TEXT: HAYLEY GORDON
  The
  wind
  and the
  waves
  A SCENARIO FOR ALAS FOR THE AWFUL SEA
  
  A desperate lover, a loyal kinsman and a haunted 
  outcast. By all accounts it would have been better 
  if there had been no reunion, if the two families 
  had never met again. But blood is hotter than 
  prudence, and rage, passion and revenge make 
  fuel for the most dangerous of ﬁ res.
  The Wind and the Waves is a scenario for 1 to 3 
  players. It explores love, family, duty, and which of 
  these you choose to follow when all three collide.
  Alas for the Awful Sea by Storybrewers Roleplaying
  Editing: Vee Hendro
  Layout Design: Vee Hendro
  Cover Illustration by P. Neumann, Public Domain
  
  1
  THE WIND 
  AND THE 
  WAVES
  T
  he Wind and the Waves is a short scenario about love, family,  
  and duty, and which of these you hold most dear. It is designed for 
  one, two, or three players, and contains its own character creation process.  
  The themes and tone of this scenario are typical of Alas for the Awful Sea, 
  making it a great one-shot for a group of players looking to see what the game 
  is all about. 
  This scenario is based around character descriptors, and is a good 
  introduction to this feature of the ruleset. You can read more about descriptors 
  on page 54 of the core book.
  The Wind and the Waves revolves around three central characters, the Lover, 
  the Kinsman, and the Outcast. In it, the Lover and their Kinsman journey 
  over the Minch to find the object of the Lover's affection (the Loved), 
  and bring them back across the sea. However, the situation between the 
  Kinsman's family, and that of the Loved, is complex and explosive. 
  
  2
  THE WIND AND THE WAVES
  Once, the Loved and their family were tenant 
  farmers on the Kinsman's land. However,  
  two years ago they were evicted, by the 
  Kinsman and their relatives, to make room 
  for sheep. Since then, the Loved’s family have 
  relocated to the only land they could find –  
  a barren island – and have suffered the loss of 
  their Grandfather, their brother, and finally, 
  their Father. 
  The Outcast is a member of the Loved’s family. 
  After the evictions, the Outcast committed 
  a desperate act, or indulged in a forbidden 
  pleasure, for which their family has never 
  forgiven them.
  THE LOVED
  In this scenario, the Lover travels 
  across the Minch in order to 
  reunite with the object of their 
  affections, who lives with their 
  family on a remote island. 
  The name and characteristics of 
  this person are determined during 
  character creation. For clarity, 
  we'll refer to this person as  
  the Loved. 
  The Loved is also a relative of  
  the Outcast. 
  THE LOVER
  THE LOVED
  THE OUTCAST
  THE KINSMAN
  family
  family
  lovers
  
  3
  HAYLEY GORDON • THE WIND AND THE WAVES
  As the scenario begins, the Kinsman and the Lover have arrived in the 
  quiet of a cold, moonlit night, at the island where the Outcast's family live.  
  What happens next is up to the players.
  The emotional power of this scenario comes from its very specific character 
  creation process, which establishes and cements the motivations that drive the 
  characters. Each character has a strong desire or commitment which compels 
  them to act:
   
  ̢ The Lover is driven by a deep and passionate love.
   
  ̢ The Kinsman is driven by a burning need to keep themselves and their 
  family member safe, no matter what the cost.
   
  ̢ The Outcast is driven by their need for acceptance and reunion with their 
  family. But at the same time, they also know that the appearance of the 
  Lover and their stubborn desire for the Loved, might offer them the 
  chance for a new life.
  The conflicts inherent in these desires will drive the scenario forward. But as 
  tensions escalate, the GM can also draw on obstacles and dangers that will 
  force the player characters to make hard choices, face their vulnerabilities,  
  and test their beliefs.
  OPTIONAL X-CARD RULES
  We recommend you use the x-card when playing this scenario. The X-card 
  is a tool created by John Stavropoulos that allows players to edit out content 
  anyone is uncomfortable with during play. Find out more about the X-card 
  and how to use it here: http://tinyurl.com/x-card-rpg
  
  4
  THE WIND AND THE WAVES
  ABOUT THIS SCENARIO
  SCENARIO INFO
  GAME LENGTH
  One to two sessions
  PLAYER NUMBERS
  1 to 3
   
  DIFFICULTY TO GM
   
  The set up and structure of this scenario are 
  outlined in detail, and the first part of the scenario 
  is easy to run. The second part is a little more 
  difficult, as it calls for GM discretion and creativity 
  in deciding what should happen next in order to 
  bring the scenario to a climax, and resolution.
  THEMES AND TONE
  RELATIONSHIPS & 
  OBLIGATIONS
  
  ADVENTURE & 
  EXPLORATION 
  
  POLITICS, CRIME & 
  REBELLION
  
  FOLKLORE, MYTH & 
  MYSTERY
   varies depending on GM choices.
  MATURE THEMES
  If the Outcast is in play, this scenario may contain 
  player vs player conflict. But hey, what PtbA 
  game doesn't?
  
