TEXT: Sample Training Wheels Adventure!
  Solo Role Playing
  
  SPECIAL DELIVERY
  AN INTRODUCTORY MISSION
  2
  This sample scenario showcases parts of the Libre
  Solo Role Playing game. This is not the full game,
  it's a mash­up with simpler rules and a taste for
  some of the game's key tools: yes­no questions,
  skill checks and plot stress.
  The full game spins stories completely on the fly.
  This training wheels edition wraps the tools around
  a short branching path adventure. This sample also
  draws from a sample setting and optional rules­lite
  RPG that's included in the full game.
  SOLO ROLE PLAYING?
  Your player’s character ­ the protagonist of the story ­ is
  Arthur Falcone. Arthur is a struggling private
  investigator who lives in Mill City, a post­industrial
  metropolis in the mid­Atlantic United States. Arthur has
  a patron who’s hired him for odd jobs over the years, a
  wealthy businessman named Peter Havik­Stand. The
  adventure kicks off when Peter calls Arthur and asks the
  investigator to meet him in a cafe near his office right
  away.
  Take a moment to look through Arthur Falcone’s
  character sheet on p.15, which you'll use for this
  mission. In the upper left are Arthur’s vital statistics,
  called attributes: +1 is good, 0 is average, ­1 is poor.
  Arthur is an especially good talker and listener (high
  savvy) but he is clumsy (low nimble). Further down the
  sheet are Arthur's listed skills. To the right of the skills
  on the player character's sheet are Arthur's details for
  untrained skill use. You'll use these whenever the
  investigator tries a skill that is outside his expertise.
  To figure out what these skill levels mean, look at the
  yes­no questions & skill checks (d100) chart on p.14.
  The left­hand column on the chart shows Arthur’s base
  likelihood to succeed at any given attribute: from nigh
  impossible to nearly certain, ranging from ­3 to +3.
  You’ll shift the likelihood of skill check success up or
  down one or more categories mainly based on two types
  of factors ­ window dressing and scene qualities ­ that
  help or hinder Arthur’s chance of success. k
  SCENE 1: THE ASSIGNMENT
  This starting segment is called a cutscene, which is all
  about dialog and information gathering. In this
  adventure, the cutscene sets up Arthur's goal for the
  story (called a mission) with his patron. The full Libre
  Solo Role Playing game uses tables and guidelines
  combined with the player's free narration to generate
  scenes. Check out the "Behind the Scenes" sidebar on
  p.4 for a little more about how some of the scene
  elements were generated using the full game's rules.
  This adventure also uses some elements (dialog,
  unexpected events and foes) that were pre­generated.
  Usually the player creates these elements while
  building the story. It leaves out many rules, details
  and options from the full game to keep it simple.
  For this solo adventure you’ll need pencil, eraser and
  scrap paper; two 10­sided dice; and you'll probably
  want to print out pages 13 to 15 (rules, mission sheet
  and character sheet) for reference and record
  keeping. Happy adventuring! k
  The adventure starts with private investigator Arthur
  Falcone meeting his patron, wealthy businessman Peter
  Havik­Stand, at a neighborhood cafe. Pause and make a
  mental picture of the place where Arthur and Peter
  meet. Now look up the scene qualities table on p.15, roll
  three random results (d100) and write them down. You
  might roll one or more places (a result of 20 or lower)
  or rationales (a result of 81 or higher). A rationale is the
  prevailing social atmosphere among generic people in
  the area. Scene qualities may seem whimsical, but they
  can be important in helping Arthur succeed.
  
  town, off the 500 block of Walnut Street. Call her once
  you are at the embassy. She will come out to greet you.
  Do not go in.” Peter glances at his jewelled watch.
  “You have about two hours before the embassy closes.
  Miss Marjani is leaving town and she won't have a
  forwarding address. The delivery should take you only
  about an hour in this traffic, but I’ll still pay your usual
  retainer, $600. I assume you're game?”
  You may now want Arthur to ask questions or make
  requests of Peter. For each of the questions below you’ll
  first have to make a successful negotiate skill check:
  Arthur does not have negotiate skill; it falls under
  influence, and defaults to his untrained skill of social 0.
