutral, but no one other than the Titanians understood it. There was a
notion put forth to begin again with the signing of the Coalition charter as
Year 1 of the Coalition Era (CE), but after an ugly fight over whether the
first year should be considered Year 1 or Year 0 the idea was scraped
simply to keep the peace. Some said that each world, and each ship,
should be equipped with atomic clocks that had been synchronized. This
never came to fruition for political reasons that were never completely
understood by anyone.
In the end, it was decided that since both the Coalition and the
Fleet were headquartered at Earth, and since the majority of Fleet
members were from Earth, that Earth time should be adopted as the
standard. To simplify things, names of days and months were eliminated,
with only the year and the numerical day of the year being present in
the date. This is referred to as the Astral Date. Thus, October 2, 2250 is
rendered as Astral Date 2251.275, because October 2 is the 275th day
of the year.
The other issues was whether time aboard ship should be rendered
as ―real‖ time relative to Earth, or perceived time on the ship. It was
decided that ship’s time should be the rule for log entries and the running
of the ship. The ship’s computer automatically makes adjustments
whenever a ship makes port at a Coalition planet or starship, and adjusts
clocks, calendars, and duty rosters accordingly. The adjustment of ship’s
time to Coalition Standard and the impact it has on work and sleep
routines is referred to by Fleet crew members as ―jet lag.‖

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Starships
All science fiction spacecraft have a distinctive feel derived from
their setting, and this is no different in Starship Tyche. Starships are big.
Space, of course, is bigger, and in the end size doesn’t make a great
deal of difference, no matter how we chose to simulate spacecraft
design.
Starships are built on a frame, attached to which are the hull and
the engines. Reaction material is converted into energy pushed out the
back end; that’s how fusion engines move a ship through normal space.
Twin Alcubierre drives warp space, making the distances between the
ship and its destination shorter while making the distance between the
ship and what’s behind it longer. The ship itself technically never actually
moves.
Starships cannot enter atmosphere, as the gravity and atmospheric
pressure would crush it. All travel between planet surfaces and orbiting
stations is done through shuttles or the fold.

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TRAVEL TIMES
Starships move at the speed of plot. It takes as long to get to a
destination as is required to play out the events that need to take place
aboard the ship during the journey. If there’s nothing to do on board, the
ship arrives a few hours, days, or weeks later, depending upon what
feels right. If there are stories to unfold or events that need to happen,
the ship will arrive when you reach the part of the story where that needs
to happen. Remember, a starship is a vehicle to move the characters from
one story or one plot point to another.
RESOURCES
Ships never run out of resources until they do. This again, is a
function of plot. We could say what the cargo capacity of any given ship
is, and you can feel free to make that up as an interesting detail for a
story, but in game terms it simply doesn’t matter. They carry enough
food, fuel medicine, and raw materials to manufacture those things using
replicators until and unless the story need indicates that they don’t and
have to go in search of resources.
RANGE
This again, is a plot-driven detail. Starships go as far as they need
to go to get to the next scene in the story. There is no practical limit. The
further they away from their destination, the longer it should take to get
there (see Travel Times, above). There should never be cause for worry
about running out of resources before reaching your destination, until
there is.

Creating Starships
In most ways, a starship is just a really big gadget. It’s more of a
location, or series of interconnected sets, than a vessel. While all starships
have Aspects, Stunts, and Stress, most of the time you only need to worry
about a ship’s game statistics during combat.
NAMING CONVENTIONS
It’s become a tradition in the Fleet that, since ships are traditionally
referred to using female pronouns, they should all bear the names of
notable women. Most of these are scientists, but many are philosophers,
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civil rights leaders, and politicians who furthered the causes of peace and
justice. The dedication plaque on each starship offers a brief biography
of the woman it is named for; the reception area reserved for officer
meetings and entertaining visiting dignitaries will have photographs,
statues, and works of art depicting the ship’s namesake, as well as
library tapes offering additional biographical information.
In conversation, ships are referred to by their namesake’s last
name. The Starship Bertha Swirles Jeffreys is just called the Jeffreys, for
example. This holds even when the final name in written order is a
personal name, as is the case in Asian cultures.
There are two exceptions. The first is when a name includes where
they are from, such as Trota of Solerno or Catherine of Alexandria. In this
case the person’s name, not the place name is used; it’s the Trota and the
Catherine, not the Solerno or the Alexandria. The other exception is when
the woman has a noble title, such as Victoria, Lady Welby; the ship is the
Victoria, not the Welby or the Lady Welby, because the person’s name,
not their title, is used.
In the Appendix is a list of only a few women from history who
might be honored by having a Fleet ship named for them. All of these
names, all of these women, are real. Space prohibits giving even a brief
biography of each of them. If you use any of these names for a starship
in the game, you should take a little time to research who the real person
was and discover the contributions she made to the world.
ASPECTS
All starships have a Function and a Flaw. The Function is a
description of what its primary purpose is: cargo ship, scientific ship,
colony ship, warship, general purpose ship, and so on. This is a reflection
of the types of resources on board. It can be leveraged to Establish Facts
(shouldn‟t a scientific ship have _____ aboard?), and otherwise be used
appropriately the way any other Aspect would be.
The ship’s Flaw can be anything that presents a Compellable
drawback. It Turns Slowly. It has Less Shielding In The Rear. It Doesn‟t
Carry Torpedoes. The Flaw should be an additional reflection of the type
of ship it is, and be complimentary to the Function in that regard.

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STUNTS
Ships get two Stunts for free. Each additional Stunt requires it to
have an additional Flaw.

 Advanced Scanner: Because the ship has advanced scanners, the

character at the tactical console gains a +2 on Overcome dice rolls
to determine the enemy ship’s Flaw.
 Heavy Shields: Because the ship has heavy shields, it gets an extra
Stress circle.
 Maneuverable: Because the ship is maneuverable, the character at
the helm console gains a +2 on Defend dice rolls for evasive
maneuvers.
 Reinforced Hull: Because the ship has a reinforced hull, it gets an
extra Stress circle.
 Sensor Cloak: Because the ship has a sensor cloak, the character at
the engineering console gains a +2 on Defend dice rolls.
 Upgraded Dazzlers: Because the ship has upgraded dazzlers, the
character firing them gains a +2 on Attack dice rolls.
 Upgraded Torpedoes: Because the ship has upgraded torpedoes, the
character firing them gains a +2 on Attack dice rolls.
CHALLENGE RATING (CR)
The challenge rating of a ship is equal to the number of Stunts it
has, minus the number of flaws. This is used to help the gamemaster
design fair fights. If the starship the player characters are on has a CR3,
then a fair fight will involve one other ship with a CR3, two ships rated
CR1 and CR2, or three ships rated CR1.
CONSEQUENCES
A starship can take 3 Consequences, just like characters. A 2-shift
Mild Consequence means the ship has some visible damage and some
crew members may be injured, but everything is still operational. A 4-
shift Moderate Consequence means some systems may not be
operational, the hull has been breached, decks need to be sealed off, or
some crew members may have been killed. A 6-shift Serious
Consequence means something major, like dazzlers, the torpedoes, the

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shields, or the engines are no longer operational and the ship is in serious
peril.
REFRESH
The default refresh rate is 3. Reduce this for each additional Stunt
above the first 2; the more complex a ship is, the more difficult it is to
repair. Increase it for each additional Flaw above the first one; the more
issues the ship has, the easier it is to jerry-rig things back together. The
Refresh rate can never go below 1 or above 5.
As an example, if a ship has 5 Stunts, its Refresh rate drops to 0. 3
extra Stunts minus the base Refresh rate of 3 takes it to 0. It can’t go
below 1, but you need to factor in Flaws first. If it also has 3 Flaws, add
2 (the first Flaw doesn’t count), bringing the Refresh rate to a total of 2.
Coalition Heavy Cruiser
A Coalition Heavy Cruiser is the current standard ship of the Fleet,
designed for a balance of scientific research, space exploration,
diplomatic courier duty, and border defense. It sports a crew of 300,
with guest quarters for up to 2 dozen additional passengers. The shields,
dazzlers, and torpedoes are the benchmark against which other ships are
measured. Because of a Flaw in the shields, direct hits transfer energy
back into the ship’s electrical systems, causing consoles to spark and
occasionally short out.
The Starship Annike Tyche is a Coalition Heavy Cruiser.
CR: 2
Function: General/Mixed Purpose Starship
Flaws: Shield Hits Cause Consoles to Overload
Advanced Scanner: Because the ship has advanced scanners, the
character at the tactical console gains a +2 on Overcome dice rolls to
determine the enemy ship’s Flaw.
Maneuverable: Because the ship is maneuverable, the character at
the helm console gains a +2 on Defend dice rolls for evasive maneuvers.
Reinforced Hull: Because the ship has a reinforced hull, it gets an
extra Stress circle.
Stress ⃝⃝⃝⃝ Refresh: 2
Consequences:
Mild (2): Moderate (4): Severe (6):
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Coalition Scout
Scout ships are smaller vessels with a crew of around 40. They are
designed primarily for scientific and exploration missions. They are not
armed with dazzlers, but are instead equipped with additional sensors
and other scientific equipment.
CR: 1
Function: Scientific vessel
Flaws: Dazzlers Sacrificed for Extra Scientific Equipment
Advanced Scanner: Because the ship has advanced scanners, the
character at the tactical console gains a +2 on Overcome dice rolls to
determine the enemy ship’s Flaw.
Upgraded Torpedoes: Because the ship has upgraded torpedoes, the
character firing them gains a +2 on Attack dice rolls.
Stress ⃝⃝⃝ Refresh: 3
Consequences:
Mild (2): Moderate (4): Severe (6):
Coalition Transport
The transport is a cargo container ship, designed to carry bulk
goods from planet to planet. They are used to carry food, minerals,
medical supplies, and even construction equipment. They operate with a
minimal crew, between 6 and 12 people. They are armed only with
dazzlers, because torpedoes both take up cargo space and require
additional crew to operate. They are heavily armored and shielded,
though, to make them less vulnerable to pirates.
CR: 2
Function: Cargo Ship
Flaws: Torpedoes Take Up Cargo Space
Heavy Shields: Because the ship has heavy shields, it gets an extra
Stress circle.
Reinforced Hull: Because the ship has a reinforced hull, it gets an
extra Stress circle.
Stress ⃝⃝⃝⃝⃝ Refresh: 3
Consequences:
Mild (2): Moderate (4): Severe (6):

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Coalition Shuttle
Shuttles are short-range transports, mean for use on a planet, or
between a planet and a destination in orbit. They have shields, but carry
no weapons. A standard shuttle is outfitted to carry up to 12 passengers
or 40 cubic feet of cargo.
CR: 1
Function: Short-range Transport
Flaws: No Warp Capability, No Dazzlers, No Torpedoes
Maneuverable: Because the ship is maneuverable, the character at
the helm console gains a +2 on Defend dice rolls for evasive maneuvers.
Stress ⃝⃝⃝ Refresh: 5
Consequences:
Mild (2): Moderate (4): Severe (6):
Fringe World Destroyer
While there is no standard starship among the Fringe Worlds, there
all share one common feature: they are all designed to be warships.
Because they are resource-poor compared to the Coalition, the ships also
tend to be smaller, with crews of 50 to 75, and rely upon shields and
dazzlers rather than thicker hulls or materials-intensive torpedoes.
CR: 1
Function: Warship
Flaws: No Torpedoes, Weak Point On Hull
Heavy Shields: Because the ship has heavy shields, it gets an extra
Stress circle.
Upgraded Dazzlers: Because the ship has upgraded dazzlers, the
character firing them gains a +2 on Attack dice rolls.
Stress ⃝⃝⃝⃝⃝ Refresh: 4
Consequences:
Mild (2): Moderate (4): Severe (6):

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T’Leng Battle Cruiser
The T’Leng Battle Cruiser is built for nothing but combat. It is
efficiently designed to run on a minimal crew, as few as 12, but often
carries up to 50 additional marines for boarding Actions. It has fearsome
weapons, but only standard hull and shields. It has notoriously weak
shields in the rear, an intentional feature, because the T’Leng believe that
if you are cowardly enough to try to turn and run from your enemy you
deserve to die. The overall design, with cramped interior space, small
quarters, and emphasis on offense over defense, also makes it incredibly
difficult to repair.
CR: 3
Function: Warship
Flaws: Weaknesses in Rear Shields
Advanced Scanner: Because the ship has advanced scanners, the
character at the tactical console gains a +2 on Overcome dice rolls to
determine the enemy ship’s Flaw.
Maneuverable: Because the ship is maneuverable, the character at
the helm console gains a +2 on Defend dice rolls for evasive maneuvers.
Upgraded Dazzlers: Because the ship has upgraded dazzlers, the
character firing them gains a +2 on Attack dice rolls.
Upgraded Torpedoes: Because the ship has upgraded torpedoes, the
character firing them gains a +2 on Attack dice rolls.
Stress ⃝⃝⃝⃝⃝ Refresh: 1
Consequences:
Mild (2): Moderate (4): Severe (6):

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T’Leng Scout
What the T’Leng call scouts are actually stealth ships, intended to
spy on their enemies and ambush vulnerable vessels. They sometimes
operate alone, depending on the nature of their mission, but are often
found in formations of 3 to 5. A typical T’Leng scout ship carries a crew
of three, but can be operated by one person.
CR: 1
Function: Stealth Ship
Flaws: Weak Shields
Maneuverable: Because the ship is maneuverable, the character at
the helm console gains a +2 on Defend dice rolls for evasive maneuvers.
Sensor Cloak: Because the ship has a sensor cloak, the character at
the engineering console gains a +2 on Defend dice rolls.
Stress ⃝⃝⃝⃝⃝ Refresh: 2
Consequences:
Mild (2): Moderate (4): Severe (6):
Starliner
A starliner is a cruise ship, designed to take passengers on luxury
voyages to the most beautiful and exotic places in the galaxy. They are
immense vessels, the size of small cities, and can carry up to 1,000
passengers plus 200 crew members. Because they are a frequent target
of pirates, they carry standard armaments, including dazzlers and
torpedoes.
CR: 1
Function: Luxury Passenger Ship
Flaws: Build For Comfort, Not For Speed
Heavy Shields: Because the ship has heavy shields, it gets an extra
Stress circle.
Reinforced Hull: Because the ship has a reinforced hull, it gets an
extra Stress circle.
Stress ⃝⃝⃝⃝⃝ Refresh: 3
Consequences:
Mild (2): Moderate (4): Severe (6):

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Merchant Ship
Merchant ships are typically small, with a crew of between 4 and
10 people. While they are not as large as Coalition Transports, they are
still at least 50% cargo hold, and tend to be filled with luxury goods and
rare, expensive items rather the bulk commodities. They are armed with
standard shields and dazzlers. They are very agile, designed to try to
outrun pirates (or the Fleet, because these ships are also favored by
smugglers). There scanner package improves the accuracy of their
dazzlers, which compensates in many ways for the lack of torpedoes.
CR: 1
Function: Merchant Ship
Flaws: Torpedoes Take Up Cargo Space
Advanced Scanner: Because the ship has advanced scanners, the
character at the tactical console gains a +2 on Overcome dice rolls to
determine the enemy ship’s Flaw.
Maneuverable: Because the ship is maneuverable, the character at
the helm console gains a +2 on Defend dice rolls for evasive maneuvers.
Stress ⃝⃝⃝⃝⃝ Refresh: 3
Consequences:
Mild (2): Moderate (4): Severe (6):
Personal Yacht
These are private pleasure ships owned by very wealthy people.
They have very comfortable accommodations for up to 20 people, but
only require a crew of 2. There is very little cargo space, and what is
there is taken up by food and recreational equipment.
CR: 1
Function: Pleasure Ship
Flaws: Might As Well Have A Sign That Say ―Rob Me‖
Advanced Scanner: Because the ship has advanced scanners, it gains
a +2 on Overcome rolls to determine the enemy ship’s Flaw.
Maneuverable: Because the ship is maneuverable, the character at
the helm console gains a +2 on Defend dice rolls for evasive maneuvers.
Stress ⃝⃝⃝⃝⃝ Refresh: 4
Consequences:
Mild (2): Moderate (4): Severe (6):