  5
  HAYLEY GORDON • THE WIND AND THE WAVES
  APPROACHING THIS SCENARIO
  Before we walk you through how to run this scenario, there's a few things that 
  are important to mention.
  Firstly, this is a scenario, not an adventure. In the sections below, you'll find 
  the set up, background information, introduction, and opening to the game. 
  From there, it's entirely up to you and the players to decide what exists in the 
  world, and what occurs in the game (provided it fits in with the background 
  information). Use the details the players provide during set up, to shape a 
  game that fits the theme of the scenario.
  To help you run the Wind and the Waves, we've included a few suggestions as 
  to obstacles and dangers the player characters might face. Whether or not 
  you use any of this material is up to you. The scenario will work best if you 
  supplement the ideas we've provided with additional conflicts based on the 
  actions of the player characters.
  GM PRINCIPLES FOR THIS SCENARIO
  This scenario is about the clash between love, family, duty, and survival. 
  To bring this conflict to life, we have added two extra GM principles.  
  These principles are variants of those always at work in Alas for the Awful Sea, 
  adapted for the theme of this scenario.
  FOCUS ON RELATIONSHIPS
  This scenario is driven by relationships, and the tough decisions that exist as 
  the result of an overlapping web of connections. Specifically, it is about the 
  relationship between:
   
  ̢ The Lover and the Loved
   
  ̢ The Lover and the Kinsman, and the family of the Loved
   
  ̢ The Outcast and the Kinsman
   
  ̢ The Outcast and their family
  There will be dangers and obstacles in this scenario for the player characters 
  to face. It's not about those. Use dangers and obstacles to tell the tale of these 
  relationships. Bring them into the story to force characters to face each other. 
  Whether they choose to fight, or to work together to overcome adversity,  
  is up to them.
  
  6
  THE WIND AND THE WAVES
  SEEK OUT HARD DECISIONS. A LOT.
  Seeking out hard decisions and tough choices is one of the GM principles 
  that always underpins Alas. However, in this scenario, hard decisions are 
  particularly important. Make choices difficult for the player characters,  
  by putting two things they want in opposition. For example, the Lover may 
  not want to hurt the brother of the Loved, but if they don't take action against 
  him their Kinsman will be shot. 
  The Outcast may not want to sail through haunted waters, but if they don't, 
  a member of their family will be lost forever. This scenario will fall flat unless 
  the player characters are constantly making tough decisions. Fortunately, there 
  are a lot of different sides and desires in this scenario that make generating 
  tough choices a natural part of play.
  LEAVE AS MUCH AS YOU CAN TO THE PLAYERS
  In general, you should let the players drive the action as often as possible, 
  especially if the Outcast is in play. Ask “what are you doing” to keep the game 
  in motion. React as intensely, and dramatically as you want, but let the players 
  provide the fodder.
  HOW TO RUN THIS SCENARIO
  The set up process for this scenario is a little complex. But don't worry,  
  we'll walk you through every step. Here's what you need to do.
  READ ALL THE SCENARIO INFORMATION — INCLUDING THE PLAYER 
  BACKGROUND INFORMATION
  A lot of the drama in this scenario is contained in the background information 
  and player materials. Let the information and implications of the player 
  materials spill slowly into the game as things progress. 
  For example, the Kinsman does not know that the Outcast's brother died as a 
  result of their eviction. How will they react when they find out?
  
  7
  HAYLEY GORDON • THE WIND AND THE WAVES
  WORK OUT WHICH CHARACTERS WILL BE IN PLAY
  The Wind and the Waves is a scenario for one, two, or three players. If there 
  is only one player, they will take the role of the Kinsman. If there are two 
  players, one will take the role of the Kinsman, the other may play the Lover 
  or the Outcast. For an easier or shorter game, choose the Kinsman and the 
  Lover. For a longer and more complex, thematic game, choose the Kinsman 
  and the Outcast. If you have three players, the Kinsman, Lover, and Outcast 
  will all be taken.
  If the Lover is not in play, they become a non-player character controlled 
  by the GM. Read the Lover background sheet, and answer the questions in 
  any way you choose. You will need this information, including the question 
  answers, in order to run the scenario. In a one player game, you may choose to 
  let the Kinsman answer the questions on the Lover background sheet.
  If the Outcast is not in play, they will not need to become a specific non-player 
  character. Instead their perspective is represented by the family of the Loved 
  as a whole. Answer the following questions in any way you choose. You will 
  need the answers in order to run the scenario:
   
  ̢ Why is the Loved so important to their family?
   