  Look through the sample questions, and apply the bonus
  or penalty shifts listed for the question or request. If
  there is something about the window dressing you wrote
  down, or about the scene qualities you rolled that you
  believe should influence Arthur's interaction with Peter,
  you may add or subtract 1 shift for each positive or
  negative thing. Count up the pluses and minuses, and
  roll the skill check on p.14. If you succeed, look up
  Peter's response on p.12.
  When Arthur fails his first social skill check (rolling a
  no result), Peter rises indignantly and says “Dammit
  Arthur, I don’t have time for this. It’s a quick job, I’m
  paying you well, just get it done!” He heads for the
  door. Add one plot stress, and wrap up the scene below.
  Possible questions (see p.12 for answers):
  1: “So ­ what’s in the bag?” (0 shifts)
  2: “I’m afraid I'm going to need more money…” (0
  shifts)
  3: “Uh ­ can I borrow your car?” (­2 shifts) / “I’ll need
  you to get me a rental?” (­1 shift)
  4: “Can I call up my assistant Toni Graham to come and
  help out?” (+1 shift)
  5: “Okay Peter, what are you not telling me?” (0 shifts)
  When you’re done having Arthur make requests, end the
  scene: roll d100. If you roll at or below the current level
  of plot stress, you'll need to go to the unexpected events
  section and follow the instructions. You must resolve
  any unexpected events before you can close the scene.
  If you roll above your current plot stress, the scene
  closes without futher incident. k
  3
  Work the scene qualities into your mental picture of the
  scene. If a scene quality contradicts your original idea
  for the scene, let the scene quality take precedent if you
  can make sense of it. Now jot down some notes of your
  modified mental picture of the scene, maybe things like:
  ­ what time of day / day of week / season of year is it?
  What’s the weather like outside?
  ­ Is the cafe airy or cramped, crowded or nearly empty?
  Filthy and run­down or clean but well­worn?
  ­ Is the wait staff attentive or surly?
  ­ Are there plate glass windows? Are they small and
  barred?
  There’s no need to answer all these questions, but write
  down things you think are key to your mental picture.
  These notes are called window dressing. They’re not as
  important as scene qualities, but they come in handy.
  If you are stuck on any major scene details that seem
  important, you can ask a question about it (e.g., "is there
  an umbrella stand?") and roll on the yes­no question
  (d100) table on p.14 for an answer. Just have in mind
  why you're asking, and what yes and no mean before
  you pick up the dice. For now, any yes­no question rolls
  should be at the “50/50 moderate” level. A result of 1­50
  means yes; a result of 51­100 means no. For each yes­
  no question you ask, put a tick mark next to the mission
  sheet's plot stress counter on p.13. As a rule, go with
  your mental picture and intuition of what the place
  looks like; don’t get hung up asking yes­no questions.
  When you are done, you are ready to open the scene.
  Add 5 to the plot stress counter. Add up all your plot
  stress tick marks, then roll d100. If you roll at or below
  the current level of plot stress, you get an unexpected
  event. Go to unexpected events on p.14 and follow the
  instructions. You’ll need to incorporate whatever
  happens as soon as it's logically possible: right away if
  you can, later in the same scene if you can't.
  Moments after Arthur arrives, Peter enters and collapses
  into a seat opposite Arthur. He lets a large, fancy canvas
  bag drop heavily on the table as he struggles to catch his
  breath. “I need you to get this bag to a certain Miss
  Marjani immediately.” Peter hastily scribbles a
  telephone number on a napkin that he hands to Arthur.
  “Miss Marjani is at the Eritrean Embassy. It's across
  
  Track Arthur's skill check successes and each time you
  ask for trouble on the mission sheet, p.13. You need
  three of each to achieve meaningful success in the
  scene. At that point you can close the scene with a
  success, and move on to the next scene.
  To count a skill check roll toward meaningful success,
  there's a cap on the odds. It cannot be higher than 50/50
  moderate (0 shifts) before figuring scene qualities. That
  means Arthur will needs to take penalties on some skill
  check rolls if you want them to count toward
  meaningful success for the scene: more about that later.
  If you reach the end of the scene's options and did not
  snag three successful skill checks and ask for trouble
  three times, you might try to continue by improvising,
  or else throw in the towel on the scene. There are other
  dead ends where Arthur could fail to reach the Eritrean
  4
  In Libre Solo Role Playing, stories often start by assigning a goal, called a mission, to the player's character.