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STARSHIP COMBAT
Battles between starships function almost exactly the same as
battles between characters. The rules for using Aspects, choosing Actions,
and selecting Approaches are identical. There are a few unique situations
and a specific order of combat Actions, detailed below.
Starship combat is designed to allow as many players as possible
to participate. Each crew member has a role to play, and dice rolls to
make. The captain makes decisions about what to do, and the crew
members carry out those orders.
Determine Zones
All starship weapons are line-of-sight, meaning that if you have an
unobstructed view of the target ship, you can hit it. Distance also doesn’t
matter, so combat could be played out entirely through narrative. If you
would like a visual representation, you can create a grid map on paper
with representations of where the ships, as well as planets, space stations,
asteroids, and any other obstacles may be.
Determine Turn Order
Turn order is determined by the captain, or whoever is seated in
the command chair at the time of the battle. This is considered a mental
conflict, so whoever has the highest Careful Approach goes first.
Establish Contact
After determining order, you can attempt to contact the adversary’s
ship. There are several options available in this phase.
The communications officer can either attempt to hail the opposing
ship, in so that the captain can attempt to persuade them to call of the
Attack, or surrender, or otherwise speak with the enemy captain directly.
The communications officer can also attempt to jam the enemy’s
communications, so that they cannot call for help. Both of these are
Overcome Actions, which can be opposed by the other side’s
communications officer.
The tactical officer can attempt to perform sensor scan on the
enemy ship. This can take one of three forms: scan for life forms, scan for
damage, or scan for Flaws. The first is an Overcome Action that can be
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opposed by the enemy tactical officer, and will reveal either what
species the crew is and how many of them there are. The other two are
Create An Advantage Actions, and may also be opposed by the other
side’s tactical officer; success reveals any weak points on the enemy
vessel that may be targeted by weapons.
Attack and Defend
These Actions are as per the normal rules. Normally either the helm
officer fires the weapons and the navigator takes evasive maneuvers to
Defend, or vice versa.
Move
The ship can move one zone forward or sideways, but not
backward. The captain determines where the ship goes. No dice rolls are
required.
Damage, Stress, and Consequence
Damage is the difference between the Attack roll and the Defense
roll. There is no bonus to damage based on the type of weapon being
used.
This is where things become a little different from character combat.
A starship can have up to 5 Stress circles. As with characters, the first
Stress circle can absorb 1 shift, the second 2, and the third 3. You can
probably guess that the fourth circle can take 4 shifts, and the fifth 5. This
draws combat out a little bit longer, but it provides players more
opportunities to roleplay and prevents ships from being disabled or
destroyed too quickly.
Consequence to the other ship are suggested by the chief medical
officer and the chief engineer, and finalized by the captain. The
rationale is that the medical officer will want to preserve life, and shunt
damage to the enemy’s systems in a way that will disable the ship
without blowing it up and killing everyone. The engineer should be
thinking of Consequence that will have the hardest impacts of the
operation of the enemy ship, and in theory be less concerned about
enemy crew casualties. The captain will process these ideas and
determine what is best, tactically, for the current situation and declare
that Consequence to be what the enemy ship suffers.
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 When a ship reaches Taken Out status, the opposing captain gets
to declare that ships fate, either accepting surrender and beginning
rescue operations, allowing it to drift derelict in space and leaving the
survivors aboard to their own fate, or firing a coup de gras shot
destroying it and everyone on it.

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Gamemaster
The gamemaster has many responsibilities, such as presenting the
conflict to the players, controlling supporting character, and helping
everyone apply the rules to the situation in the game. Let’s talk about the
gamemaster’s jobs.
LEARNING HOW TO GAMEMASTER
Being a gamemaster and running games can seem intimidating and
difficult at first. It’s a skill that takes some practice to master, so don’t
worry — you’ll get better the more you do it.

Preparing the Series

The universe of Starship Tyche is a big place, and there are a lot of
stories that can be told. The choices available to you as the gamemaster
may seem overwhelming. One of the first things you need to consider is
that the setting is not the campaign, and start narrowing down your focus
a bit.
Roleplaying games typically refer to a campaign, a series of
games you play with the same characters, where the story builds on what
happened in earlier sessions. It’s an old military term that carried over
into roleplaying’s wargaming roots and stuck. Think of a campaign as a
television series, an ongoing comic book, or a sequence of novels. Your
Starship Tyche game is already going to be different than other game
groups’, because you have different players and diverse characters, or
at least unique takes on the pregenerated characters.
The focus of the campaign, which we’re going to call a series and
cling to the television metaphor, can vary as well. One series might focus
on visiting a different place each game session, with a little of this and a
little of that, escaping the Zookeepers one week, battling the T’Leng the
next, and outwitting an alien computer-god the week after that. Other
series might take place on a space station, with the characters staying
put and interesting encounters coming to them. Another might be all
about patrolling the border shared with the T’Leng Empire, with lots of
diplomacy and espionage. All of these series are very different even
though they all take place within the same setting, the Starship Tyche

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universe.
All the players should collaborate with the gamemaster to plan how
the series will work. Usually this is a conversation among all of you to
decide what sort of heroes you want to play, what sort of things you
want to do, and what sorts of bad guys you’ll have. Talk about how
serious you want the game to be and how long you want it to last. Try to
come to consensus, but if you can’t, majority rules. If the majority of the
group hates the T’Leng (it’s okay, my feelings won’t be hurt. . . much) but
one player really loves them, the series probably shouldn’t be T’Leng-
centric.
SERIES PITCHES
A series pitch is a common format for presenting series ideas. After
the group has had a discussion about what they want, the gamemaster
should put together a pitch sheet. This will help the players when they’re
creating characters, and help the gamemaster stay focus on what the
group wants. The key entries are:
Logline: The exciting and dynamic one-sentence description you'll
use to introduce your series to players. If you’re explaining the series to
strangers, this is the line you’ll use to explain what it’s about. A good
logline will evoke a mental picture of the possibilities, as well as provide
an idea as to why this series is different.
Character Types: Indicate to players the sorts of roles the
characters might take on within the ensemble cast. If everyone decides
the crew should be all human, of there should be no Psionics, or the focus
is going to be on science rather than military adventures, this will help
with making character creation decisions.
Locations: Describe the qualities of your pitch’s time and place that
will most directly impact the Action. If a lot of the Action will take place
on the bridge of a starship, develop that ―set‖. If a lot of Action will take
place in the marketplace of a space station, develop that set.
Themes: In bullet points, list likely themes for episodes of your
series, with or without explanatory notes indicating how they might be
expressed in play. If you want to allegorically deal with real-world
issues, for example, you might list out those issues. If you want to deal
with player characters’ Troubles, you might find some thematic link
between those Troubles and build stories and episodes along those
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themes.
Obstacles: List a number of possible complications participants
might introduce to reignite tensions within the main cast. Here’s where you
can really dig into player character back stories and Troubles.
Names: Provide a list of sample names for people, places, and
(where appropriate) things in the series. Use these when stumped for
suitable names when inventing people and places on the fly. This should
include alien names and pseudoscientific technobabble.
Additional Elements: If you need to add another element to this
format to make your Series Pitch work, do it.
SUPPORTING CHARACTERS
Supporting characters can be created and fleshed out during the
game by any participant, and are portrayed by the gamemaster. They
break into two types: minor and recurring. This is mostly a bookkeeping
distinction, sorting the tangential figures from those who will play an
important ongoing role in the series.
The gamemaster, or a player given bookkeeping responsibilities,
should keep a list of characters appearing in the series, updating it as
necessary. Separate them into the two categories, with special attention
paid to the recurring characters.

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Minor Characters
Minor characters provide obstacles. They do not tie into the desires
of player characters or satisfy their goals or ambitions. This doesn’t
necessarily mean that they’re actively working against the player
characters or have malicious intent. A crew member who reports to a
player character has a problem that distracts them from important
research. A petty officer needs a form signed. The XO needs everything
else to stop until overdue paperwork is filed. Crew members get into a
fight while on shore leave. There are all sorts of obstacles minor
characters can throw into the main plot without being a part of that plot.
Minor characters may or may not have names, and if they get any
dialog at all it’s no more than a line of two in response or reaction to the
player characters.
Alternately, minor characters may be mentioned in passing, without
taking a central role in the scene. They’re the equivalent of
Shakespearean spear-carriers and background extras on a television
show. Many recurring characters start out as minor, and then become
more important when a role in the story appears that they’re able to fill.
It saves time and pulls the game together a lot tighter when you can use
what you’ve already got, without creating new characters for every new
story role.
As gamemaster, part of preparing the series will be putting
together a number of minor characters — appearances, at the very least
— to pull out and use on the fly as you need them.
Recurring Characters
Some supporting characters start out as recurring, when their first
appearance fills some story role. Any necessary role in the story that isn’t
filled by a player character will be filled by a recurring character. If
over the course of the series player characters are likely to be injured,
and no one is playing a medical officer, you’ll have a recurring medical
officer. If none of the player characters is a helm officer, and the series
involves flying around the galaxy, there will need to be a recurring helm
officer character. Recurring characters have names, and occasionally get
more than a couple of lines of dialog per episode. If the recurring
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character is popular with the players, they may even get their own
Troubles and goals, which they’ll need the player characters to help them
resolve.
As gamemaster, you should anticipate at least a few recurring
characters that you will need to get started. You can demote them to
minor characters, promote minor characters to recurring status, and
create new characters as you go along and identify new needs.
Recurring Locations
You will also need to anticipate what recurring locations will be
used, and develop those sets. Once you’ve establish a few basic
locations, you'll find the story often returning to them, like the regular sets
in a television show. There are a number of things to consider when
developing a recurring location.
Consistency: Does the setting fit in with the tone of your series, and
the science fiction nature of the setting? Can you throw in a little bit of
―color‖ to the location description to make it more consistent with other
sets?
Continuity: The location description needs to be consistent with
what has already been established. It needs to be described in the same
way, used for the same purposes, and in general the same Aspects need
to be available to be Invoked each time the location appears.
Tone: The set needs to be as serious, as campy, or otherwise in line
with the overall tone you have established for the series. There are
exceptions, of course; some sets will intentionally go against the grain,
but that should be in line with the story being told.
Believability: The description has to make sense in the context of
the setting, the series, and the story. It’s unlikely that a modern
convenience store in the middle of a jungle on a primitive planet, for
example, or a comic book shop just off the transport bay aboard a
starship.
PREPARING AN ADVENTURE
Now that you know what sort of series you plan to run, it’s time to
start putting together individual adventures. An adventure is one short
story arc, the sort of thing you might see wrapped up in one or two
episodes of a television show, even if it’s a smaller part of a bigger
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story. Usually you can wrap up an adventure in one to three game
sessions, assuming you play for three or four hours at a time. But what is
an adventure, and how do you build one?
Adventures
An adventure needs at least two things: A bad guy with a goal,
and a reason the player characters can’t ignore it.
Bad guy with a goal: You’ve probably figured this out already. The
campaign’s main opposition, or one of his allies, is probably your bad
guy. Make sure the bad guy’s goal is up in the player characters’ faces,
where they need to do something about it or bad things will happen to
them, or to people or things they value.
Something the player characters can’t ignore: Now you have to give
the player characters a reason to care. The great thing about having the
characters be the crew of a starship is that that have to follow order.
How they choose to interpret and carry out those orders is up to them,
but they can’t simply ignore a problem they’ve been ordered to
investigate and/or solve.
Milestones: Every adventure has a milestone, something the
characters have to accomplish in order for the story to move forward.
You can’t solve the mystery until you find the clue, you can't synthesize the
cure for the disease until you find the rare berry, and you can’t stop the
Fringe Worlder terrorist plot until you discover where they’re hiding. As
gamemaster, you need to set these milestones, give players the means to
accomplish them, and have a contingency plan to move the story forward
anyway in the event that they don’t.
Types of Adventures
There are a few types of stories that Starship Tyche was created to
tell. You can focus a series on just one or two of these, throwing in an
episode from another type occasionally to shake things up, or mix and
match on a regular basis. This isn’t an all-inclusive list, and you should feel
free to break free from the boundaries of these types of stories and do
whatever strikes your creative fancy.
First Contact and Diplomacy
The player characters need to make diplomatic contact. This could

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involve doing things to get the aliens to trust them, the Fleet, or the
Coalition. It may mean undergoing strange tests orchestrated by the
aliens. Sometimes, the crew will need to resolve a conflict between two or
more species or cultures. Combat is usually the last resort in these types
of episodes.
Military Adventure
The player characters have to protect something — a planet, a
space station, or vaguely-defined border — from another military power
such as the T’Leng or hostile members of the Fringe Worlds. There will be
fights, both hand-to-hand and starship-to-starship. There may be
elements of espionage as one side or the other tries to steal secret
weapons, military plans, and other vital information.
Science and Exploration
The player characters discover, or need to discover, something of
importance. This could be an alien artifact, a new element, a powerful bit
of lost technology, a miracle cure for a rare disease, a godlike being, or
something else both wonderful and dangerous. They will need to study it,
and possibly contain it before it is unleashed on the galaxy to cause
massive destruction.
Social Commentary
The plot is an allegory for a story found in today’s news. These
stories are always more about how people react to things — war,
politics, religion, civil rights, scientific discoveries, ethical quandaries, and
so on — than the actual events themselves, so stand-ins for the real news
can be developed with ease. You may want to represent all sides, or
have a clear idea of the good guys and bad guys and base a villain on
a real-life jerk.

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ADVENTURES IN FOUR ACTS
Just like a television show, an ―episode‖ of Starship Tyche can be
broken down into acts, each of which will contain one or more scenes and
each of which will move one segment of the plot forward.
Act 1: Discovery
This is where the characters first encounter the problem that they
can‟t ignore. Sometimes they’re ordered by the Fleet to investigate it.
Sometimes they discover the problem by accident. Sometimes the
problem will come to them. The player characters may know what they’re
getting into, they may think they know but encounter a twist, or the whole
thing could be a sudden, unexpected surprise.
Act 2: Exploration
The player characters try to figure out what’s actually going on,
why it’s happening, and how to stop it. It may be exactly what it seems,
or there may be a big twist. This may be where they encounter the bad
guy with a goal. Or they may only think they’ve figured out who the bad
guy is, or what his true goal is.
Act 3: Complication
The simpler the problem seemed to be in Act 2, the bigger the
complications need to be in Act 3. The bad guy they met in Act 2 may not
be the real bad guy, or what they thought the goal was turns out to not
be the actual goal. Technology breaks down. More redshirts to fight show
up. The bad situation gets worse and the level of danger increases.
Act 4: Resolution
The player characters follow the logical course of Action from Acts
1 through 3 and solve the problem. They defeat the bad guy, solve the
mystery, find the cure, fix the gadget, bring about peace, or whatever it
was they needed to do to wrap up the story in an emotionally satisfying
way.
FOUR ACT SUMMARY
● Discovery: The player characters learn that a problem exists.
● Exploration: The player characters investigate the problem.