  ̢ What problems will the Loved's family face without them?
  PREPARE THE FOLLOWING PLAY MATERIALS
  Below is a list of all the materials you will need to run this scenario, divided by 
  descriptor. In this scenario, the full range of character roles are not available. 
  Instead players can pick from the character sheets listed below their descriptor. 
  No two players may pick the same character role (i.e. there cannot be two 
  Captains, or two Merchants, etc.).
  A printable version of the background sheets can be found at the end of this 
  scenario. You can grab all the other play materials from our website.
  The Kinsman
   
  ̢ The Kinsman Descriptor Sheet
   
  ̢ The Kinsman Background Sheet
   
  ̢ The Basic Moves Sheet
   
  ̢ One of the following Character Sheets: The Captain, the Merchant, the 
  Scholar, the Old Sea Dog, the Mercenary, the Strider or the Surgeon
  
  8
  THE WIND AND THE WAVES
  The Lover
   
  ̢ The Lover Descriptor Sheet
   
  ̢ The Lover Background Sheet
   
  ̢ The Basic Moves Sheet
   
  ̢ One of the following Character Sheets: The Captain, the Merchant, the 
  Scholar, the Old Sea Dog, the Mercenary, the Strider or the Surgeon
  The Outcast
   
  ̢ The Outcast Descriptor Sheet
   
  ̢ The Outcast Background Sheet
   
  ̢ The Basic Moves Sheet
   
  ̢ One of the following Character Sheets: The Cook, the Merchant, the Old 
  Sea Dog, the Mercenary, the Strider or the Surgeon
  You may also choose to download the GM sheet from our website to help you 
  when you run the game.
  GUIDE THE PLAYERS THROUGH CHARACTER CREATION
  Most of the narrative work in the Wind and the Waves is contained in the set up. 
  You will need to use the details that are created by the players to breathe life 
  into the scenario, and give personality to its non-player characters.
  For this reason, it is important not to rush character creation. However, 
  you should focus your time on the details that will be vital to the scenario.  
  Here are some important ideas to explore – you'll need to adjust your focus 
  based on which characters are in play:
   
  ̢ Details about the Loved and their family, including the relationship 
  between them.
   
  ̢ The relationship between the Lover and the Loved.
   
  ̢ The relationship between the Lover and the Kinsman.
   
  ̢ The tension that exists between the Kinsman and their family, and the 
  Loved's family.
   
  ̢ The relationship between the Outcast and their family.
  
  9
  HAYLEY GORDON • THE WIND AND THE WAVES
  STARTING THE SESSION
  1. Ask the players to read all the materials they've been given.
  2. Explain how the materials are filled out.
  3. Ask the players to think about what kind of person their character might be. 
  Then, give them time to fill out all the material required – except the bonds 
  on their descriptor and character sheets. Encourage the players to chat to each 
  other and share ideas.
  4. Ask each player to introduce their character, and talk through their 
  background sheet. Explain that this information may not be known by all the 
  player characters in-game, but it's important that all the players know out of 
  game, to create a more interesting story. Ask plenty of questions at this stage, 
  to flesh out the important issues identified above.
  5. If the Lover is not in play, explain who they are, their personality, and the 
  information on their background sheet to the other players. This is important 
  to give the players an understanding of the Loved, and let the Kinsman know 
  who they are trying to protect. 
  6. Once each player has finished explaining their character, instruct them to 
  fill out their bonds in the following order:
  Descriptors:
   
  ̢ The Kinsman should fill in the bond on their descriptor sheet with the 
  name of the Lover. The two are relatives. Their exact relationship is for 
  the Kinsman to decide.
   
  ̢ The Lover should fill in the bond on their descriptor sheet with the name 
  of the Loved.
  Character Sheets:
   
  ̢ The Kinsman should pick one bond on their character sheet to describe 
  the Lover, and fill this in with the Lover's name.
   
  ̢ The Lover should pick one bond on their character sheet to describe the 
  Kinsman, and fill this in with the Kinsman's name.
   
  ̢ The Outcast should fill in two bonds on their character sheet: one to 
  describe their relationship with the Loved, and one to describe their 
  relationship with one of the non-player characters listed on page 15.
  
  10
  THE WIND AND THE WAVES
  THE WIND AND THE WAVES
  While this scenario will seem like one continuous journey for the players, 
  from a GM perspective it consists of two distinct parts.
  Part 1: The Island
  Part 1 takes place on the barren island that the Loved's family call home. 
  After all the initial set up is complete, this part will be straightforward  
  to run. Follow the journey of the characters as they interact with the  
  non-player characters and each other, and play to find out what happens.  
  This part ends when the player characters leave the island.
  Part 2: The Return
  Part 2 takes place during the Lover and the Kinsman's sea voyage home. 
  Usually, the Loved's family, including the Outcast, will be in pursuit.  
  In this section, you can introduce obstacles and dangers, as well as reframing 
  relationships. This part ends when the conflict between the two groups is over, 
  whether it ends in compromise or death and devastation. The final moment 
  of the scenario is when the remaining returning characters set foot on the 
  shore of their home. We explain how to introduce obstacles and dangers,  
  and provide a few suggestions, on page 18.
  TIME AND LOCATION
  This scenario takes place in 1824, in the Outer Hebrides of Scotland. As it 
  begins, the Lover and the Kinsman have journeyed by boat across the Minch 
  to the small, barren, and largely uninhabited island where the Loved lives 
  with their family. 
  Before the end of the scenario, they must journey back. Free from dangers, 
  obstacles, and navigational error the trip takes around six hours. But of course, 
  we know that this is unlikely to describe the characters’ journey.
  BACKGROUND INFORMATION
  This section contains the background information that each player character 
  will receive before the scenario begins. You'll find a printable version of this 
  information at the end of this scenario.
  