  The mission drives the player character's story forward. The player can choose some elements in the scene or
  roll them randomly. In this scene, the player chose the key person of interest (wealthy patron Patron Peter
  Havik­Stand), and rolled a random place ("Tavern/Inn/Hotel", which the player interpreted as a cafe). This
  story's scenes all happen in civilized places; wilderness places get separate treatment. The mission was rolled
  randomly, as: "Deliver" "Odd/Exotic Weapons" (to) "Diplomatic Expert" (at) "Palace/Fortress/HQ".
  The player used deductive logic, made some yes­no question rolls to confirm guesses, and used some free
  narration to turn the item into a bag, and to change the target person and place into Miss Marjani at the
  Eritrean Embassy (something from the Mill City background setting in Libre Solo Role Playing). The dialog
  was interpreted from random rolls on a template called Structured Questions for Persons. Elements like
  unexpected events were pre­rolled randomly to make it easier to jump right in with this sample adventure.
  BEHIND THE SCENE
  SCENE 2: CROSSING THE CITY
  embassy in time. If you hit one of those dead ends, you
  can try to improvise your way out, or else throw in the
  towel. Throwing in the towel means Arthur Falcone
  fails in his assignment; go to entry #13 to close the
  scene, then go directly to scene 4.
  This obstacle scene is a follow­up scene. That means it
  begins right where the last one left off. If Arthur was
  hurt, that carries over. Plot stress always carries over.
  Like before, draw a mental picture, but this time about
  the streets of Mill City as Arthur gets ready to cross
  town. Carry over details still relevant from the starting
  cutscene into this new scene. Turn scene qualities that
  carry over (e.g., if it was raining last scene it should still
  be raining) into window dressing. Roll three fresh scene
  qualities, incorporate them into your mental picture and
  write them down. If you roll a static scene quality like a
  place, or sounds or smells, you can 'play' these at any
  one location in the scene where it could help in making
  a skill check or asking for trouble.
  Like for the first scene, jot down the major points of
  your mental picture as window dressing for the scene.
  Once you’re done with window dressing, add 5 to the
  plot stress you carried over from the last scene. Open
  the scene by rolling d100: If you roll at or below the
  current level of plot stress, you’ll need to roll for an
  unexpected event on p.14, and incorporate the result
  into the start of the scene.
  Obstacle scenes need an advance game plan for skill
  check challenges. In this case, they're chosen for you.
  Arthur is going to be tailed, so first he'll need to succeed
  in a notice roll to realize he is being followed. If that
  This segment is an example of an obstacle scene. As the
  player and story teller, your goal is to navigate Arthur
  through this scene by relying on his skills, wits and luck.
  The scene starts with detailed branching options. Based
  on what Arthur does and what happens to him, the story
  could go in many different directions. Possible elements
  include a car crash, a race or chase across the city, and
  efforts to get hold of alternate transportation when
  things go wrong. The scene is divided into numbered
  sections to make it easier to follow what might happen
  next, based on what Arthur does. As you make your way
  through the story, we'll show some tools and rules that
  you can use to improvise, to give a taste of how Libre
  Solo Role Playing works when there isn't a set track for
  what happens next.
  
  5
  happens, he'll next make a drive car skill check to shake
  the tail or to drive aggressively across the city to make it
  to the embassy in time. If that succeeds, Arthur might
  make a navigation skill check (this defaults to
  wayfinding, under Arthur’s untrained animal/vehicle 0),
  to evade city gridlock. Arthur needs to succeed at three
  skill checks. There is a strong chance he’ll fail at one or
  more of those attempts, which will throw the story in a
  different direction. To make sure there are plenty of
  opportunities for the private investigator's skill checks
  and asking for trouble, there is a foe (generated
  randomly in advance) in this scene: an elderly driver.
  The person is a non­combatant, but potentially
  dangerous behind the wheel.
  To open the scene, Arthur sticks Peter Havik­Stand with
  the cafe bill and takes the bag to his car. Arthur's
  clunker has a ­1 shift penalty to drive car skill checks. If
  Arthur successfully asked for a rental car, that is
  delivered to him within minutes; it has no drive skill
  modifiers. If Arthur snagged Peter's luxury sedan, that is
  premium equipment for a +1 shift bonus to drive car
  skill checks. Arthur puts the key in the ignition, pulls
  into the road and turns toward the far side of the city.