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 ● Complication: The problem isn’t what it originally seemed, or a
new complication is introduced.
● Resolution: The player characters solve the problem.
ADVENTURE CREATION SUMMARY
● Scenes: A finite space where an incident within the story occurs.
● Locations: The place where the scene occurs.
● Situation: What the goal and purpose of the scene is, and notable
Aspects.
● Characters: Who is in the scene.
● Milestones: A significant achievement in the story that you’ve been
building up to.
● Aspects: What Aspects you can pull from the above outline, to help
facilitate the adventure.
Scenes
A scene is a finite space where an incident within the story occurs.
That’s a clunky definition, so let’s expand upon it. It’s finite because it
doesn’t go on for longer than it needs to serve its purpose. It’s where an
incident occurs, which could be a conversation, a fight scene, or any other
sort of task that either moves the story forward or throws up an obstacle.
While a lot of complex things can happen in a scene, you should be able
to sum up each scene in a sentence.

● The player characters hear a strange noise, and rush into the room.
They see a man with a dazzler standing over a dead body, and
wrestle him to the ground.
● A player character questions the prisoner, who tells them where to
find the mastermind.
● Assassins ambush the player characters and steal their only piece of
hard evidence.
● The player characters confront the mastermind, who is prepared for
their arrival. Big climactic fight scene ensues.

There has to be wiggle room in your scene description, because

player characters never follow your script. It shouldn’t be a script
anyway; it’s a guideline. Be ready to change the order of things, to

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change locations, and for player characters to wander off and re-
converge at any point.
Not all scenes have to be part of the main plot. You can control the
pace of the Action, or give the players time to think and process what’s
going on, by throwing in occasional subplot scenes. If characters have
loose ends, or back story elements that dovetail either with the details of
the plot or the general theme of the adventure, it’s a good way to
introduce those personalized elements.
Locations
Locations are the actual place where a scene takes place. We
talked about recurring locations and sets in the previous section on
preparing the series. Use them. It will save you a lot of work. Only invent
new locations if you really, truly need them, and redecorate and re-
purpose existing sets when you can. There’s no need to create a new
cabin for a new crew member when you can recycle the cabin of another
crew member and change a few notable items. There’s no need to invent
a whole new room to have a conversation when it can take place on the
bridge or in the recreation room.
Situations
The situation is the goal and purpose of the scene, which is a
variation of establishing facts. You can probably pull the situation straight
from the scene description, and if you can’t, you probably need to re-
write the scene. If the characters hear dazzler fire, the obvious purpose is
to draw them into the fight or catch a murderer. If they question a
suspect, the goal of the scene is for them to learn something.
A situation also includes things that can be turned into Situation
Aspects than can be used by the player characters, or utilized by you to
provide an obstacle. If the Automatic Door is Stuck, that’s a problem for
the characters. If there’s a Clue to Be Found, or a Secret Compartment to
Be Discovered, or A Pair of Swords on the Wall, those are Situation
Aspects the player characters can Invoke.
Characters
This is who you, the gamemaster, plan to bring to the scene. Player
characters will decide who among them will show up in a scene, and what
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supporting characters they want to invite along. It’s not really a scene
unless there’s at least one player character in it. To make your own life
easier, try to keep the number of supporting characters with speaking
roles to a minimum. It will also make it easier for players to keep track of
who’s speaking, and the role of each supporting character in the story.
Throw in all of the background extras you want, either for color to
establish activity, or as redshirts to fight, to bring the scene to life.
Milestones
Stories in television shows, comic books, movies, and even video
games usually continue from episode to episode, season to season. It took
the crew of Babylon 5 three seasons to defeat the Shadows. It took three
books for Isaac Asimov’s Foundation to restore the Second Empire. You
get the idea. Starship Tyche can tell those kinds of stories; you play many
game sessions in a row using the same characters and the story builds on
itself. But within these long stories, there are shorter story arcs, like single
episodes of a television show or single issues of a comic, where shorter
stories are told and wrapped up. Starship Tyche can do that too, even
within a longer campaign.
In Starship Tyche, we call those wrap-ups milestones — whether
they’re small ones for short stories, or really big ones at the end of many
sessions of play. Starship Tyche recognizes three types of milestones. As
you’re preparing an adventure, you should think about what you want
the milestones to be and when you want them to happen, so you can
build toward them.
Minor Milestones
A minor milestone usually occurs at the end of a session of play, or
when one piece of an adventure has been resolved. This kind of
milestone is about adjusting in response to whatever is going on in the
story if you need to. Sometimes it won’t really make sense to take
advantage of a minor milestone, but you always have the opportunity in
case you need to.
Significant Milestones
A significant milestone usually occurs at the end of a scenario or the
conclusion of a big plot event (or, when in doubt, at the end of every two

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or three sessions). Unlike minor milestones, which are primarily about
change, significant milestones are about learning new things — dealing
with problems and challenges that affect the direction of the series, not
just this individual adventure.
Major Milestones
Major milestones should only occur when something happens in the
campaign that shakes it up a lot — the end of a big story arc, the final
defeat of a main villain, or any other large-scale change that
reverberates around your game world. The challenges of yesterday
simply aren’t sufficient to threaten these characters anymore, and the
threats of tomorrow will need to be more adept, organized, and
determined to stand against them.
Aspects
After you’ve put together an outline of the adventure, go back
through and find the Aspects you’ll need to better tell the story and
facilitate the Action. What character Aspects will your supporting cast
need? What Situation Aspects can you toss in not only to Establish Facts
about the story, but allow player characters to gain an advantage, or
for bad guys to use against them? What Boosts can you weave in, for the
player characters to use if they need them? What unique Consequence
can you find, to make failure more interesting?
Running Game Sessions
You know what your game is about. You have at least one
adventure planned out. Now you need to actually sit down with the
players and run the game. Yikes! What do you do now?
Sometimes the best way to kick things off, especially for the first
session of a new series, is to put them right into the Action (the fancy term
for this is in media res). No long introductions just start them in the middle
of a story, or even the middle of a fight scene. Once the player
characters know why they should care about what’s going on, you just get
out of the way and let them take care of it.
STANDARD GAMEMASTER TASKS
There are a bunch of tasks the gamemaster needs to perform to run

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the session:
Run scenes: A session is made up of individual scenes. Decide
where the scene begins, who’s there, and what’s going on. Decide when
all the interesting things have played out and the scene’s over.
Adjudicate the rules: When some question comes up about how to
apply the rules, you get final say. Try to fail fast and fail forward; don’t
stop to look up the exact rule if you don’t know it, make a decision and
figure it out later. Playing is fun. Looking up rules is not fun. Unless your
decision is going to kill off a character, blow up the ship, or create some
other irreversible change to the game, it’s okay to fake it and do it
―right‖ next time. Hint: unless you tell them, the most of the time the
players won’t even know.
Set difficulties: You decide how difficult tasks should be. Don’t
over-think it. Fail fast, fail forward, and give players a second chance if
you think they deserve it. You’ll get better at this as you gain experience
as a gamemaster.
Play the supporting characters: Each player controls their own
character, but you control all the rest, including the bad guys.
Keep things moving: If the players don’t know what to do next, it’s
your job to give them a nudge. Never let things get too bogged down in
indecision or because they don’t have enough information. Do something
to shake things up. The rest of the universe and the plans of bad guys
don’t stop because the players are stalling.
Make sure everyone has a chance to be awesome: Your goal isn’t
to defeat the players, but to challenge them. Make sure every player
character gets a chance to be the star once in a while, from the big bad
warrior to the little sneaky thief.
Running Scenes
There are three types of scenes that you’ll end up running over and
over again: combat scenes, investigation scenes, and social interaction
scenes. There are endless variations on each of these scenes types, but if
you know the basics of how to handle each type you’ll be good to go.
Running Combat Scenes
Combat scenes are self-explanatory - a fight breaks out. It doesn’t
matter if it’s a spaceport bar skirmish, hand-to-hand combat on a
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battlefield, or a starship battle, it all works basically the same.
Structure: One character declares that they are initiating an Attack.
Turn order is determined. Each player takes Action in turn order.
Turn order: The character with the highest Quick Approach bonus
goes first, then the next highest, down to the lowest going last. In the
event of a tie, roll and add the Quick bonus and highest total goes first.
Setting up conflicts: Refer back to Conflicts in the Rules section.
Create An Advantage: The character does something tactical that
sets up a bonus for their next Attack.
Overcome: The character removes tactical disadvantage or
neutralizes their opponent’s advantage.
Attack: The character Attacks their opponent.
Defend: The character tries to avoid an Attack against them.
Running Investigative Scenes
An investigative scene is any scene where a player character gains
new information. This can be discovering something, doing research,
having a conversation with another character, using a mind probe, or
anything else that ends with a character learning something they didn’t
know before. Since Starship Tyche is a game about exploration and
discovery, there should be a fair amount of these types of scenes in any
given adventure.
Structure: One character declares what information that are
looking for, and how they are trying to discover it. The gamemaster sets
up a challenge. Turn order is only necessary if multiple characters are in
competition to find the information first.
Turn order: The character with the highest Careful Approach bonus,
then the next highest, and so on down the line. In the event of a tie, roll
and add the Careful bonus and highest total goes first.
Setting up challenges: A character can either immediately try to
Overcome whatever obstacle is between them and the information, or
they can first attempt to Create An Advantage by gathering data,
performing analysis, doing research, and so on. The gamemaster should
set a target number on the ladder to gain the specific information the
character is seeking, and allow up to three attempts to reach that target
number. If the character gets a lower result, they may gain some useful
information, but not exactly what they were looking for. If they score
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higher, they gain additional information that should prove helpful. The
gamemaster may want to determine what information is gained at what
level of success.
Create An Advantage: As above, if the character performs any
sort of data gathering in advance, that sets up a bonus for their
Overcome Action.
Overcome: As above, the character removes obstacles between
them and the information that they seek.
Attack: A character attempts to plant false information or sabotage
another character’s research. Success on this form of Attack creates a
situation that the Attacked character must Overcome equal to the
Attacker’s result on The Ladder.
Defend: If the character knows their work is being Attacked they
can take measures to secure their data and their research and prevent
tampering.
Running Social Interaction Scenes
Social interaction scenes are essentially conversations between
characters, and most of the time there aren’t any rules or structure in
play. Someone starts talking, or asking questions, and other people
answer. The only time rules come into play is if one player is trying to
Compel a character to give up information or manipulate them into
undertaking a certain Action.
Structure: One character begins a conversation, and others join in
voluntarily. If someone doesn’t wish to participate, they can be
Compelled. Turn order only matters if everyone is trying to speak at
once, or multiple people are trying to Compel each other.
Turn order: The character with the highest Flashy or Forceful
(depending on the sort of social interaction) Approach bonus. If the
conversation is friendly and charming, use Flashy; if intimidation or the
weight of authority is the general tone, use Forceful. In the event of a tie,
roll and add the Approach bonus and highest total goes first.
Setting up contests: Contests aren’t necessary in general
conversation. Allies and friendly characters will simply talk. Hostile
characters may need to be Compelled. A character who wants to look or
impress another character can attempt to say or do something that
creates a favorable impression, which grants an advantage in further
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social interaction. This is a character versus character contest, with the
target number based on whatever Approach the other character is
opposing with.
Create An Advantage: The character says or does something that
provides an advantage in the social interaction. This can be giving an
appropriate gift, delivering a meaningful compliment, or following social
protocol. A character can do research on the individual or culture and roll
against the target number set by the gamemaster to create this
advantage.
Overcome: The other character has an existing opposition to the
character. They may not like the character’s species or culture or politics.
The character will need to Overcome this prejudice in order to engage in
any meaningful social interactions. The trick is figuring out how to do this;
the gamemaster should have some ideas based on what the opposing
character values, or accept any good ideas the players come up with in
good faith
Attack: A character attempts belittle, humiliate, or otherwise
damage another character socially. The gamemaster sets the target
number, and the higher the success the deeper the burn and the longer
lasting the impact.
Defend: This is basically a snappy comeback that minimizes or
neutralizes a social Attack. The target number is whatever the Attacker
scored on the ladder. The Defend result reduces the result of the Attack.
Setting Difficulty Levels
When another character is opposing a supporting character, their
rolls provide the opposition in a conflict, contest, or challenge. But if
there’s no active opposition, you have to decide how hard the task is.
Low difficulties are best when you want to give the player
characters a chance to show off and be awesome. Difficulties near their
Approach ratings are best when you want to provide tension but not
overwhelm them. High difficulties are best when you want to emphasize
how dire or unusual the circumstances are and make them pull out all the
stops.
Rules of Thumb:
● If the task isn’t very tough at all, give it a Mediocre (+0) or just tell

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 the player they Succeed without a roll.
● If you can think of at least one reason why the task is tough, pick
Fair (+2).
● If the task is extremely difficult, pick Great (+4).
● If the task is impossibly difficult, go as high as you think makes
sense. The player character will need to drop some Fate Points and
get lots of help to Succeed, but that’s fine.
Optional Rule: Approach-Related Target Numbers
Sometimes being Careful makes things a lot easier; sometimes it just
takes too long. The gamemaster may wish to adjust the target number up
or down by 1 or 2 depending on whether you choose a fitting or a
problematic Approach. This makes things a bit more complex, but for
some groups it’s worth it.
Fate Points for Gamemasters
As gamemaster you don’t need to track Fate Points for each
supporting character, but that doesn’t mean you get an unlimited number.
Start each scene with a pool of one fate point per player character that’s
in the scene. Spend Fate Points from this pool to Invoke Aspects and
Consequence against the player characters. When it’s empty, you can’t
Invoke Aspects against them.
When a player Compels one of a supporting character's Aspects,
add the Fate Point to your pool. If that Compel ends the scene, or when a
supporting character gives in, instead add those Fate Points to your pool
at the start of the next scene.
Fate Points you award for Compels do not come from this pool. You
never have to worry about running out of Fate Points to award for
Compels.
Player Versus Player
The only time that fate point might not go to the gamemaster is
when one player is in conflict with another player. If you are, and you
Invoke one of that player’s character Aspects to help you out against
them, they will get the fate point instead of the gamemaster once the
scene is over.