  11
  HAYLEY GORDON • THE WIND AND THE WAVES
  THE LOVER
  It's 1824 in the Outer Hebrides, a remote chain of islands off the coast of 
  Scotland.
  You are the Lover. During the last year, you have fallen madly in love with 
  another. Today you have sailed here with the sole purpose of taking the one you 
  love back to your home, so that you may live evermore together in happiness.  
  You burn with a passion that will not be denied.
  You are also the sister, brother, or cousin of the Kinsman.
  Answer the following questions:
   
  ̢ What is the name of the one you love?
   
  ̢ What do they look like?
   
  ̢ Where did you meet, and how did you fall in love?
   
  ̢ Why are you in love with them? What do you love about them?
  THE KINSMAN
  It's 1824 in the Outer Hebrides, a remote chain of islands off the coast of 
  Scotland.
  You are the Kinsman. You are the sister, brother or cousin of the Lover.
  Your father is a landowner. Until two years ago, he sublet his land to many 
  tenant farmers in return for a share of their yield of kelp. The farmers would 
  dry the kelp into soda ash, and your father would sell the soda ash to factories 
  to make soap and glass. 
  Two years ago, in 1822 the price of kelp crashed, falling from 22 pounds a 
  tonne to 2 pounds. To avoid the financial impact of the crash, your father 
  evicted the tenant farmers, their crops still unharvested, and converted the 
  land into sheep pastures. 
  Your father put you in charge of evicting the farmers on the southern farms. 
  Answer the following questions:
   
  ̢ How did you feel about your father's choice to evict the farmers?
   
  ̢ What was your approach to the evictions you handled?
   
  ̢ There were tenants who resisted, yelling and cursing you, and even 
  turning to violence. How did you handle such tenants? 
  
  12
  THE WIND AND THE WAVES
  One of the tenants you evicted was the family of the Lover's paramour.  
  You have not yet told them about this. You're not sure if you should.
  You've come now to help keep the Lover safe, as you don't think the family 
  you evicted will take too kindly to one of their own leaving with your relation.
  THE OUTCAST
  It's 1824 in the Outer Hebrides, a remote chain of islands off the coast of 
  Scotland.
  Two years ago you and your family were evicted from your farm. Your brothers, 
  sisters, aunts, uncles and cousins, told to leave with only what they could carry. 
  Now, your kin has nowhere to go but this God-forsaken island on which 
  you live. The rent is almost nothing, but then such is the worth of the land. 
  Nothing will grow here, and what dwells in the sea is devilishly hard to catch.
  Answer the following questions:
   
  ̢ What do you hate most about your family's situation?
   
  ̢ You have a memory of the Kinsman from the eviction, what is it?
  To make matters worse, your family barely tolerates your presence. The evictions 
  left you desperate, and you did something for which your kin have never 
  forgiven you. You're the black sheep now, and you know your family resent 
  you for the little you eat, and the space you take on the floor of your small 
  dwelling.
   
  ̢ What did you do and why was it so hurtful to your family?
   
  ̢ Who in your family despises you most, and who secretly pities you?
  Not all your family made it to the island. Your grandfather died on the day 
  you left. Your brother, already of ailing health, was taken by fever from the 
  cold and ill-nourishment on the island. And then your father. Your father 
  who fought so hard to protect your family, down to the last swing of his fist,  
  and his desperate, failed attempts to find you all a better home than this one. 
  He went for a walk one day and never returned.
  And now. Now the family member your kin depends on most to survive, has 
  told you they intend to leave and marry. To leave with one from that very 
  family who evicted you. Your family will not stand for such a thing. To stand 
  for the betrayal, and the devastation. They cannot, it is impossible.
  
  13
  HAYLEY GORDON • THE WIND AND THE WAVES
  On this night of nights, as your family prepares for the coming of their enemy, 
  your choice is a difficult one. Help your family and maybe they'll forgive you 
  for your past mistake. Or turn your back on them, and help your kin to leave, 
  and maybe you'll find a chance for a different life.
   