  I. MINIVAN
  #1
  We'll start with Arthur’s notice skill check, to find out if
  he realizes he is being tailed. Arthur has notice 0; add
  +1 shift for any window dressing that would help
  Arthur’s skill check, and subtract ­1 shift for any factors
  that would hinder Arthur’s skill check. The type of car
  Arthur is driving doesn't affect this roll.
  If you want this skill check to count toward meaningful
  success in the obstacle scene (and you do), then the net
  skill check with all window dressing applied cannot be
  higher than 0 shifts (meaning a 50/50 moderate chance
  of success). The foe driving the minivan has a universal
  conflict 0 skill: That means the foe’s skill doesn’t
  modify Arthur’s chances of success.
  Before picking up the dice, you must decide what
  failure means. Failure always has a consequence. Here
  the consequence is straightforward. It's reasonable that
  whoever this foe works for, wants the delivery stopped.
  What easier way than to cause an accident?
  Now consider if scene qualities help or hinder the roll.
  Add or subtract 1 shift for each scene quality that would
  affect the notice (e.g., good/bad lighting or weather).
  Scene quality modifiers can take you above the cap of
  50/50 moderate chance of success, and still let a
  successful skill check roll count for meaningful success.
  Pick up the dice, roll the notice skill check on the chart
  on p.14, and add a tick to plot stress. If the check
  succeeds (rolling a yes result), Arthur sees the minivan
  driving erratically behind him, and can deal with the
  threat; mark down your first successful skill check on
  the mission sheet on p.13. You can proceed to entry #9
  in section III on vehicles and chases. If the check fails,
  Arthur only finds out about the other driver when there
  is a deafening crash and the minivan crumples the back
  of Arthur's car. Go to entry #2.
  #2
  The collision is a good chance to ask for trouble. Asking
  for trouble is a yes­no question that has a bad outcome
  for Arthur if the answer is yes. We'll ask: “Will the other
  driver try to run Arthur over next?” That would
  definitely be bad! Roll it as a 50/50 moderate yes­no
  question on p.14. If you ask this question (and you
  should) add a tick to plot stress. Regardless of the
  outcome, tick one ‘asking for trouble’ box on the
  mission sheet. Asking for trouble is a yes­no question,
  so if the roll result is lower than current plot stress, roll
  an unexpected event on p.14. If after the crash the other
  driver has a murderous bent, go to #3. If not, go to #4.
  #3
  Arthur gets out of his car as the minivan driver backs
  up, its hood bashed in. The other driver then throws the
  Often scene qualities won't have any obvious use in a
  scene. For example, as the player's character races
  around the city, cooking smells aren't much help. The
  full game describes how to interpret scene qualities
  and use them effectively. But even then, scene
  qualities are often window dressing cues instead of
  playing a direct role, and that's intentional.
  USELESS QUALITIES?
  As this scene progresses, we'll take off the training
  wheels a little at a time. Using the included tools, you
  can experiment with taking the story off the rails. The
  point is to make this story your own, a taste of how
  Libre Solo Role Playing's story flow works.
  
  #4
  If there was a collision and the minivan driver didn't try
  to run Arthur over, the investigator and the driver pull
  over and start to swap paperwork. You can make an
  empathy skill check for Arthur (it defaults to Arthur's
  untrained social 0). Once again, window dressing and/or
  scene qualities might influence the roll, and the other
  driver's conflict 0 doesn't affect the roll. Add a tick to
  plot stress. Success means Arthur realizes the elderly
  driver is stalling for time and the accident report will
  take hours. If the empathy skill check was at 50/50
  moderate odds or lower before figuring in any scene
  qualities, then the player can also record a successful
  skill check on the mission sheet. If Arthur succeeds, go
  to #5; if he fails the skill check, go to #6.
  #5
  Arthur realizes he needs to bail on the accident to get to
  the embassy in time. You'll need to work out how get
  out of the situation. A deceive or intimidate skill check?