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CHARACTER ADVANCEMENT
People change. Your skills sharpen as you practice them. Your life
experiences accumulate and shape your personality. Starship Tyche
reflects that with character advancement, which allows player character
to change their Aspects, add or change Stunts, and raise Approach
bonuses. This happens when an adventure reaches a milestone.
Minor Milestones
After a minor milestone, players can choose to do one (and only
one) of the following:
 Switch the ratings of any two Approaches.
 Rename one Aspect that isn’t their high concept.
 Exchange one Stunt for a different Stunt.
 Choose a new Stunt (and adjust your refresh, if you already
have three Stunts).
Also, if the character has a moderate consequence, check to see if
it’s been around for two sessions. If so, you can clear it.
Significant Milestones
In addition to the benefit of a minor milestone, you also gain both
of the following:
 If you have a severe consequence that’s been around for at least
two sessions, you can clear it.
 Raise the bonus of one Approach by one.
Major Milestones
Achieving a major milestone confers the benefits of a significant
milestone and a minor milestone. In addition, you may do all of the
following:
 Take an additional point of refresh, which you may immediately
use to purchase a Stunt if you wish.
 Rename your character’s high concept (optional).
Raising Approach Bonuses
When you raise the bonus of an Approach, there’s only one rule:
you can’t raise an Approach bonus above Superb (+5).
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Faction Rules
Drama stems from conflict, and conflict stems from differences. This
is where stories come from. Political differences, philosophical
differences, religious differences, differences in the means of meeting
basic needs, differences in the definition of what a basic need is. Like-
minded individuals tend to band together based on mutual interest and
pool their resources to oppose those they don’t agree with. That’s where
Factions come into play.
On the most basic level, the Coalition of United Planets is a Faction
that came together to oppose the T’Leng, a different Faction. Individual
planets, and regions and nations on those planets, are also Factions, with
their own interests which often align with those of the Coalition, but
sometimes don’t. Each of the Fringe Worlds is a Faction that, well, doesn’t
agree with anyone else on practically anything.
Factions are built in much the same way as characters, with Aspects
and Stunts.
FACTION ASPECTS
A Faction has a minimum of three Aspects: a philosophy or goal, at
least one resource that it uses to spread its philosophy or achieve its goal,
and at least one Trouble. Each of these Aspects establishes a fact about
the Action.
Philosophy or Goal
A philosophy or goal should drive the Actions of a Faction. It’s a
statement of what they are about and why they do what they do. It can
just as easily be twisted into an attempt to justify negative things that
they do. In an argument or debate, this Aspect can be Invoked by a
character when their point is supported by the philosophy or goal, and
used for defense in verbal combat. It can also be Compelled and used
against a member of a Faction when their statements or Actions aren’t in
line with the Faction’s philosophy or goal.
Resources
A resource Aspect indicates what the Faction is able to bring to
bear in order to further their cause. Members of a Faction are able to
Invoke these, and opponents can Compel them and use them against the
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Faction.
Scope: A Faction’s scope is the area in which they operate. This can
be a region, like one city, a space station, a planet, a solar system, or the
whole galaxy. It can be confined to one narrow focus or interest, like
chess players, fans of a certain sport, Shakespearean actors, or starship
engineers.
Scope provides context for all of the Faction’s other Aspects. A
merchant guild with the stated goal of controlling a trade of a particular
spice that has a galactic scope has completely different possibilities than
a Fringe World religious Faction that has the state goal of conquering
the universe in the name of their deity but whose scope is limited to one
region of one planet.
Control: This represents how much overt control the Faction holds
within their scope, usually in the form of institutionalized rule. A political
party might control a city, a corporation might control a mining colony it
owns, and a merchant guild might control the source of a precious metal
or space.
Influence: Influence represents non-institutional power within their
scope, be it due to respect, fear or any other appropriate motivator. Like
control, influence is obvious, and it does much which control does,
although less overtly. A religious Faction might not control a Fringe
World, but it has influence on its policies and practices. A merchant guild
may not control a starbase, but its ability to deliver necessary goods
may give it influence.

Military: Many Factions have access to a number of rough and

ready individuals willing to do (or prevent) harm on command. The type
of military should be specified. The Fleet is a Faction with many powerful
starships. A Fringe World’s military might be comprised of hundreds of
fanatical guerillas. This type of resource can be taken multiple times to
indicate different types of military resources (starships, satellite defenses,
marines, armed shuttles, and so on).
Credits - This is money, either in available credits or some other sort
of trade commodity or a particular type of service that can easily be
traded for credits. Credits can be used for a great many things, including
buying (or ―renting‖) other resources the Faction doesn’t otherwise
possess.
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 Intelligence - A measure of how effectively a Faction can gather,
analyze, and use information. For a small Faction this skill may be
entirely irrelevant, but for a large one it may be critical. Knowing what
opposing Factions are up to, as well as what’s going on within your own
Faction, is incredibly useful and even life-saving.
Trouble
No Faction is perfect, and all of them have some sort of Trouble.
They may suffer from infighting among members who disagree, lack
some important resource, has legal issues, be threatened by another
Factions, have a void in leadership, or any number of other things that
plague every sort of organization. These are often Compelled by
opponents to use against the Faction, but an also be Invoked when trying
to garner aid and support. For example, a Faction may Invoke their lack
of a strong military to request help from the Coalition in dealing with the
T’Leng, or put the touch on a merchant for financial aid because their
charitable Faction is sorely lacking in the credits necessary to provide
medical care to sick children.
Playing Politics
Members of a Faction can spend a Fate Point to Invoke a Faction
Aspect, calling upon their Faction’s resources. This is typically used to
Create An Advantage, but can also be used to perform an Overcome
Action when opposing another Faction.
THE COALITION OF UNITED PLANETS
By treaty, many worlds are members of the Coalition of United
Planets, an organization that exists to share knowledge and technology,
establish free trade, and provide for common defense of all member
worlds and their colonies. It is a de facto government, with each member
planet having its own government but voluntarily agreeing to abide by
Coalition law. The head of the Coalition is the Prime Minister, who is
selected by the Coalition Parliament, who are also in charge of
legislation. The Parliament contains representatives of each member
world, either elected or appointed by that world depending on their
form of government. A Coalition Court acts to rule on Coalition law, and
interprets that law in relation to the Coalition Charter.
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 The motto of the Coalition is ―Above All Else Peace.‖ The Coalition
Charter recognizes that there can be no peace without liberty, equality,
justice, and cooperation for all people. Racial, social, religious, political,
and economic freedoms are guaranteed as rights, although these rights
have been interpreted in many different ways on different worlds.
As a pact between dozens of governments, rather than a single
unified government itself, it can be difficult to reach a consensus or even
a majority, meaning change is often slow and many issues seemingly
impossible to resolve.
Philosophy or Goal: Above All Else Peace
Scope: Galactic
Control: Member planets and colonies
Influence: Galactic
Military: The Fleet
Credits: The largest economy in the galaxy
Intelligence: Fleet Intelligence Agency (FIA)
Trouble: We agree to disagree
THE FLEET
The Fleet has ships everywhere, not only within the Coalition but
throughout known space, aiding in diplomacy with non-member worlds
and exploring parts of space where no one has gone before. It is
expected to be a military organization, a police force, a diplomatic
corps, a relief agency, and scientific organization all at the same time,
goals that are sometimes mutually exclusive and bring its resources under
strain and the various Factions that it serves into conflict.
Philosophy or Goal: To facilitate knowledge, trade, and mutual
defense
Scope: Galactic
Control: Fleet ships and starbases
Influence: Coalition planets, colonies, and spaceways between them
Military: Largest Fleet of starships in the galaxy
Credits: Second largest line item in the Coalition budget
Intelligence: Fleet Intelligence Agency (FIA)
Trouble: Pulled in several directions at once

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FLEET ACADEMY OF SCIENCE AND MEDICINE
To fulfill the Coalition mandate to share knowledge and technology
openly, the Fleet Academy of Science and Medicine was established. The
main campus is located in Bangalore, India, which branch campuses on
other member worlds. Tuition is free for all students who can pass the
rigorous entrance examinations. Only the best and brightest minds are
accepted.
Its motto is ―moribus et intellectu‖, Latin for ―behavior and
understanding.‖ It is derived from a quote by Albert Einstein who stated
that it is more important for scientists to be possessed of good character
than superior intellect. In spite of that, students and graduates have a
reputation for being elitist, looking down their noses or equivalent facial
features are scientists and medical professionals who are competent and
qualified but graduates of other (lesser) institutions.
Philosophy or Goal: Moribus et Intellectu
Scope: Galactic Academia
Control: Campuses
Influence: Think tanks and policy organizations
Credits: Adequately funded, but it‟s never enough
Trouble: Elitest of the elitists
FLEET SERVICE ACADEMY
The Fleet Service Academy, located in the city-state of Brussels, is
nominally a ―military‖ school, where officers of the Fleet are trained. It is
also a school for political science and diplomacy, where many of the
Coalition’s future leaders are educated. What this has served to do is
insure that the Fleet and the Governments are generally on the same
page most of the time. Tuition is free to those who meet the rigorous
criteria for acceptance.
Its motto, Stellae Ducatum, is Latin for ―Lead the Stars.‖ Where the
Academy of Science and Medicine is often accused of intellectual elitism,
the Service Academy is continually fighting off charges of cronyism and
nepotism based on the number of students who are ―legacies‖ or come
from financially or politically influential families.
Philosophy or Goal: Stellae Ducatum
Scope: Galactic Politics
Control: Campuses
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 Influence: Fleet, Government
Credits: The alumni are very generous
Trouble: How many credits is your family worth?
FLEET INTELLIGENCE AGENCY
Not a lot of people talk about the FIA, because more people tend
to forget they exist. Part of this is because they don’t have much of a
presence on member worlds, other than as liaisons with local governments
and planetary intelligence forces. They operate mainly in space, in space
stations, on colony worlds, and even on non-member worlds and the
Fringe Worlds. Their job is to keep track of potential threats to the
Coalition, and pass information along to diplomats, politicians, and the
Fleet so they can take appropriate Actions.
Criticism of the FIA stems from the fact that in an otherwise open
society with a historically transparent government, the FIA is incredibly
secretive. While the Coalition Prime Minister and members of the
Parliament Intelligence Oversight Committee know, the general public
doesn’t have any idea where the FIA headquarters is located, how many
people they employ, or what their budget it. That’s classified, as a matter
of Coalition security.
Philosophy or Goal: We‟re the first line of defense
Scope: Galactic
Control: Unknown
Influence: Unknown
Military: Presumed none
Credits: Unknown
Intelligence: The most thorough agency in the galaxy
Trouble: Who are these people accountable to?
EARTH
Official home to Coalition headquarters as well as most of its
agencies, it is the political and intellectual center of the universe. Many
Earth humans think of themselves as the heart of the Coalition with great
pride. There are benefits to this, as well as many drawbacks, including
being the focus of military and terrorist Actions by the Coalition’s
opponents.

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 Philosophy or Goal: We are the Coalition.
Scope: Planetary
Control: Earth and its artificial satellites and space stations
Influence: Coalition, the Fleet
Military: National Planetary Forces
Credits: Stable economy
Intelligence: National Intelligence Agencies
Trouble: For better or worse, the center of everything.
LUNA
Earth’s moon is its own nation, with an autonomous government and
economy. Life there is hard, because it has no atmosphere and all life is
underground or in domes. It has few resources, little to offer in the way
of tourism, and its heyday as a center of manufacturing was long ago
eclipsed by replicators. It is the 23rd century equivalent of a Third World
country. While the coalition provides for everyone, many are resentful of
having to accept charity rather than being able to stand on their own
feet. Some political analysts speculate that the only thing that has kept
Luna from becoming a Fringe World is its proximity to Earth.
Philosophy or Goal: It‟s a rock, but it‟s our rock.
Scope: Planetary
Control: Earth‟s moon and its space stations
Influence: Local
Military: None of its own
Credits: Barely above poverty level
Intelligence: Rumored to be hosting Fringe World spies
Trouble: Poor economy
MARS
Mars has prospered since it gained its independence, and has
grown both economically and politically. Mars humans think of themselves
as Martians, rather than as Earth humans or colonists. The planet is
partially terraformed, with a thin but breathable atmosphere and a
fledgling weather system. It’s not enough to support recreational activity
that requires heavier breathing, so the potential for hiking, camping, and
outdoor sports remains limited. Most of the plants are transplanted earth
flora, but a few Titanian plants have also taken hold and begun to thrive.

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Seasonal dust storms are still a serious and deadly problem.
Philosophy or Goal: Strong and proud
Scope: Planetary
Control: Mars, its moons and space stations
Influence: Coalition
Military: Planetary forces
Credits: Thriving economy
Intelligence: Planetary agency
Trouble: Harsh atmosphere
TITANIA
Titania is one of three planets orbiting a main-sequences star in the
Pegasus constellation. The rational Titanians have colonies them all, and
thriving cities, cultural centers, and scientific universities can be found
everywhere. Reason and intellectual pursuit drives everything for them,
from government to entertainment to personal relationships. The Titanians
are a species of atheists, which places them at odds with religious
persons of other species, and especially the various religious extremists
of the Fringe Worlds. Titania has no military, but most citizens have taken
martial arts and weapons training as part of their education, and there is
an organized militia protocol in place to call people up to fight in the
event the planet is invaded.
Philosophy or Goal: Reason above all.
Scope: Local system
Control: HR8799 system
Influence: Coalition
Military: Planetary Defense Militia
Credits: Wealth without ostentation
Intelligence: They know more than they openly share
Trouble: Target of religious fanatics.
BINTURONG
Binturong is a disc-shaped planet located in orbit around a brown
dwarf star. It is the only planet in the system. The edges of the disk are
covered with tropical rainforests, and are where most of its native
population lives. The cooler interior of the disc, referred to as the axis,
does have a smaller, scatter population. Binturong is neither excited to be

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part of the Coalition, nor upset about it. This is current reality, so they
seem to simply accept it as such. Their participation in the Coalition seems
to be based on whether they remember that it’s there and that they’re
supposed to be a part of it. For the most part, the people are happy to
just go about their largely agrarian and low-tech lives on their own world
and do their own thing.
Philosophy or Goal: Live and let live.
Scope: Planetary
Control: 2MASS J044144 system
Influence: Planetary
Military: None
Credits: Relatively poor but they don‟t seem to notice
Intelligence: Local rumor mills abound but nothing larger or more
organized
Trouble: The lackadaisical attitude makes them hard to deal with
TRIEXIA
Kepler-223, known as Triex to its inhabitants, is one of four planets
orbiting a GV5 star. Most of the planet was originally swampland, and
while the most populous regions still are because that’s the Triexian’s
preferred environment, many areas have been drained and elevated to
the needs of trade and industry. Most aliens who visit Triexia never leave
these ―visitor Zones.‖ This also allows the Triexian intelligence agency to
keep an eye on them. Due to past problems with the T’Leng, most
Triexians don’t trust aliens, even their closest allies.
Triex is home to the most prestigious engineering schools in the
Coalition, and there is practically no mechanical problem that they
cannot create a solution to. There is a saying that the Titanians think of it,
the Triexians build it, and the humans exploit it. It’s a cause for
resentment on the planet, because the humans and the Titanians get the
lion’s share of attention and credit, but the Coalition and especially the
Fleet wouldn’t exist without Triexian expertise and labor.
Philosophy or Goal: All we want is a little appreciation
Scope: Local system
Control: KOI-730 star system
Influence: Minor Coalition player
Military: Planetary forces
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 Credits: Working-class lifestyle
Intelligence: Planetary Agency also works galatically.
Trouble: The Coalition‟s stepchildren.
AGRICULTURAL COLONIES
There are agricultural colonies scattered throughout known space,
and this example is meant to represent a typical colony. Most were
founded by settlers who wanted some land of their own, but many are
sponsored by or owned outright by merchant guild or corporations. The
colonies grow fresh foods consumed by the Coalition, as well as produce
the organic biomass used by food replicators.
Philosophy or Goal: Good crops equal a good life
Scope: Local
Control: Local
Influence: Food trade
Military: Planetary forces
Credits: Working class to near poverty level
Intelligence: None
Trouble: Geographically and culturally isolated
MINING COLONIES
Mining colonies are often temporary installations put in place by
corporations to exploit a resource before packing up and moving on. The
nature of the buildings reflects that. As a result there are very few
families, and miners tend to have no motivation other than to make their
money while they can and move on to the next thing. Because very few
planets or asteroids have breathable atmospheres, most mining colonies
are located underground.
Philosophy or Goal: Let‟s do this as cheaply and profitably as
possible
Scope: Local
Control: Local
Influence: Commodities markets
Military: Local police and security
Credits: Poor to lower middle class workers and rich bosses
Trouble: Overworked, underpaid, and generally bored miners