  ̢ Why is the family member who wishes to leave so vital to your kin?
  IMPORTANT NON-PLAYER CHARACTERS
  THE LOVED'S FAMILY
  The family of Outcast (and the Loved) lies at the core of this scenario.  
  The members of this family are both grief-stricken and destitute. They also 
  hold a raging anger towards those that hurt them and towards the Kinsman 
  especially. The betrayal and indignation they feel that one of their own might 
  leave with such people is deathly strong.
  THE DARK HEART OF THE LOVED
  The Loved has their reasons for wanting to leave, and they're not just the 
  depth of passion they feel for the Lover. They have many other motivations. 
  Most would not make the Lover happy to hear.
  Once during the scenario, the Lover may choose to use their special move 
  Test if Your Love is True. If the Lover does not make this move of their 
  own volition, call for it at a climactic moment.
  The results of this move will tell you how strong the Loved's other priorities 
  and motivations are, and what effect they will have on the game.
  On a 7-9, the Loved's other motivations should spill over, causing them to 
  hesitate or admit uncertainty, or alternatively, to act in a way that confuses or 
  complicates things for the Lover. They may also be conflicted as to whether to 
  put their family, or the Lover, first.
  On a 6 or below, the Loved has a secret in their heart that will hurt the Lover. 
  This doesn't necessarily mean they aren't in love. Rather, they may have an 
  ulterior motive for the relationship, or may have betrayed the Lover so deeply 
  that their love is overshadowed. The dark heart of the Lover is incredibly 
  important to the scenario, and on a 6 or below must cause serious problems,  
  or a very difficult choice for the Lover during the session.
  
  14
  THE WIND AND THE WAVES
  When deciding on the Loved's secret, use the ideas generated during set up 
  to help you, as well as the events of the game so far. Here are some examples:
   
  ̢ The Loved's true aim is to take advantage of the Lover's wealth, and use 
  it to support their family
   
  ̢ The Loved's true aim is to take revenge on the Lover's kin for their father's 
  death and family's destitution
   
  ̢ The Loved's true aim is to escape from a family member, of whom they 
  are afraid
   
  ̢ The Loved had an affair with another during their relationship with the 
  Lover
  PART 1: THE BARREN ISLAND
  This part begins with two introductions, which start the events of the scenario. 
  Skip the Outcast's introduction if they are not in play. Otherwise let the 
  players know that the scenario will start off with the Lover and the Kinsman, 
  then switch over to the Outcast after the initial encounter.
  INTRODUCTION: THE LOVER AND THE KINSMAN
  Read out loud as much or as little of the below as you choose:
  “It is the thick black of night. You have sailed the six hour journey from your home, 
  to the island where [Loved's name] lives, to bear them back across the sea and away 
  with you. Your love knows that this is the night you will come. You have arranged 
  to meet here, on the small relief where the cliffs narrow to the shoreline, and the rock 
  touches the lapping water.
  You sit in your boat and watch the rocks on the shore. It's a small boat, built for 
  fishing, with a skiff attached for rowing to and from shore. When the time is right, 
  you will get in the skiff, row to pick up your love, and away. You sit in your boat 
  under the glowing light of the stars, and you wait. What are you talking about as 
  your boat rocks on the dark waters?”
  As the Lover and the Kinsman sit in the boat, they see three figures silhouetted 
  against the silver moonlight. The Lover can tell from the shape of their bodies 
  that none of them are their Loved. 
  Begin the scenario by asking “what do you do?”
  
  15
  HAYLEY GORDON • THE WIND AND THE WAVES
  THE OBJECTIVE OF THE THREE
  The three standing on the shore against the 
  pale moonlight are two men, and one woman. 
  The Kinsman recognizes the tallest from the 
  evictions, who might shout, “ho there, we're 
  wanting a word with you and your kinsman. 
  Won't you come ashore? Or perhaps we can come 
  aboard? But we have no boat you see.”
  The three know that the Loved means to leave, 
  and have no intention of letting them. 
  They have come to the shoreline to prevent 
  this occurring, hopefully with intimidation, 
  but if necessary, with deadly force. They have 
  kelping knives strapped to their sides, and one 
  has a concealed pistol. They are hoping they 
  can intimidate the Lover and the Kinsman 
  into simply turning around.
  Their plan is to outnumber the Lover and 
  Kinsman, be it on shore, on the skiff, or on 
  the boat. They will avoid being outnumbered 
  themselves. If it looks like the Lover and the 
  Kinsman will not depart, they will try and lure 
  the two into separating. They have no qualms 
  with making threats, such as the below:
  “Well you mean to leave with [the Loved], it won't 
  be happening. Let us have no more words. [the 
  Loved] is not for you. They are meant for Alistair/ 
  Agnes. So get you hence, if you'll go quiet then 
  quiet it shall be. But if not, it's your own death 
  you'll be making.”
  The three have a small skiff hidden out of sight. 
  They've hidden it with the hope the Lover and 
  the Kinsman will row ashore, so they can be 
  easily outnumbered.
  INVENTING NON-PLAYER 
  CHARACTERS
  During this game, you will need 
  to invent non-player characters 
  that belong to the family of  
  the Loved. You will also need 
  to breathe life into those family 
  members discussed during set up. 
  If you need inspiration, here are 
  some characters you can adapt for 
  your game:
  Marcus (m) or Maev (f): Eldest of 
  the adult children, sibling of the 
  Loved. Tall, broad shouldered, 
  with yellow hair, dark blue-black 
  eyes and a sun browned face. The 
  Kinsman remembers this person 
  from the evictions. They and their 
  father fought to the last, and were 
  dragged kicking and screaming 
  from their home. They recognize 
  the Kinsman too, sure enough.
  Alistair (m) or Agnes (f): Cousin 
  of Marcus / Maev and the Loved. 
  Slight of build, raven haired, 
  with thin white hands. Always 
  a furrowed brow and even when 
  they smile their eyes are dark. 
  Betrothed to the Loved, with or 
  without the Loved's consent
  Sheimais (m) or Sorcha (f): 
  Sibling of the Loved. Brown 
  hair and shadowy hazel eyes, 
  pale smooth face, tall and gaunt. 
  Arrogant, angry and reckless.
  Isla (f): What is left of the 
  oldest generation. World weary, 
  resigned, trying to eke out 
  the best life possible for the 
  generation that follows her.
  
