>The last round of playtesting has allowed me to refine things which were added in after the first blind playtests, plus included a few additional refinements.

Modified ‘safety’ section

  • Following Kristin’s comment about the value of highlighting up front in Bluebeards Bride the powerful nature of the stories, I’ve added something about that.
  • I’ve also separated out ‘veils’ and X-card, so that they have equal weight and talk a bit more about setting veils.

Modified ‘cards’ section

  • There was confusion about what misfortune meant, so I’ve clarified that misfortune means that the scene ends badly for the resistance, and it is supposed to be emotionally tough for you.
  • For each card I’ve given a one-liner about what the scene is about, and then the examples in a second paragraph, to make sure that the key information is harder to overlook or mistake.

Modified ‘chapters’ section

  • Added a note about the game aids ‘attitudes’ and highlighted that they are most useful for Arrival, Mission and Interlude chapters. Probably not useful for Capture and Prison chapters

Modified ‘Character Creation’ section

  • The first question is now ‘who are you’ with simplified nationality and background (because people always start talking about that when they are answering speak french anyway!). ‘How come you speak French’ is now the second question.
  • ‘Why did you join’ now has a bit of extra text that points out that although some came to the attention of the SOE accidentally, everyone who signed up understood the risks.
  • The last question is now ‘what is your cover story?’ I did like having the simplicity of ‘what is your codename?’ - but I agree with the playtesters that understanding something of your cover story before being thrown into making it up in the first scene wasn’t great. So here I ask people to choose their french codename, tell them that they are drilled over and over about their cover story, give some examples of cover stories, and also where you are due to stay in France.
  • After the encouraging word from the pilot, the last paragraph tells you to name your SOE section leader on a card - in the games to date nobody ever does anything with them, but they were key people, and the relationship with them is significant, so we get someone on the table for them straight away.

Modified ‘chapters’ briefing historical examples

  • For ‘mission’ I’ve added a new example for ‘clubs’ - where Odette didn’t trust a defecting German but was overruled, and he would eventually destroy that section (I might change it for Dericourt once I’ve found some additional information about him). I love the Sonia Butt example, and that makes more sense as Diamond (because it ends well rather than ending badly). I don’t really want to take Pearl Witherington out, so I’ve (rather clumsily) left both in there. It’s tricky because one is about the very personal scale interactions in dangerous situations while the other shines a light on just how influential these women could be.
  • In the ‘interlude’ chapter for clubs I’ve simplified the example to highlight a single aspect - the friendly nuns who were sent away to a concentration camp.

Modified ‘Conclusion’ section

  • I’ve restructured this so that the order when reading it is correct (listening to play I noticed that the order was a little confusing). Now it clearly says that you secretly choose what you want to do with the card. Then it talks about donations, then it talks about what happens if you have one, more than one or no cards.
  • Considering Erin’s question, I’ve mentioned that if you have been playing blind you can use to use the last card blind too, or you can choose to look at it - but looking at the card may make your choice harder though. (For instance, if you look and your card is black, you may be less likely to donate that card to someone that you would like to see rescued, knowing that it might be the card that kills them in the concentration camp).

Modified ‘variant rules’ section

  • I’ve added a paragraph with is the start of rules for playing the game solo (which I’m calling ‘diary mode’). Just a placeholder there.

Modified ‘name lists’ section

  • I’ve added German ranks (with their allied equivalents) since someone asked for it.

New ‘scene prompts’

  • I know that Peggy and the others though that the scene prompts as they were said too much about a scene. I think it was partly because those prompts were not designed primarily for experienced players (and it is interesting that in the later scenes they did find them helpful).
  • However, I like the idea of giving simpler prompts, so I’ve added this new section called ‘scene prompts’ which are just very brief one-liners that can be used to set a scene for any of the card suits.

Old scene prompts now renamed as ‘scene suggestions’

  • Considering that these are more fully formed scenes, I’m calling these scene suggestions instead... they are not just an idea, they are a fully formed scene which you can use.
  • I highlight that these prompts are completely optional, give ideas for scenes which are compatible with the card suits, the tone of the game and the times of the war.
  • Because attitude prompts are now available, in the first three chapters (arrival, mission, interlude) I’ve stopped being prescriptive about how the supporting character feels, but ask the question about how they react (in most cases). Some rewording of the prompts were necessary to make this work.
  • I’m suggesting the section leader as a key supporting character in many of these to bring them in more.
  • I’ve been able to think of a 6th entry for some more of them, hopefully I can get the rest before long (suggestions *very* welcome!)

Modified ‘attitude prompts’

  • I’ve added an extra couple of sentences to clarify that these are best used for Allied supporting characters in the Arrival, Mission and Interlude chapters. if interacting with an enemy (Milice, soldiers, gestapo) it doesn’t make sense; similarly the Capture and Prison scenes it is going to be much more obvious what is an appropriate attitude for the NPCs when the scene is set - whether because of the nature of the scene, or because you are interacting with a supporting character which you’ve already got a relationship with.

Other Posts about A Cool and Lonely Courage