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RESEARCH COLONIES
Universities and think tank set up research colonies for two reasons.
The first is that the planet or space station is in an ideal for the subject
that needs to be studied, like a planet itself or a spacial anomaly. The
second is that the subject of the research will somehow benefit from
isolation, either because it is dangerous, classified, or requires a
distraction-free setting. In both cases, the colonies are comprised mostly
of scientists and sometimes their families, plus any other personnel
required to sustain the colony.
Most research colonies are inward-focused, and don’t require
security or intelligence services. As such, they often have no idea what’s
going on in the rest of the galaxy, even in their own solar system or on
other parts of their planet.
Philosophy or Goal: We‟re here to learn as much as we can about
_______
Scope: Local
Control: Local
Influence: Academic
Credits: Sufficiently funded
Trouble: Often unaware of what‟s going on around them.
PENAL COLONIES
The view of the Coalition is that no criminal is beyond redemption.
Poverty, violence, other negative social situations, and even mental illness
are the factors that drive crime, and all of those issues can be addressed
with the Coalition’s resources. When people are tried and convicted for
their crimes, the emphasis is on rehabilitation, rather than revenge or
punishment.
That said, it is easier to control a criminal population by removing
them from peaceful, inhabited worlds and placing them into colonies.
Some of these resemble traditional prisons, while others look more like
agricultural colonies where inmates work for a living. All inmates undergo
personalized counseling to deal with their individual issues, so that they
can eventually be released to become productive citizens of the
Coalition.
This doesn’t mean that penal colonies aren’t sometimes violent and
dangerous places, full of career criminals scheming to break out so they
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can continue to spread chaos and mayhem throughout the galaxy.
Philosophy or Goal: It‟s a justice system, not a revenge system
Scope: Local
Control: Local
Influence: Small influences on the legal system based on results
Military: Armed guards
Trouble: I promise I won‟t do it again, can I go now?
FRINGE WORLDS
The Fringe Worlds are former Earth colonies, so called not because
of their location but because of their views. They have not only rejected
membership in the Coalition for a variety of philosophical, political, or
religious reasons, but openly opposed the concept of the Coalition. They
rarely agree with each other, and do not form a single Faction in any
way, and are lumped together simply to categorize them. The one thing
they agree upon is that they think the Coalition is somehow a bad idea.
AMERICA
America is a libertarian planet-state based on specific
interpretations of the United States Constitution, selected interpretations
of the writings of the Founding Fathers of the United States, and the King
James Bible. The government is a Congressional Republic, largely
ceremonial in nature as the planet is run by its six large corporate
interests. America do not recognize the existence of the United States of
America that still exists on Earth, and consider themselves to be the only
―real‖ or ―true‖ America. They are largely Caucasian, with a lower class
of racial minorities. Men and woman are viewed as equal, but binary
gender roles are enforced. They are religiously diverse so long as the
religion is a recognized denomination of Christianity.
While America is largely isolationist and does not do much trade
with other planets, they talk a lot about exporting their brand of liberty
and government to other worlds. They currently lack the resources do to
so, with their few starships devoted to defense. They do sponsor
―freedom fighters‖ that operate within the Coalition, who the Coalition
consider to be terrorists based on their violent activities.

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 Philosophy or Goal: Freedom is our birthright
Scope: Planetary
Control: Planetary
Influence: Planetary
Military: Planetary and orbital forces
Credits: A mixed economy with large income disparity between rich
and poor
Intelligence: Spies and freedom fighters on Earth, Luna, and other
places
Trouble: Schizophrenically isolationist and expansionist
DESERET
Deseret is a planet colonized by members of the Church of Jesus
Christ of Latter-Day Saints. The government is ruled by the church’s
Prophet, and organized along the traditional structure of the church. They
are racially inclusive and not at all xenophobic, and have generally
amicable relations with both the Coalition and alien worlds. While they
believe their religion to be the only one that is true, they are tolerant of
other ideologies. Many see them as misogynistic and homophobic,
because they assign specific roles to men and women, and view non-
binary gender as a matter of choice. It is their unwillingness to budge on
these issues that keeps them from Coalition membership, by mutual
agreement.
Philosophy or Goal: The Bible is the word of God insofar as it has
been translated correctly.
Scope: Planetary
Control: Planetary
Influence: Minor Coalition and Earth influence due to shared beliefs
Military: Planetary and orbital forces
Credits: Relatively wealthy
Intelligence: Rumored to have agents inside the Coalition
Trouble: Tend to be too trusting of outsiders
NEW JERUSALEM
New Jerusalem was founded by evangelical Christians from around
the world but primarily from the southern United States. They are mostly
racially homogeneous, composed primarily of Caucasians. The

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government is a patriarchal theocracy, and actively homophobic and
xenophobic.
Aliens are viewed to be demons sent to corrupt humanity and lead
them away from God. They refer to the Coalition as the Tribulation, and
whoever the current Prime Minister is as the Beast. They particularly
despise and fear the Triexians, because they are pointed ears and are
openly atheistic.
Anyone who does not subscribe to New Jerusalem’s ideology is
wrong, and those who subscribe to other ideologies are considered to be
under the influence of evil, if not evil themselves. For this reason, New
Jerusalem is largely isolationist, to keep outside ideas from influencing
and corrupting their citizens.
Philosophy or Goal: We are the chosen people
Scope: Planetary
Control: Planetary
Influence: Planetary
Military: 6 years of mandatory military service by all men from age
18-24
Credits: Large income disparity between rich and poor
Intelligence: Secret service rumored to spy on its own citizens
Trouble: Everyone who isn‟t us is a demon from Hell
NOVO PAOLO
Novo Paolo was founded by conservative Catholics primarily from
South America. They have an elected parliamentary government, but
recognize the Pope on Earth as a symbolic figurehead and take papal
decrees as law. Their relationship with the Coalition is tense, because one
hand they have religious ties, and on the other hand the Coalition
supports sinfulness and corruption. They are racially and culturally
diverse and welcoming of aliens, but have conservative views on the roles
of women and binary gender roles.
Their issue with the Coalition isn’t religion, though. It’s about
autonomy. They want to be able to control their own destiny and not lose
their identity in the great melting pot that is the Coalition.
Novo Paolo is one of the few Fringe Worlds that has branched out
and established colonies of its own, albeit on other worlds and moons
within its own system. It is also the only Fringe World to have a notable
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fleet of starships and a mandate for exploration and colonization. The
world has aspirations of being a player on the galactic stage someday,
on its own terms.
There is a growing pro-Coalition movement on Novo Paolo, which
the government has been cracking down on. Some think this is being
spurred by FIA agents to create unrest, which is creating new tensions
with the Coalition.
Philosophy or Goal: It‟s not about religion, it‟s about independence
Scope: Planetary
Control: Planetary
Influence: System-wide
Military: Planetary and starship forces
Credits: Wealthy, with low income disparity
Intelligence: A strong intelligence force both on- and off-world
Trouble: Pro-Coalitionist movement stirring Trouble
WALDEN
Named for the book by Henry David Thoreau, Walden was begun
as a social experiment by those seeking a simpler, quieter life. Its
inhabitants make careful decisions about the technology that is available,
and the impacts each device could have on quality of life and social
relationships. It is largely agrarian, and the citizens of Walden are all
vegan, vegetarian, or in rare cases dependent largely upon geography
and availability of food, pesco-, lacto-, and/or ovo-vegetarian. Most
follow Buddhist or New Age spiritual ideologies.
Waldenites tend to have very warped and distorted views of the
Coalition. They view it as a fascist government seeking to stamp out
individuality and free thought, using technology to make people pliant
and willing to conform. They see themselves as champions of individuality
and heralds of a new universal peace that doesn’t rely on a strong
military complex like the Fleet to enforce.
Philosophy or Goal: Peace is natural, war is not
Scope: Planetary
Control: Planetary
Influence: Planetary
Credits: Abundant resources and bartering
Trouble: Pacifism leaves them completely defenseless
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YATHRIB
Yathrib is the original name for the city of Medina, where the
Prophet Mohammed united tribes of Muslims, Jews, Christians, and
pagans and formed the first Islamic State. The planet is a theocracy
governed by a form of radical Islam. The people of Yathrib believe that
the Coalition is controlled by Zionists who are actively plotting to Attack
and destroy their planet and kill their women, children, and elderly. Their
intelligence agency is considered a terrorist group by the Coalition,
because they carry out terrorist acts. At some point it will become a self-
fulfilling prophecy and the Coalition will send the Fleet in response to
Yathribi bombings.
Philosophy or Goal: The Coalition is Satan, and must be destroyed
Scope: Galactic
Control: Planetary
Influence: Anywhere their terrorist cells strike
Military: Planetary
Credits: Relatively poor
Intelligence: Yathrib Liberation Organization is a terrorist group
Trouble: Self-fulfilling prophecy
T’LENG EMPIRE
The first thing that you need to know is that there are T’Leng, and
there are T’leng, and confusing the two can get you killed. T’Leng (with a
capital ―L‖) are a species, the founders and rulers of the T’Leng Empire.
They are a proud, ancient warrior species and hold all high-level
government and military positions. T’leng (with a lower-case ―l‖) are
every other species that has been conquered or otherwise assimilated
into the T’Leng Empire. They no longer have their own cultures, customs, or
languages. They speak T’Lengli, dress as the T’Leng do, adopt T’Leng
hairstyles and facial hair (as applicable), and even engage in body
modification to look more like T’Leng. The T’leng are free citizens and are
nominally equal to the T’Leng, and have their own noble houses, power
bases, and positions of authority (including commanding starships), but no
T’leng have ever ascended to the absolute highest levels of authority in
anything.
If you mistake a T’Leng for a T’leng, you’ll be killed for implying
that he person you’re speaking to is of an inferior species or caste. If you
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mistake a T’leng for a T’Leng, he (or she) will kill you lest someone accuse
the T’leng of acting above their station and not showing proper respect
for the T’Leng. Essentially, you’ll be killed for insulting the T’Leng. If they
respect you, they’ll challenge you to a duel and give you a fighting
chance to save your life (they always duel to the death). If they don’t
respect you, they’ll just shoot you dead on the spot and be done with it. If
you really make them made, they’ll kill you slowly in painful, diabolical
ways.
It takes a trained ear to hear the subtle difference in pronunciation
between T’Leng and T’leng; T’Leng is pronounced with emphasis on the
LENG (tuh-LENG), and T’leng is pronounced with emphasis on the ENG
(tul-ENG).
While there are many Factions within the Empire, the only one that
most Fleet crew members will ever come in contact with is the Empire
itself.
Philosophy or Goal: Winning is everything
Scope: Galactic
Control: T‟Leng Empire
Influence: Galactic
Military: Powerful starship fleet and marines
Credits: Most of the Empire‟s budget goes to the military
Intelligence: Spies and stealth ships are everywhere
Trouble: Internal power plays are destabilizing the Empire

Gamemaster Characters
Supporting and recurring characters, including adversaries, should
be created using the same method as player characters. This will give
you a cast capable of giving the players either genuine support or real
difficulties. You should only have to create from 1 to 3 fully detailed
characters for any scenario, and you can use the pregenerated ones
below
REDSHIRTS
According to John Scalzi’s Hugo-winning science fiction novel
Redshirts, a redshirt is an expendable character. They may have a line of
two, but don’t get much in the way o meaningful dialogue. If they have a
name at all — many of them don’t, and are simple ―security officer #3‖
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or ―woman in sickbay‖ — it’s a partial name, usually a last name, like
Lieutenant Kerensky or Nurse Mandela. If they have a description, it’s
usually very generic or contains only one distinguishing feature, like ―the
tall one‖ or ―the one with the mustache.‖
Redshirts are there to serve a single purpose and then be swept
aside. On a television or a movie they’re extras, the people in the
background who are only there to make the world look less empty and
more real. When redshirts show up as bad guys, they’re the most
disposable kind — orcs, Nazis soldiers, stormtroopers, and so on.
The method of creating a redshirt is incredibly streamlined. They
get one Aspect, which describes their job in the story. T‟Leng soldier
guarding the brig. Merchant selling apples. Guy at engineering console.
That’s their whole character. When they need to make a role that’s
related to their Aspect, add +2. If they need to make a roll to do
anything else, it’s at -2. If you’re not sure if it’s something related to their
Aspect or not, roll and don’t add anything.
Redshirts do not get Fate Points so they cannot Invoke, Compel,
Overcome, or Create An Advantage. Their Aspect can be Invoked or
Compelled by player characters when appropriate.
What redshirts are really good at is dying. To be more precise,
they’re great at getting killed. They can have 1 or 2 Stress circles,
depending on how tough you want them to be, or even no circles at all,
meaning the first time they get hit they’re Taken Out. Redshirts don’t take
Consequence, either. When they’re out of Stress circles, they just fall
down.
Android
Androids look like humanoid beings, but with distinct differences
like unusual skin or eye color to make it clear that they are not human.
Aspects: Almost human, I understand it but I don‟t “get” it
Approaches: Clever +3, Careful and Forceful +2, Sneaky and
Quick +1, Flashy +0
Stunts: +2 when I Cleverly access data, +2 when I Forcefully lift
things
Stress ⃝⃝⃝ Refresh: 3

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Artificial Intelligence
An artificial intelligence is a computer, but it’s more like a character
than a gadget. They are stationary like consoles, but may have drones or
be able to move into other computers.
Aspects: I must destroy imperfection, I thought of that before you did
Approaches: Clever +3, Careful and Quick +2, Flashy and Sneaky
+1, Forceful +0
Stunts: +2 when I Cleverly predict Actions to Create An
Advantage, +2 when I Quickly foil the Actions of others
Stress ⃝⃝⃝ Refresh: 3
Binturong
The Binturong are laid back people who look like a cross between
a bear and a large cat. Most of them are farmers, herders, and other
sorts of ordinary folk.
Aspects: Come and relax with us, I do have fangs and claws you
know
Approaches: Flashy +3, Quick and Clever +2, Forceful and
Sneaky +1, Careful +0
Stunts: +2 when I Flashily show off my skills, +2 when I Quickly
Attack
Stress ⃝⃝⃝ Refresh: 3
Bureaucrat
Bureaucrats are the bane of the Fleet and the Coalition. They seem
to enjoy telling Fleet officers how to do their jobs, and love to second
guess those officers’ decisions and Actions.
Aspects: You will follow orders, I will have your job for this
Approaches: Flashy +3, Clever and Sneaky +2, Forceful and
Sneaky +1, Quick +0
Stunts: +2 when I Flashily give speeches, +2 when I Sneakily stab
someone in the back (metaphorically)
Stress ⃝⃝⃝ Refresh: 3
Entities, Observer
Observers look human and do their best to blend in so that their