  16
  THE WIND AND THE WAVES
  Inland, in the far distance, patches of lamp light can be seen illuminating a 
  ramshackle dwelling with a wisp of chimney smoke spiraling up into the sky.
  Once this scene has played itself out, if the Outcast is in use, transition to the 
  introduction below. If not, continue to follow the Lover and Kinsman as they 
  make their way into the island, using the information in the section below to 
  help you fill out the details of locations and people.
  INTRODUCTION: THE OUTCAST
  Read out loud as much or as little of the below as you choose:
  “It is night, and you're standing outside the house, on guard. The door is shut,  
  but inside you can hear the low murmur of conversation followed by long silence.
  In the distance you can see the bobbing lights of your siblings and cousins as they go 
  to stare in the face of those who come to take [the Loved] away. As you stand out the 
  front of your ramshackle home, your grandmother approaches you, a dark expression 
  crossing her gentle face. She pulls something metal from a hessian bag and hands it 
  to you. It's a pistol.
  “Here,” she says, “you might need this tonight. Don't let us down again.”
  How do you react?”
  The island itself is scraggly bush and exposed rock. There is a level stretch of 
  dirt where the family has tried to grow crops, but it hasn't gone well.
  The house is a mess of mud brick walls and straw thatching. It has been hastily 
  thrown together and is but one single room with a fireplace. It is furnished 
  far too sparsely for the number of people it contains. Inside the house sits the 
  Loved, and the closest of their siblings. 
  You may want to ask the Outcast how the Loved feels about being shut 
  in there. Are they sitting quietly and uncertainly, or are they pounding at  
  the door? You may also want to flash back to the moment when the Loved told 
  their family of their intention to leave, and ask the Outcast what happened, 
  and how they reacted.
  
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  HAYLEY GORDON • THE WIND AND THE WAVES
  ON THE ISLAND
  Once you have explored both introductions, switch back and forth between 
  the two groups until they collide. Add details to the island, and the non-player 
  characters upon it, as needed. During this section, keep in mind the scenario's 
  fundamental tensions, as well as the GM principles.
  This part ends when the Lover and the Kinsman leave the island to return 
  home. Usually, they are accompanied by the Loved. The Outcast may either 
  leave with the Lover and Kinsman, or choose to pursue them, either with 
  other members of their family or alone. If the Loved's family cannot prevent 
  the Loved from leaving, they will certainly want to give chase.
  
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  THE WIND AND THE WAVES
  PART 2: THE RETURN
  In this section of the scenario, the Lover and the Kinsman are attempting to 
  return home, usually accompanied by the Loved. There is nothing prescribed 
  to occur during this part. Instead, you will introduce obstacles and dangers, 
  and shift relationships, until the story comes to a natural confrontation  
  and climax. We've included ideas of what might happen in this section, but 
  feel free to think up your own.
  OBSTACLES
  Obstacles slow down the player characters, forcing them to make choices 
  about what their character prioritizes. They can also lead to confrontation with 
  dangers, or the pursuing family.
  When you're creating an obstacle, try to think of problems that create 
  decisions, and force the characters to prioritize or compromise. An example of 
  this is the Mouth of the Hag (opposite). 
  At the Mouth of the Hag, characters have a choice. They can stop and perform 
  the ritual to Cailleach demanded by old sailor superstitions, slowing them 
  down considerably. Or they can sail straight through the Mouth, casting aside 
  their beliefs and leaving them open to divine reprisal.
  QUICK OBSTACLE CREATOR
  This obstacle is a: place, person, creature, natural phenomena (e.g. strange 
  tides), equipment failure, ritual or superstition, other
  Its impulse is to: slow down, confuse, demand other duties or actions, require 
  sacrifice, reveal mystery, distract, tempt, test, other
  It will make the characters choose between   
   
   
    
  or  
   
   
   
   
   
   
   
  .
  Details (optional):  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  .
  
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  HAYLEY GORDON • THE WIND AND THE WAVES
  SAMPLE OBSTACLES
  The Mouth of the Hag
  This obstacle is a place. Its impulse is to demand other duties or 
  actions. It will make the characters choose between abandoning 
  tradition or ignoring superstition or stopping their boat, giving 
  time advantage to their enemies.
  Details:
  The Mouth of the Hag consists of two pieces of cracked brown 
  rock, which hang over a narrow strait. It is said to be sacred to 
  the old hag Cailleach, who governs the seasons and the weather. 
  Sailors who pass through here ordinarily stop to perform the 
  rite to appease the Hag. If they choose to stop, ask the players to 
  describe how the rite is performed. If they do not choose to stop, 
  the player characters may find themselves caught in strange tides 
  or an unexpected storm...
  The Black, Deep, Sea
  This obstacle is a natural phenomena. Its impulse is to confuse. 
  It will make the characters choose between a high chance of 
  losing their way or setting their boat aglow, making it easy for 
  dangers and pursuers to find.
  Details:
  There is a point in the journey where the moon is lost behind 
  the clouds or the jutting cliffs that fence the islands. It is then 
  that at night, the sea is so black and vast that it seems to drain 
  the little moonlight left into its depths, until it is impossible to 
  see but one meter ahead. Will the characters try to find a path 
  forward through the sapping darkness? Or will they light up 
  lamp and candle, a message to all ill that lurks around them, 
  exposing where they are.
  
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  THE WIND AND THE WAVES
  DANGERS
  Dangers are the threats that seek to destroy the player characters and those 
  important to them. They put the escaping characters at risk, but can also 
  prove deadly to the Loved's family in pursuit. Dangers can force the players to 
  choose between unhindered passage or helping the Loved's family. They can 
  also put the players on the back foot for a confrontation.
  When you're creating a danger, try and imagine why it might be difficult for 
  characters to overcome. What weaknesses does it target, what vulnerabilities 
  and beliefs? Does it work by separating others, so each must struggle alone? 
  Or do its illusions offer hope for the deepest of desires? Or is it simply the 
  threat of drowning in an uncaring sea?
  QUICK DANGER CREATOR
  This danger is a: place, person, creature, natural phenomena (e.g. strange 
  tides), equipment failure, ritual or superstition, other
  Its impulse is to: separate, possess, drown, injure, ensnare, consume, break 
  apart boats, other
  It is a threat to the characters because:  
        
                  
  .
  Details (optional):  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  .
  
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  HAYLEY GORDON • THE WIND AND THE WAVES
  SAMPLE DANGER
  The Golden Deep
  This danger is a creature. Its impulse is to ensnare and consume. 
  It is a threat to the characters because their poverty, and their 
  lust for the gold that would save them, make them easy for the 
  creature to deceive.
  Details:
  There is a place at sea from which all good sailors steer clear. 
  Should the characters sail there, they'll notice mist begin to rise 
  from the sea, as it becomes hard to know what is around them. 
  But at the same time, they'll see the dark murky water turning 
  pale and clear. While a low fog clouds the vision above the 
  surface, they will see clear into the water, to the darting silver 
  fish and wafting kelp below.
  While sailing here, a soft glint of metal catches the eye from the 
  water. And as a character looks down they will realize they are 
  drifting over a river of gold. Piles and piles of gold, glittering 
  coins lying beneath the surface in the still clear.
  But those who sail here must beware. For this is not gold at all, 
  but the body of a vast creature that sleeps beneath the water, 
  luring men into its grasp. 
  Should a fool reach down into the sea, the golden coins will 
  began to twitch and move, as one part of a connected whole. 
  And the creature will extend a long and spindled claw to grasp 
  the poor sod and pull them down into its yawning mouth.
  
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  THE WIND AND THE WAVES
  RELATIONSHIP SHIFTS
  Relationship shifts occur when a non-player character changes their intentions 
  towards another (usually player) character, and acts on that change. It can also 
  occur when a new non-player character is introduced with an objective that 
  differs from those who have appeared in the scenario so far. 
  Constantly shifting player and non-player character relationships is a vital 
  part of the scenario, and keeps the focus on interpersonal tensions.
  At their simplest, relationship shifts can be summarized as follows:
  Because a certain event happened,  
  a non-player character now wants to do this thing.
  EXAMPLES:
  Shifting existing character intentions
   
  ̢ Because the Lover offered her a large bribe, Isla now wants to help the 
  Lover escape.
   
  ̢ Because the Outcast betrayed their family and helped the Loved, Agnes 
  wants their blood.
   
  ̢ Because the Outcast risked their life to help Agnes, Agnes wants to open 
  up to the Outcast for the first time since the evictions.
   
  ̢ Because the Kinsman saved Marcus' life, Marcus now wants to protect 
  the Kinsman from the rest of his family.
  Introducing a new character
  Because the Lover and the Kinsman have taken the Loved away from their 
  family, the ghost of the Loved's deceased father appears to do one of the 
  following:
   
  ̢ Place a curse trapping the boat until the characters have gained permission 
  to leave from the family of the Loved.
   