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presence will not be discovered. If they are discovered, they will only use
their vast mental powers to protect themselves. Their mission is only to
watch and learn, but under extreme take Action.
Aspects: Look but don‟t touch, My powers are only for self-defense
Approaches: Quick +3, Careful and Clever +2, Forceful and
Sneaky +1, Flashy +0
Stunts: +2 when I Quickly use my power of illusion, +2 when I
Carefully try to knock a human unconscious
Stress ⃝⃝⃝ Refresh: 3
Entities, Director
Directors masquerade a humans, and often live on planets that are
too low-tech to qualify for Coalition membership so they’ll be left in
peace. They secretly manipulate human history and development, and
will intervene if things begin to go very badly.
Aspects: You are not yet ready for that, We are a powerful deus ex
machina
Approaches: Quick +3, Careful and Clever +2, Forceful and
Sneaky +1, Flashy +0
Stunts: +2 when I Quickly use my telekinetic powers, +2 when I
Cleverly diffuse a potentially violent situation
Stress ⃝⃝⃝ Refresh: 3
Entities, Picnicker
Picnickers appear to be human, but often dress in clothes from a
different time period. They have seemingly unlimited mental powers, and
are not shy about using them. They are dilettantes, slumming with human
beings because they’re looking for something interesting to do.
Aspects: Oh goody let‟s play, I can literally do anything I please
Approaches: Quick +3, Careful and Clever +2, Forceful and
Sneaky +1, Flashy +0
Stunts: +2 when I Quickly avoid your pitiful trap, +2 when I
Cleverly think of a way to upset your stupid, stupid plans
Stress ⃝⃝⃝ Refresh: 3

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Fringe Extremist
Regardless of their particular ideology or the specifics of their
discontent with the Coalition, Fringe extremists have a lot in common.
They’re all human, and they’re all working to somehow create grief and
havoc on some Coalition world or outpost.
Aspects: You say terrorist I say freedom fighter, I say hero you say
spy
Approaches: Forceful +3, Careful and Sneaky +2, Flashy and
Quick +1, Clever +0
Stunts: +2 when I Forcefully blow things up, +2 when I Sneakily
infiltrate my enemies
Stress ⃝⃝⃝ Refresh: 3
Futuron Overman
While these genetically engineered super-soldiers supposedly all
died out in the early 21st century, a few cryogenically frozen specimens
have turned up on old spaceships and in deep underground vaults. There
are likely more out there.
Aspects: Anything you can do I can do better, We were created to
rule
Approaches: Forceful +3, Clever and Quick +2, Flashy and
Sneaky +1, Careful +0
Stunts: +2 when I Forcefully intimidate people to get my way, +2
when I Quickly Attack with my telekinetic powers
Stress ⃝⃝⃝ Refresh: 3
God, Machine God
A machine god is an alien artificial intelligence that has lost sight of
its original task and now believes it is an all-powerful deity. They often
control ancient installations, and may have followers who have devolved
from their original creators.
Aspects: You must serve me as I serve you, I control everything I see
Approaches: Clever +3, Careful and Quick +2, Forceful and
Flashy +1, Sneaky +0
Stunts: +2 when I Cleverly determine something is wrong in my
realm, +2 when I Quickly use my resources to stop intruders.

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 Stress ⃝⃝⃝ Refresh: 3
God, Mythological God
Mythological gods are immortal, and powerful, aliens who once
visited Earth or other planets. They became legends, but they are very
real. They often differ significantly from the tales that have been told
about them, and are generally quite arrogant.
Aspects: You are like ants compared to my power, I draw strength
from your worship and fear
Approaches: Flashy +3, Forceful and Quick +2, Clever and
Sneaky +1, Careful +0
Stunts: +2 when I Flashily make an entrance to impress humans, +2
when I Forcefully use my powers to intimidate them.
Stress ⃝⃝⃝ Refresh: 3
God, Space God
A space god is non-humanoid creature of immense power. It may
be intelligent, or it may be animal-like, but its nature and instinct are
generally base and focused on food or reproduction. A space god will
destroy everything in its path to get at what it wants or needs.
Aspects: My appetites are beyond you ken, I am an irresistible force
and an immovable object
Approaches: Forceful +3, Careful and Quick +2, Clever and
Sneaky +1, Flashy +0
Stunts: +2 when I Forcefully Attack obstacles between me and my
target, +2 when I Quickly move to grab my target.
Stress ⃝⃝⃝ Refresh: 3
Merchant Trader
A merchant trader is an independent agent, roaming from world to
world, selling his or her wares and looking for new things to buy cheaply
and sell for a tidy profit in the next place. They are often shady con
artists, looking to make quick credits then disappear.
Aspects: I have exactly the thing that you need, You must have me
confused with someone else
Approaches: Sneaky +3, Clever and Flashy +2, Careful and

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Sneaky +1, Forceful +0
Stunts: +2 when I Sneakily try to get away, +2 when I Cleverly try
to talk someone into (or out of) something.
Stress ⃝⃝⃝ Refresh: 3
Pirate
The spacelanes aren’t as clogged with pirates as they used to be
thanks to the Fleet, but they do still exist. They steal and they smuggle,
and often work as spies for various Factions as well. All they care about
is having some adventure and getting rich while doing it.
Aspects: There‟s very little I won‟t do for money, I‟ve killed for less
Approaches: Quick +3, Clever and Flashy +2, Forceful and
Sneaky +1, Careful +0
Stunts: +2 when I Quickly strike with me blade, +2 when I Flashily
Defend myself.
Stress ⃝⃝⃝ Refresh: 3
Robots
While robots aren’t artificially intelligent, they’re still more like
characters than gadgets. They can be programmed for a variety of
tasks, most of which would be considered too menial or dangerous for a
human to perform.
Aspects: How may I serve you today?, I am designed to be virtually
indestructible
Approaches: Clever +3, Careful and Quick +2, Forceful and
Sneaky +1, Flashy +0
Stunts: +2 when I Cleverly access requested information, +2 when I
Quickly retrieve a desired object.
Stress ⃝⃝⃝ Refresh: 3
Time Traveler
Most people who claim to be time travelers are from the future,
and state that they have come back to fix something that has gone
wrong. They warn against changing the time stream, but they’re usually
here to change the time stream
Aspects: I know what happens but I can‟t tell you, I‟ve got to stop the

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thing to prevent the worse thing from happening.
Approaches: Clever +3, Careful and Sneaky +2, Quick and Flashy
+1, Forceful +0
Stunts: +2 when I Cleverly recall some bit of history, +2 when I
Carefully lie about my identity and mission.
Stress ⃝⃝⃝ Refresh: 3
Titanian
Tall, thin, pointy-eared and green-skinned aliens. They are highly
intelligent, highly educated, and perfectly rational about everything.
They are most commonly found working in the sciences or in politics.
Aspects: Reason is the only correct path, I have a great deal of
knowledge on that subject.
Approaches: Clever +3, Careful and Quick +2, Forceful and
Flashy +1, Sneaky +0
Stunts: +2 when I Cleverly use reason, +2 when I Carefully
perform a scientific task.
Stress ⃝⃝⃝ Refresh: 3
T’Leng
The T’Leng are a brutal warrior species, with complexly braided
hair, wispy facial hair (for men), and a fondness for knives and torture
techniques. Their culture is based on survival of the fittest and the
acquisition of power and glory.
Aspects: I will defeat you all costs, I have mastered several fighting
techniques
Approaches: Forceful +3, Careful and Clever +2, Quick and
Sneaky +1, Flashy +0
Stunts: +2 when I Forcefully Attack with a blade, +2 when I
Carefully aim and fire my emdor.
Stress ⃝⃝⃝ Refresh: 3
Transhumanist
The term transhumanist can mean many things, but in the Coalition it
is generally applied to people who want to merge their consciousness
with machines. They are willing cyborgs, or even androids carrying the

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memories and personalities of formerly living people.
Aspects: I am stronger and smarter than you are, I am virtually
indestructible and immortal
Approaches: Clever +3, Careful and Quick +2, Forceful and
Flashy +1, Sneaky +0
Stunts: +2 when I Cleverly try to convince you I am human, +2
when I Quickly move you block you from leaving to call the authorities.
Stress ⃝⃝⃝ Refresh: 3
Triexian
Triexians are reptilian humanoids and the galaxy’s greatest
engineers. They tend to have an inferiority complex because they don’t
get the recognition of humans and Titanians, and are generally shorter
than other species as well.
Aspects: I can build that, You don‟t appreciate me for who I am
Approaches: Clever +3, Careful and Sneaky +2, Forceful and
Quick +1, Flashy +0
Stunts: +2 when I Cleverly build or repair something, +2 when I
Sneakily upgrade or alter an existing device.
Stress ⃝⃝⃝ Refresh: 3
Zookeeper, Gatherer
Gatherers seem interested in collecting human specimens for study,
but do not mean them any physical harm. They usually have large heads
that look like external brains, impressive mental powers, and
communicate telepathically. Their skin is usually blue or gray, and they
were loose flowing robes that conceal and details about their bodies.
Aspects: We speak directly to your mind, We only wish to learn
about you
Approaches: Clever +3, Careful and Forceful +2, Flashy and
Sneaky +1, Quick +0
Stunts: +2 when I Cleverly project an illusion, +2 when I Forcefully
intimidate with an illusion.
Stress ⃝⃝⃝ Refresh: 3

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Zookeeper, Harvester
Harvesters are the worst of the zookeeper lot. They kidnap living
beings to amuse themselves, torturing them physically and emotionally,
and often making them fight in gladiator-style games. Harvesters are
physically weak and often immobile, so they hide themselves so that their
playthings cannot do them harm. Their mental powers are considerable.
Aspects: We can control you, Our minds make up for what our
bodies lack
Approaches: Clever +3, Careful and Forceful +2, Flashy and
Sneaky +1, Quick +0
Stunts: +2 when I Cleverly discover a subject’s weakness, +2 when
I Forcefully control a subject with my mind.
Stress ⃝⃝⃝ Refresh: 3
Zookeeper, Transplanter
The Transplanters are known to have taken human beings from
Earth and deposited them on other worlds hundreds or even thousands of
years ago. Each involuntary colony was placed in an area closely
approximating their native climate, implying they have advanced
terraforming skills. They seem to have vanished a few hundred years
ago, but accounts of the people they transplanted always report them as
looking like the transplanted.
Aspects: We see what we want you to, We can create a world to
your liking.
Approaches: Clever +3, Careful and Forceful +2, Flashy and
Sneaky +1, Quick +0
Stunts: +2 when I Cleverly disguise myself as a native, +2 when I
Carefully create a suitable environment for them.
Stress ⃝⃝⃝ Refresh: 3
MENAGERIE
Most animals can be created using the same simple system as
redshirts - use one Aspect to describe what they are and what they do,
give them +2 on rolls for things in line with what they do, -2 on rolls to do
things not related to their basic nature, and no bonus or penalty if you’re
not sure. Animals can have 0, 1, or 2 Stress circles depending on how

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tough you feel they should be, and take no Consequence to prevent them
from being Taken Out.
Below are a few creatures unique to the Starship Tyche universe.
Bargh
A bargh is a T’Leng boar-dog, a trained Attack animal with razor-
sharp tusks and equally sharp hooves. They are kept as pets, used a
guards, and have sensitive noses used for tracking and substance
detection.
Bargh: T‟Leng boar-dog
Stress ⃝
Civaht
The civaht is a Titanian housecat and a popular pet. They have
long, sabre-like canine teeth and reddish-brown fur. Their purring is said
to be more soothing than that of Earth cats, and it has been claimed they
can lull humanoids into a meditative state.
Civaht: Titanian cat
Stress ⃝
Cortical Slug
The cortical slug is a parasitic gastropod. It enters the body and
makes its way to the brain, where it attaches to the host’s nervous system.
The result is that the host becomes open to suggestion, hypnosis, and mind
control. It is used by various Factions for interrogation, but is officially
banned within the Coalition.
Cortical Slug: Mind-control gastropod
Stress: —
Gerald’s Locusts
The creatures known as Gerald’s Locusts are not insects, but asexual
mammals. They are small and furry like rabbits, but with no visible ears.
They are extremely cute, and originally spread as pets because they are
cuddly and gentle. They are also voracious eaters and reproduce
quickly. They are banned in both the Coalition and the T’Leng Empire
because like their namesakes they will eat every bit of plant matter
around, devastating crops, killing trees, and causing massive
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environmental damage.
Gerald’s Locusts: Invasive species
Stress ⃝
Lymphworms
Lymphworms are a type of fluke, or flatworm, which feed on B-
cells, T-cells, and white blood cells. They attach to lymph nodes, wiping
out the host’s immune system. They are one of the most common and
devastating parasitic infections in space.
Lymphworms: Parasitic flukes
Stress: —
Mythological Creatures
Much like mythological gods, many of the creatures from Earth’s
myth and legend were alien creatures. Some were brought along with
intelligent alien species, while others were intelligent species themselves
with forms humans took to be mere animals.
Game statistics for such creatures should be determined by the
gamemaster using the above guidelines. They should be written as
characters, redshirts, or animal depending upon their role in the story.
Serpentworms
Serpentworms are a form of parasitic flatworm that use herd
animals as hosts. They have a thin carapace similar to small crustaceans.
Serpentworms originate in the T’Leng Empire, where they are raised for
food, considered a delicacy, and eaten alive by the bowlful.
Serpentworms: Crunchy flatworms
Stress: —
Sunda Voles
The Sunda vole is a large rodent that is the most common type of
vermin found throughout space. They have somehow made their way onto
starships and spread to nearly every inhabited world by hiding in cargo
containers. They have a nasty bite and carry a variety of diseases.
Sunda voles: Giant rodent
Stress ⃝

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Oskilon
There are five inhabited planets in the Oskilon system. Each is
inhabited by humans, whose cultures all bear telltale signs that they were
placed there thousands of years ago by Zookeeper species known as the
Transplanters.
There is one warp-capable civilization, Ruvani, which is the primary
power in the sector. There are three planets with atomic power and
spaceflight capabilities, and one planet with a pre-atomic civilization.
There are no Coalition member planets or affiliates in the system, but
there is one Fleet space station, MK-10, set up as a relay and resupply
outpost. The system is located near T’Leng space, and T’Leng are present
in the system.
SECTOR HISTORY
A century ago four of the worlds in the Oskilon system developed
atomic power and limited spaceflight nearly simultaneously. The Ruvani
attempted pre-warp interstellar travel, and apparently attempted to
make peaceful contact with neighboring worlds. The Ruvani soon after
acquired warp capability, which they contend they developed on their
own, and shifted from peaceful exploration to making war on their
neighbors. This ended with atomic bombs being detonated on all four
worlds and the almost total destruction of the Ruvani homeworld.
The Ruvani managed to rebuild by trading their technology in
limited amounts with their neighbors in return for resources. This has led to
an uneasy peace in the sector. The Ruvani cannot survive without the
other worlds’ resources, and the people of the other planets fear the
Ruvani technological superiority and military might.
Ruvani, the Ruvani homeworld, has become a trading hub in the
sector. They exchange their own manufactured goods, and the resources
acquired from their neighbors, with both the Coalition and the T’Leng.
This makes the Oskilon system a vital diplomatic hub.
Coalition Station MK-10
Station MK-10 was placed in the Oskilon sector to establish a