  ̢ Demand a boon in return for their leaving.
   
  ̢ Beg that they save the Loved's family from the danger they've wandered 
  into while pursuing you.
  
  23
  HAYLEY GORDON • THE WIND AND THE WAVES
  ENDING THE SCENARIO
  You'll know when it's time to end the scenario. It's when the conflict between 
  the Lover and Kinsman, the Outcast, and their family has come to a head, and 
  has been resolved. 
  When that happens, ask the players whether there is anything further they'd 
  like to do. Then, let the player characters know that the rest of their journey 
  (wherever it is they are journeying) is uneventful. The scenario ends as they 
  step onto shore.
  
  24
  THE WIND AND THE WAVES
  THE LOVER – BACKGROUND SHEET
  It's 1824 in the Outer Hebrides, a remote chain of islands off the coast of 
  Scotland.
  You are the Lover. 
  During the last year, you have fallen madly in love with another. Today you 
  have sailed here with the sole purpose of taking the one you love back to your 
  home, so that you may live evermore together in happiness. You burn with a 
  passion that will not be denied.
  You are also the sister, brother, or cousin of the Kinsman.
  Answer the following questions:
   
  ̢ What is the name of the one you love?
   
  ̢ What do they look like?
   
  ̢ Where did you meet, and how did you fall in love?
   
  ̢ Why are you in love with them? What do you love about them?
  
  25
  HAYLEY GORDON • THE WIND AND THE WAVES
  THE KINSMAN – BACKGROUND SHEET
  It's 1824 in the Outer Hebrides, a remote chain of islands off the coast of 
  Scotland.
  You are the Kinsman. You are the sister, brother or cousin of the Lover.
  Your father is a landowner. Until two years ago, he sublet his land to many 
  tenant farmers in return for a share of their yield of kelp. The farmers would 
  dry the kelp into soda ash, and your father would sell the soda ash to factories 
  to make soap and glass. 
  Two years ago, in 1822 the price of kelp crashed, falling from 22 pounds a 
  tonne to 2 pounds. To avoid the financial impact of the crash, your father 
  evicted the tenant farmers, their crops still unharvested, and converted the 
  land into sheep pastures. 
  Your father put you in charge of evicting the farmers on the southern farms. 
  Answer the following questions:
   
  ̢ How did you feel about your father's choice to evict the farmers?
   
  ̢ What was your approach to the evictions you handled?
   
  ̢ There were tenants who resisted, yelling and cursing you, and even 
  turning to violence. How did you handle such tenants? 
  One of the tenants you evicted was the family of the Lover's paramour. You 
  have not yet told them about this. You're not sure if you should.
  You've come now to help keep the Lover safe, as you don't think the family 
  you evicted will take too kindly to one of their own leaving with your relation.
  
  26
  THE WIND AND THE WAVES
  THE OUTCAST – BACKGROUND SHEET
  It's 1824 in the Outer Hebrides, a remote chain of islands off the coast of 
  Scotland.
  Two years ago you and your family were evicted from your farm. Your brothers, 
  sisters, aunts, uncles and cousins, told to leave with only what they could carry. 
  Now, your kin has nowhere to go but this God-forsaken island on which  
  you live. The rent is almost nothing, but then such is the worth of the land. 
  Nothing will grow here, and what dwells in the sea is devilishly hard to catch.
  Answer the following questions:
   
  ̢ What do you hate most about your family's situation?
   
  ̢ You have a memory of the Kinsman from the eviction, what is it?
  To make matters worse, your family barely tolerates you. The evictions left you 
  desperate, and you did something for which your kin have never forgiven you. 
  You're the black sheep now, and you know your family resent you for the little 
  you eat, and the space you take on the floor of your small dwelling.
   
  ̢ What did you do and why was it so hurtful to your family?
   
  ̢ Who in your family despises you most, and who secretly pities you?
  Not all your family made it to the island. Your grandfather died on the day 
  you left. Your brother, already of ailing health, was taken by fever from the 
  cold and ill-nourishment on the island. And then your father. Your father 
  who fought so hard to protect your family, down to the last swing of his fist, 
  and his desperate, failed attempts to find you all a better home than this one.  
  He went for a walk one day and never returned.
  And now. Now the family member your kin depends on most to survive, has 
  told you they intend to leave and marry. To leave with one from that very 
  family who evicted you. Your family will not stand for such a thing. To stand 
  for the betrayal, and the devastation. They cannot, it is impossible.
  On this night of nights, as your family prepares for the coming of their enemy, 
  your choice is a difficult one. Help your family and maybe they'll forgive you 
  for your past mistake. Or turn your back on them, and help your kin to leave, 
  and maybe you'll find a chance for a different life.
   
  ̢ Why is the family member who wishes to leave so vital to your kin?
  
SOURCE: textdata/thevault/Alas for the Awful Sea (PbtA)/Supplements/Scenario - The Wind and the Waves.pdf