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Coalition presence and offset the influence of the T’Leng Empire upon the
local planets. The decision to place it in orbit around Etrion was based
on that planet’s lower technology level, in an attempt to both protect it
from conquest and preserve its cultural innocence.
In addition to being a diplomatic hub, MK-10 also acts as a refuel
and resupply center for the sector, acquiring food, mineral, and other
resources from the Escarvon and Etrions.
Environment: Space Station
Technology: Coalition Standard
Resources: Non-Sustainable
Affiliations: Trade agreement with Escarvo and Etrion
Commander: Commander Olivia Rhodes
Escarvo
The Escarvo resemble African people from Earth, but have a culture
that has more in common with southeast Asians and Polynesian peoples.
The surface area of Escarvo is still recovering from being bombarded
during Ruvani War, with 48% of its surface area still a lifeless,
radioactive wasteland. It has enough resources to support its moderate
population. Most Escarvons live on or under the water, in floating cities
and domed habitats. Its exportable resources are farmed sea fauna and
hydroponically-grown flora.
The Escarvons act as diplomatic intermediaries between the
Coalition and the Ruvani. They tread lightly because they fear the Ruvani
and their allies, the T’Leng, but hope that the Coalition presence will be
enough to protect them should hostilities erupt.
There is a small colony of Olgiri on the planet, which acts as an
embassy, although there is no direct trade between the two planets and
communication is primarily via subspace transmissions.
Species: Escarvons (human standard, non-earth colony)
Environment: Hostile, in recovery (radiation, barren areas)
Technology: Atomic power, limited spaceflight
Resources: Sustainable
Affiliations: Trade agreement with Rutania, Diplomatic
relations with Olgiri
Leader: Suanus Ehglorth
Ambassador: Saieruta Aclorth
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Ecrillis
The Escrillians resemble the Australian Aborigines of Earth. The
surface area of Escrillis is still recovering from being bombarded during
Ruvani War, with 70% of its surface area still a lifeless, radioactive
wasteland. It has enough resources to support its small population.
Automated mining facilities process its mineral resources, which it trades
directly with the Ruvani.
There is a small colony of Olgiri on the planet, which acts as an
embassy, although there is no direct trade between the two planets and
communication is primarily via subspace transmissions.
Species: Ecrillians (human standard, non-Earth colony)
Environment: Hostile, in recovery (radiation, barren areas)
Technology: Atomic power, limited spaceflight
Resources: Sustainable
Affiliations: Trade agreement with Rutania
Diplomatic relations with Olgiri
Leader: Jogantu Astorix
Ambassador: Oskion Saetis
Etrion
The Etrions resemble inhabitants of Earth’s Indian subcontinent, and
have a level of technology equivalent to the Middle East during the
Medieval period of Earth history. Their world has plentiful resources, their
cultures are peaceful, and their people are generally friendly and
happy.
Prior to the arrival of the Coalition, the Etrions had already been
contacted by the Ruvani and established trade relations. Why the Ruvani
did not choose to conquer or exploit the Etrions is unknown, but it was a
factor in the Coalition’s decision to locate Station MK-10 in orbit around
the planet.
Species: Etrions (human standard, non-earth colony)
Environment: Wilderness
Technology: Pre-atomic (metallurgy), no spaceflight
Resources: Plentiful
Affiliations: Trade agreements with Rutania and Station MK-
10

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 Leader: Boexeinia Opuswin
Ambassador: Xunus Eglora
Olgiri
The surface area of Olgiri has largely recovered from being
bombarded during Ruvani War, with only 30% of its surface area still a
lifeless, radioactive wasteland. It has enough resources to support its
moderate population. Most Olgiri live in higher altitudes where colder
temperatures have somehow mitigated radiation. Their primary exports
are potable water, spices, healing herbs, medicines, and medical
technology. The practice of medicine has become the Olgiri religion.
The Olgiri have small colonies on Ecrillis and Escarvo, which acts as
embassies, Their real purpose, however, is to act as medical missionaries
and train the people of those planets in their medical techniques. there is
no direct trade between the planets and communication is primarily via
subspace transmissions.
The Olgiri resemble the people of Afghanistan on Earth, and dress
in much the same fashion, wearing loose robes, with men wearing long
beards. Both men and women wear turbans to contain their long hair,
which they do not cut.
Species: Olgiri (human standard, non-earth colony
Environment: Hostile in recovery (radiation, barren areas)
Technology: Atomic power, limited spaceflight
Resources: Sustainable
Affiliations: Trade agreement with Rutania
Diplomatic Relations with Ecrillis and Escarvo
Leader: Dhoopra Amsnarti
Ambassador: Teoyama Ulszichi
Ruvani
The Ruvani are varied in appearance, and resemble nearly every
species on Earth. Fully 96% of the planet surface remains uninhabitable,
and nothing grows there. The large population lives either underground
or in orbital colonies circling the planet’s equator.
They are entirely reliant on trade with other worlds to survive. It is
this dependence on alien goods that led them to forge trade agreements
with the T’Leng. They do not like the Fleet, however, and have refused
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diplomatic overtures by the Coalition because it would create tension
with their other trade allies. As other planets in the sector fear angering
the Ruvani, the Ruvani fear angering the T’Leng.
While the Ruvani claim to have developed warp technology on
their own, it is suspected that it was actually acquired from the T’Leng.
Information available makes it feasible for the Ruvani to have
encountered the T’Leng in their early explorations of space. The Ruvani’s
sudden turn from peaceful exploration to violent conquest of the sector
also strongly hints at T’Leng influence.
Species: Ruvani (human standard, non-earth colony)
Environment: Hostile (radiation, barren)
Technology: Atomic power, limited spaceflight
Resources: Limited
Affiliations: Trade agreements with Ecrillis, Escarvo, Etrion, and
Olgiri
Trade Agreements with the T’Leng Empire
Leader: Fuaenus Uplippe
Ambassador: Suaenus Ejtrion

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Reference
Dice Roll Result
Result = Dice Roll + Approach Bonus + Stunts Bonus + Invoked Aspects Bonus The Ladder
Outcomes +8 Legendary
 Fail: Your Result is lower
 Tie: Your Result is equal +7 Epic
 Success: Your Result is higher by 1 or 2 +6 Fantastic
 Success with Style: Your result is higher by 3 or more
Target Numbers
+5 Superb
 Easy Task: Mediocre (+0)—or success without a roll. +4 Great
 Moderately Difficult: Fair (+2). +3 Good
 Extremely Difficult: Great (+4).
 Impossibly Difficult: Go as high as you think makes sense. +2 Fair
Action: Create an advantage when creating or discovering aspects +1 Average
 Fail: Don’t create or discover, or you do but your opponent gets a
free invocation.
0 Mediocre
 Tie: Get a boost if creating new, or treat as success if looking for -1 Poor
existing.
 Succeed: Create or discover the aspect, get a free invocation on it. -2 Terrible
 Succeed with Style: Create or discover the aspect, get two free invocations on it.
Action: Create an advantage on an aspect you already know about
 Fail: No additional benefit.
 Tie: Generate one free invocation on the aspect.
 Succeed: Generate one free invocation on the aspect.
 Succeed with Style: Generate two free invocations on the aspect.
Action: Overcome
 Fail: Fail, or succeed at a serious cost.
 Tie: Succeed at minor cost.
 Succeed: You accomplish your goal.
 Succeed with Style: You accomplish your goal and generate a boost.
Action: Attack
 Fail: No effect.
 Tie: Attack doesn’t harm the target, but you gain a boost.
 Succeed: Attack hits and causes damage.
 Succeed with Style: Attack hits and causes damage.
Action: Defend
 Fail: You suffer the consequences of your opponent’s success.
 Tie: Look at your opponent’s action to see what happens.
 Succeed: Your opponent doesn’t get what they want.
 Succeed with Style: Your opponent doesn’t get what they want, and you get a boost.
Getting Help
 An ally can help you perform your action.
 When an ally helps you, they give up their action for the exchange and describe how they help.
 You get a +1 for each ally that helps in this way.
 The gamemaster may place limits on how many may help.

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Turn Order
 Physical Conflict: Compare Quick approaches—the one with the fastest reflexes goes first.
 Mental Conflict: Compare Careful approaches—the one with the most attention to detail senses danger.
 Everyone else goes in descending order. Break ties in whatever manner makes sense, with the gamemaster
having the last word.
 The gamemaster may choose to have all supporting characters go on the turn of the most advantageous
supporting character.
Stress and Consequences
 Severity of hit (in shifts) = Attack Roll minus Defense Roll
 Stress Circles: You can check one stress circle to handle some or all of the shifts of a single hit. You can
absorb a number of shifts equal to the number of the circles you check: one for Circle 1, two for Circle 2,
three for Circle 3.
 Consequences: You many take one or more consequences to deal with the hit, by marking off one or more
available consequence slots and writing a new aspect for each one marked.
o Mild = 2 shifts
o Moderate = 4 shifts
o Severe = 6 shifts
 Recovering from Consequences:
o Mild: Clear it at end of the scene.
o Moderate: Clear it at the end of the next session.
o Severe: Clear it at the end of the scenario.
 Taken Out: If you can’t (or decide not to) handle the entire hit, you’re taken out and your opponent decides
what happens to you.
 Giving In: Give in before your opponent’s roll and you can control how you exit the scene. You earn one or
more fate points for giving in
Approaches
 Careful: When you pay close attention to detail and take your time to do the job right.
 Clever: When you think fast, solve problems, or account for complex variables.
 Flashy: When you act with style and panache.
 Forceful: When you use brute strength.
 Quick: When you move quickly and with dexterity.
 Sneaky: When you use misdirection, stealth, or deceit.
Aspects
 Invoke: Spend a fate point to get a +2 or a reroll for yourself, or to increase difficulty for a foe by 2.
 Compel: Receive a fate point when an aspect complicates your life.
 Establish facts: Aspects are true. Use them to affirm details about you and the world.
Character Aspects
 Written when you create your character.
 May be changed when you reach a milestone.
Situation Aspects
 Established at the beginning of a scene.
 May be created by using the create an advantage action.
 May be eliminated by using the overcome action.
 Vanish when the situation ends.
Boosts
 May be invoked once (for free), then they vanish.
 May be eliminated by an opponent using an overcome action.
 Unused boosts vanish at the end of the scene.
Consequences
 Used to absorb shifts from successful attacks.
 May be invoked by your opponents as if they were situation aspects.

199
Starship Names
Abby Kelley Astrid Cleve Coretta Scott King
Abella Augusta Ada Byron Lovelace Cornelia Clapp
Aedesia of Alexandria Avital Ronell Daisy Bates
Agamede Babette Babich Damaris Cudworth Masham
Aglaonike Ban Zhao Dame Péronelle
Ágnes Heller Barbara Johnson Daphne Osborne
Agnes Mary Clerke Barbara McClintock Darshan Ranganathan
Agnes Pockels Baroness Mary Warnock Davida Teller
Agnes Pockels Beatrice Tinsley Deborah Estrin
Agnodike Beatrice Webb Dian Fossey
Alenka Zupančič Beatrix Potter Diane Nash
Alessandra Giliani Beatriz Galindo Diotima of Mantinea
Alexandra Smirnoff Berta Karlik Dolores Huerta
Alia Al-Saji Bertha Swirles Jeffreys Doreen Canfield
Alice Ambrose Beth Willman Doris Kuhlmann-Wilsdorf
Alice Ball Betsy Ancker-Johnson Dorotea Bocchi
Alice Catherine Evans Betty Friedan Dorothea Klumpke
Alice Cunningham Fletcher Bice Sechi-Zorn Dorothea Leporin Erxleben
Alice Eastwood Birutė Galdikas Dorothy Cotton
Alice Middleton Boring Bruria Kaufman Dorothy Crowfoot Hodgkin
Alice Paul Calrice di Durisio Dorothy Edgington
Alice Wilson Camilla Wedgwood Dorothy Lavinia Brown
Alison Jaggar Carla Fehr Dorothy Maud Wrinch
Alison McIntyre Carole Jordan E. K. Janaki Ammal
Alison Simmons Caroline Austin Edith Humphrey
Alison Wylie Caroline Herschel Edith Marion Patch
Almira Hart Lincoln Phelps Caroline Herzenberg Edith Quimby
Amalia Assur Carolyn Porco Edith Stein
Amalie Dietrich Carrie Chapman Catt Eleanor Anne Ormerod
Amanda Chessell Carrie Figdor Eleanor Carothers
Amelia Boynton Robinson Carrie Ichikawa Jenkins Eleanor Davies-Colley
Amélie Rorty Caterina Scarpellini Eleanor Roosevelt
Amy Allen Catharine Macaulay Elena Cornaro Piscopia
Andrea Christofidou Catherine de Parthenay Elinor Sneshell
Anita Roberts Catherine G. Wolf Elisabeth Camp
Anita Superson Catherine Littlefield Greene Elisabeth Christina von Linné
Ann Baynard Catherine Macaulay Elisabeth of Bohemia
Ann Cudd Catherine Malabou Elisabeth Vrba
Ann Druyan Catherine of Alexandria Elisabetha Koopman Hevelius
Ann Garry Catherine of Siena Eliza Luca Pinckney
Ann Haven Morgan Catherine Trotter Cockburn Elizabeth Blackwell
Ann Kiessling Catrina Bryce Elizabeth Cady Stanton
Ann Nelson Cécile DeWitt-Morette Elizabeth Cary Agassiz
Anna Åkerhjelm Cecilia Payne-Gaposchkin Elizabeth F. Fisher
Anna Atkins Celia Green Elizabeth Fulhame
Anna Baetjer Celia Grillo Borromeo Elizabeth Garrett Anderson
Anna Botsford Comstock Charlotta Frölich Elizabeth Laird
Anna J. Harrison Charlotte Moore Sitterly Elizabeth Peratrovich
Anna Komnene Charlotte Murchison Elizaveta Karamihailova
Anna Maria van Schurman Charlotte Perkins Gilman Ella Baker
Anna Maria Walker Charlotte Witt Ellen Churchill Semple
Anna Morandi Manzolini Chiara Nappi Ellen Eglui
Anna Nagurney Chien-Shiung Wu Ellen Gleditsch
Anna Stecksén Chris Cuomo Ellen Swallow Richards
Anna Sundström Christia Mercer Elsa Beata Bunge
Anna Volkova Christiane Bonnelle Elsie Whetnall
Anna Winlock Christiane Nüsslein-Volhard Elsie Widdowson
Anne Louise Germaine de Staël Christina Roccati Émilie du Châtelet
Anne McLaren Christine de Pizan Emilie Martin
Annette Baier Christine Korsgaard Emilie Snethlage
Annie Jump Cannon Claire F. Gmachl Emily Arnesen
Annie Lorrain Smith Claire Fagin Emily Blackwell
Annie Russell Maunder Clara Eaton Cummings Emily Elizabeth Constance Jones
Antoinette Brown Clara Immerwahr Emily Roebling
Antonia Caetana Maury Clara Luper Emma Goldman
Aphra Behn Claudia Alexander Emmeline Pankhurst
Arete of Cyrene Clémence Royer Emmy Noether
Aristoclea Cleopatra Emmy Noether
Artemisia of Caria Clotilde Tambroni Emmy Rappe
Asha Kolte Constance Calenda Empress Theodora
Aspasia Constanza Enheduanna

200
Esther Conwell Ioanna Kucuradi Lastheneia of Mantinea
Ethel Sargant Irène Joliot-Curie Laura Bassi
Ethel Shakespear Isabella Bird Bishop Laura Cereta
Etheldred Benett Isabella Cortese Laura Linton
Eva Ekeblad Isabella Gordon Laurie Shrage
Eva Kittay Isabella Losa Leona Woods
Evans Hayward Isabelle Stone Leontion
Evelyn Boyd Granville Isala Van Diest Lera Boroditsky
Ewa Ziarek Isis Pogson Lilavati
F. Gwendolen Rees Jacobina Félicie Lili Bleeker
Fannie Lou Hamer Jane Addams Linda B. Buck
Fanny Gates Jane C. Wright Linda Martin Alcoff
Faustina Pignatelli Jane Colden Linda Trinkaus Zagzebski
Faye Ajzenberg-Selove Jane Goodall Lisa H. Schwartzman
Fiona Wood Jane Haldimand Marcet Lisa Kaltenegger
Florence Annie Yeldham Jane Heal Lisa Randall
Florence Bascom Jane Sharp Lise Meitner
Florence Cushman Jane Webb Loudon Loredana Marcello
Florence Nightingale Janet Broughton Lorella M. Jones
Florence R. Sabin Janet Darbyshire Louisa Martindale
Frances Egan Janet Radcliffe Richards Louise Antony
Frances Hugle Janine Connes Louise Dolan
Frances Wright Jantina Tammes Louise du Pierry
Frankie Muse Freeman Jean Thomas Louise Hammarström
Frieda Robscheit-Robbins Jeanne Dumée Lovisa Årberg
G. E. M. Anscombe Jeanne Villepreux-Power Luce Irigaray
Gabrielle Howard Jenann Ismael Lucia Galeazzi Galvani
Gabrielle Suchon Jennifer Hornsby Lucy Burns
Gail Fine Jennifer Lackey Lucy Hobbs Taylor
Gail Hanson Jennifer Saul Lucy Stone
Gayatri Chakravorty Spivak Jennifer Whiting Lucy Wilson
Geneviève Charlotte d'Arconville Jenny Rosenthal Bramley Luise Meyer-Schutzmeister
George Eliot Jessica Wilson Lydia Goehr
Georgia Warnke Jill Tarter Lydia Maria Adams DeWitt
Gertrude B. Elion Jo Ann Robinson Lynn Margulis
Gertrude Neumark Joan Beauchamp Procter Lynne Tirrell
Gertrude Scharff Goldhaber Joan Callahan Magda Ericson
Gerty Theresa Cori Jocelyn Bell Burnell Magistra Hersend
Gillian Bates Johanna Eyreinov Malala Yousafzai
Giuseppa Eleonora Barbapiccola Johanna Hedén Mamie Clark
Gspecies Cook Johanna Levelt Sengers Marcia Baron
Gspecies Hopper Johanna Mestorf Marcia Keith
Hanna Hammarström Josephine Kablick Marcia McNutt
Hannah Arendt Josephine Silone Yates Marcia Neugebauer
Harriet Brooks Joy Crisp Margaret A. Stanley
Harriet Martineau Judith Butler Margaret Bryan
Harriet Taylor Mill Judith Jarvis Thomson Margaret Burbidge
Heather Couper Judith Sargent Murray Margaret Cavendish
Hedda Andersson Judy Franz Margaret Chan
Helen Beebee Judy Shepard Margaret Crosfield
Helen Dean King Julia Annas Margaret Dauler Wilson
Helen Flanders Dunbar Julia Kristeva Margaret Eliza Maltby
Helen Knight Julia Lermontova Margaret G. Kivelson
Helen Longino Julia Ward Howe Margaret Gilbert
Helen Megaw Julie Vinter Hansen Margaret Kennard
Helen Quinn Juliet Floyd Margaret MacDonald
Helen T. Edwards Juliet Lee-Franzini Margaret Mead
Hélène Cixous June Almeida Margaret Murray
Heloise Karen Vousden Margaret Urban Walker
Henrietta Swan Leavitt Karolina Widerström Margarete Kahn
Herrad of Landsberg Kasturba Gandhi Margo Wilson
Hertha Marks Ayrton Kate Gleason Margrete Heiberg Bose
Hertha Sponer Kate Sheppard Margrete Heiberg Bose
Hilde Lindemann Katharine Blodgett Marguerite de la Sablière
Hildegard of Bingen Katharine Way Marguerite Perey
Hipparchia of Maroneia Katherine Esau Marguerite Williams
Holly Martin Smith Kathleen Jannette Anderson Maria Ardinghelli
Hypatia of Alexandria Kathleen Lonsdale Maria Carmelo Lico
Ida Freund Kathryn Gines Maria Christina Bruhn
Ida Henrietta Hyde Kathryn Norlock Maria Clara Eimmart
Ida Noddack Tacke Kirstine Meyer Maria Cunitz
Ida Tacke Noddack L. Susan Stebbing Maria Czaplicka
Inge Lehmann Lady Anne Finch Conway Maria Dalle Donne
Ingrid Daubechies Lady Mary Shepherd Maria Gaetana Agnesi

201
Maria Goeppert-Mayer Mildred Trotter Ruth Millikan
Maria Gordon Mileva Einstein-Maric Sally Haslanger
Maria Incarnata Milla Baldo-Ceolin Sally Scholz
Maria Jansson Miriam Solomon Sandra Faber
Maria Lullin Misha Mahowald Sandra Harding
Maria Margarethe Kirch Muriel Wheldale Onslow Sara Josephine Baker
Maria Medina Coeli Myriam Sarachik Sarah Frances Whiting
Maria Mitchell Nadezhda Olimpievna Ziber-Shumova Sarah Sophia Banks
Maria Pettracini Nancey Murphy Sau Lan Wu
Maria Sibylla Merian Nancy Cartwright Seana Shiffrin
Maria Skłodowska-Curie Nancy Fraser Seyla Benhabib
Maria Telkes Nancy M. Dowdy Sharon Lloyd
Maria Zuber Nancy Sherman Shirley Jackson
Marian Koshland Nancy Snow Simone de Beauvoir
Marie Anne Victoire Pigeon Naomi Scheman Simone Weil
Marie Crous Naomi Zack Sofia Kovalevskaya
Marie de Gournay Nel Noddings Sonia Schlesin
Marie Durocher Nellie Stone Johnson Sophia Brahe
Marie Foster Nettie Stevens Sophia Eckerson
Marie Gillain Boivin Nicole-Reine Lepaute Sophia Jex-Blake
Marie Lachapelle Nina Byers Sophie Germain
Marie Marguerite Bihéron Ninni Kronberg Sor Juana
Marie Pasteur Noëlle McAfee Stephanie Kwolek
Marie Paulze Lavoisier Noemie Benczer Koller Sulamith Goldhaber
Marie Stopes Nomy Arpaly Susan B. Anthony
Marie-Jeanne de Lalande Nora Lilian Alcock Susan Blackmore
Marietta Blau Ofelia Schutte Susan Greenfield
Marija Gimbutas Olive Thorne Miller Susan Haack
Marilena Chaui Olympe de Gouges Susan Hurley
Marilyn Frye Onora O'Neill Susan Mendus
Marilyn McCord Adams Pamela Gay Susanna Schellenberg
Marion Cameron Gray Pamela Hieronymi Susanne Bobzien
Marjorie Grene Patricia Churchland Susanne Langer
Marjorie Sweeting Patricia Cladis Susanne Sreedhar
Martha Chase Patricia Kitcher Suzanne Cory
Martha Daniell Logan Patsy Sherman Suzy Kassem
Martha Haynes Peg Birmingham Sybilla Masters
Martha Klein Peg O'Connor Tamar Gendler
Martha Nussbaum Peggy DesAutels Tamara King
Mary Adela Blagg Pelageya Polubarinova-Kochina Tapputi-Belatekallim
Mary Agnes Meara Chase Penelope Deutscher Tarquinia Molza
Mary Albertson Penelope Maddy Tatjana Ehrenfest-Afanassjewa
Mary Albertson Peseshet Teresa Blankmeyer Burke
Mary Anning Petronella Johanna de Timmerman Teresa of Avila
Mary Astell Philippa Foot Theano
Mary Brush Phyllis S. Freier Thelma Z. Lavine
Mary Engle Pennington Phyllis Starkey Themistoclea
Mary Hesse Praskovja Uvarova Theodora Lisle Prankerd
Mary Jane Rathbun Prathia Hall Thomasia de Mattio
Mary K. Gaillard Priyamvada Natarajan Trota of Salerno
Mary Kate McGowan Pythias of Assos Tullia d'Aragona
Mary Kies Rachel Lloyd Ursula Franklin
Mary L. Cartwright Rae Helen Langton Ursula M. Cowgil
Mary Leakey Raya Dunayevskaya Val Beral
Mary Louise Gill Rebecca de Guarna Valerie Tiberius
Mary Midgley Renata Kallosh Vera Bogdanovskaia
Mary Murtfeldt Renata Salecl Vera Popova
Mary Olliden Weaver Rigoberta Menchú Vera Rubin
Mary Somerville Rita Levi-Montalcini Victoria Lady Welby
Mary Treat Roberta Bondar Victoria Woodhull
Mary Walker Rosa Luxemburg Virginia Held
Mary Watson Whitney Rosa Parks Walborg and Karin Jota
Mary Whiton Calkins Rosa Smith Eigenmann Wang Zhenyi
Mary Wollstonecraft Rosalie Fougelberg Williamina Fleming
Maud Menten Rosalind Franklin Winifred Goldring
Mechthild of Magdeburg Rosalind Hursthouse Xide Xie (Hsi-teh Hsieh)
Melba Phillips Rosalyn Sussman Yalow Yelena Saparina
Melissa Rosemary Radford Ruether Yvette Cauchois
Mercuriade Rózsa Péter Yvonne Barr
Merit Ptah Ruby Payne-Scott Yvonne Choquet-Bruhat
Michèle Le Doeuff Ruth Barcan Marcus Zonia Baber
Mildred Dresselhaus Ruth Benedict Zora Neale Hurston
Mildred Rebstock Ruth Chang Zsófia Torma

202
Open Game License Version 1.0a
The following text is the property of Wizards of the Coast, Inc. and is Copyright 2000 Wizards of the Coast, Inc. (―Wizards‖).
All Rights Reserved.
1. Definitions: (a)‖Contributors‖ means the copyright and/or trademark owners who have contributed Open Game Content;
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15 COPYRIGHT NOTICE
Open Game License v 1.0 Copyright 2000, Wizards of the Coast, Inc.
Diaspora © 2009, VSCA Publishing. Authors Brad Murray, C.W. Marshall, Tim Dyke, and Byron Kerr.
DramaSystem SRD © 2013 Robin D. Laws by arrangement with Pelgrane Press. Developed, authored, and edited by Robin D.
Laws.
Fate Core System and Fate Accelerated Edition © 2013 by Evil Hat Productions, LLC. Developed, authored, and edited by
Leonard Balsera, Brian Engard, Jeremy Keller, Ryan Macklin, Mike Olson, Clark Valentine, Amanda Valentine, Fred Hicks, and Rob
Donoghue.
Starship Tyche © 2013 Berin Kinsman. Author Berin Kinsman
Index
Alcubierre drive, 10, 12, 17, 18, 28, 29 203
Android, 127, 181 Establishing Facts, 105
Approaches, 40 Fate Points, 7, 39, 43, 51, 99, 102, 104, 105,
Artificial intelligence, 10, 14, 23, 29, 116, 125, 106, 108, 162, 181
182, 185 Firearms, 129
Aspect, 31, 32, 35, 38, 39, 52, 53, 57, 60, 63, Fold, 13, 28, 118, 123
66, 69, 72, 75, 78, 81, 84, 87, 90, 91, 92, Fringe World, 20, 79, 91, 139, 165, 170, 177
94, 95, 97, 102, 103, 104, 105, 107, 108, Futuron, 15, 16, 123, 185
111, 112, 113, 135, 163, 164, 166, 181, Gadget, 113, 114, 119
190, 206 Gamemaster, 4, 6, 7, 8, 30, 32, 34, 35, 36, 38,
Astral Date, 132 43, 47, 51, 52, 53, 54, 60, 93, 96, 97, 98,
Attack, 14, 22, 44, 45, 47, 48, 49, 50, 67, 68, 99, 100, 101, 102, 103, 110, 111, 114, 123,
93, 96, 97, 99, 100, 102, 103, 104, 106, 125, 136, 146, 147, 148, 149, 150, 151,
114, 123, 136, 138, 139, 140, 143, 144, 155, 157, 158, 159, 160, 161, 162, 192,
159, 160, 161, 179, 182, 185, 186, 188, 198, 199
191, 198, 199 Gatherer, 25, 189
Binturong, 22, 32, 37, 46, 73, 74, 75, 171, 182 Genetic engineering, 16, 123
Boosts, 91, 92, 157, 199 Giving In, 108, 199
Challenges, 100 Harvester, 190
Character Aspects, 91, 199 Invoking Aspects, 99, 102, 103
Coalition, 10, 13, 16, 20, 21, 22, 27, 28, 29, Observers, 26, 28, 182
36, 45, 51, 58, 64, 69, 73, 74, 87, 110, 111, Overcome, 25, 47, 48, 92, 93, 95, 97, 99, 100,
120, 122, 123, 125, 126, 127, 129, 130, 101, 102, 110, 114, 123, 136, 137, 138,
131, 132, 137, 138, 139, 142, 152, 164, 140, 142, 143, 159, 160, 161, 166, 181,
166, 167, 168, 169, 170, 171, 172, 173, 198
174, 175, 176, 177, 178, 179, 182, 184, Parallel dimensions, 125
185, 188, 191, 193, 194, 195, 197 Picnickers, 26, 28, 184
Communication, 17, 18, 21, 98, 100, 119, 194, Psionics, 35, 46, 105, 147
195, 196 Replicator, 118, 119
Compelling Aspects, 104 Science, 4, 29, 46, 55, 61, 64, 82, 84, 85, 118,
Computer, 14, 41, 44, 58, 83, 94, 115, 116, 121, 133, 147, 150, 168, 180
117, 120, 132, 146, 182, 203 Situation Aspects, 91, 98, 107, 155, 157, 199
Conflicts, 100, 102, 159 Starships, 3, 60, 133, 134
Consequences, 50, 92, 96, 107, 109, 136, 137, Stress, 48, 50, 64, 92, 96, 106, 107, 108, 134,
138, 139, 140, 141, 142, 199, 206 136, 137, 138, 139, 140, 141, 142, 144,
Console, 117, 118, 119 181, 182, 184, 185, 186, 187, 188, 189,
Contests, 100, 101, 160 190, 191, 192, 199, 206
Create An Advantage, 47, 49, 91, 93, 94, 97, Stunts, 42
99, 100, 104, 112, 113, 114, 144, 159, 160, Supporting characters, 1, 35, 148
161, 166, 181, 182 Taken Out, 106, 107, 108, 128, 145, 181, 191,
Dazzler, 41, 42, 47, 64, 73, 82, 85, 94, 96, 199
102, 103, 110, 128, 154, 155 Telemeter, 115, 119, 120, 121, 122
Defend, 47, 48, 49, 50, 76, 92, 93, 94, 95, 96, The Ladder, 91, 160, 198
97, 99, 100, 102, 106, 114, 136, 137, 139, Time travel, 124, 125
140, 141, 142, 144, 159, 160, 161, 187, Titanian, 13, 32, 37, 82, 83, 84, 103, 170, 188,
198 191
Directors, 26, 27, 28, 184 Transplanter, 24, 190
Emdor, 128, 129, 188 Triexian, 32, 37, 38, 41, 67, 172, 189
Entities, 13, 26, 27, 46, 182, 184 Turn order, 98, 99, 102, 159
Equipment, 2, 13, 29, 31, 42, 45, 61, 86, 101, Uniform, 58, 70, 85, 88, 130, 131
110, 112, 117, 119, 121, 131, 138, 142, Zookeeper, 24, 189, 190, 193

204
 Starship Tyche
Character Record Sheet
NAME

High Concept Aspect Rank, Position, Species/Culture

Trouble Aspect

Other Aspects

Approaches 1-Mediocre (+0) 2-Average (+1) 2-Fair (+2) 1-Good (+3)

Careful: Flashy: Quick:

Clever: Forceful: Sneaky:

Stunts
May take three Stunts without reducing refresh

Stress ⃝⃝⃝
Consequences
Mild (2 shifts):

Moderate (4 shifts):

Severe (6 shifts):

Refresh:
Default is 3, minus 1 for each extra Stunt

205