  Abandon the car and run off? You may ask for trouble
  (at 50/50 moderate odds) on whether the minivan driver
  calls the police on Arthur. Assaulting the elderly driver
  does nothing for Arthur, but should guarantee a police
  response. If the police get involved, go section II (On
  Foot? Getting Mobile) entry #7 and #8 and then section
  III (Vehicles and Chases) entry #9 to try and figure out a
  way to get mobile and then deal with the police in
  pursuit. In section III, the pursuer is not the minivan but
  a police car with sirens blaring. The officer behind the
  wheel is a foe with drive car 1, pistol 1, and general
  conflict 0 skill. If the officer stops Arthur's vehicle and
  draws her/his service weapon (by your call or through a
  ailing vehicle back into gear and hurtles forward
  directly at the investigator! Arthur must make a nimble
  roll to get out of its way. As before, figure out the
  consequence before rolling. In this case, we’ll decide
  failure means Arthur takes a level of damage. Again, the
  driver’s general conflict 0 skill doesn’t affect the roll.
  But we can also now assess that there is ­1 shift to the
  driver's roll: The minivan is defective equipment after
  the crash. Check if any window dressing can add or
  subtract shifts. For example, heavy traffic could hinder
  the minivan. But keep the skill check at 0 shifts (50/50
  moderate) or below if you want it to count toward
  meaningful success. Save any scene qualities that apply
  to the roll for last, because those shifts can take you
  above or below the 50/50 moderate chance of success
  and still have the roll count toward meaningful success.
  Once you roll the dice, regardless of the outcome, add a
  tick to plot stress. If Arthur succeeds, he dodges out of
  the way and gets to safety on the sidewalk. Mark the
  successful skill check on the mission sheet. If Arthur
  fails, the car hits him and he takes a level of damage.
  After the murder attempt, the driver tries to escape. If
  you want Arthur to continue the altercation, you can
  improvise using the DIY Tools on p.7. Arthur might try
  to leap onto the vehicle and hang on (using his nimble
  and/or strong attributes) while the driver aims to flee
  through city streets. Keep in mind Arthur's goal is to get
  to the embassy and he doesn't have much time, or else
  his mission fails.
  6
  Consequences for social skill checks can be tricky. So here
  are some ideas of what can happen to Arthur if he fails
  these types of checks:
  ­ Arthur gets lied to, or gets bad information on which he
  then acts.
  ­ Arthur is publicly berated or humiliated, preventing
  further social skill use in that location.
  ­ Arthur is unnerved by the interation. Any further social
  skill use is at ­1 shift for the rest of the scene.
  ­ The person threatens to, or calls, the authorities on
  Arthur. The investigator may try to de­escalate.
  ­ The person gathers buddies to try and intimidate Arthur.
  ­ The person assaults, or tries to rob or swindle Arthur.
  ­ The person wastes Arthur's time (which he can't afford).
  ­ The person is panhandling/wants a bribe before helping.
  SOCIAL CONSEQUENCES
  Whenever a skill check fails, it's never just a failure.
  Instead, the failure means a setback for the player's
  character and/or dials up the threat level. The action
  moves forward, but not in the way the player wanted.
  Some consequences are obvious: failure to climb
  probably means a fall; failure to drive aggressively
  implies a crash. Sometimes it's less obvious. Here are
  ideas if you want to try your own hand at consequences:
  ­ Require a follow­up skill check to avoid an immediate
  threat.
  ­ Complications make a repeat attempt impossible, or at
  least more difficult and dangerous.
  ­ The skill check's intended result happens, but at a
  steep price (e.g. injury, damaged gear or spent money).
  ­ The skill check's intended result happens, but it
  creates a new (and bigger) problem.
  WHAT IS A CONSEQUENCE?
  
  yes­no question result), close the scene. Arthur is taken
  down to the station. Go to scene 4.
  #6
  Failure always carries a consequence. In this case, a
  failure could mean Arthur doesn’t realize that time is
  slipping away until it’s (nearly?) too late. You may
  decide either that Arthur still has a chance to get across
  town in a last­minute wild race against time (in which
  case, go to section II, entries #7 and #8, then section III,
  entry #9). Otherwise Arthur realizes too late that he
  won't reach the embassy in time, and his assignment has
  failed. Close the scene and go to scene 4.
  II. ON FOOT? GETTING MOBILE
  #7
  If Arthur’s car was damaged, all is not lost! You may
  ask the yes­no question if the car is still drivable (this is
  not a case of asking for trouble). Arthur’s own car was
  already a clunker so if it still runs, its ­1 shift for
  defective equipment is unchanged. But for a rental or
  Peter’s luxury car, drive car drops by 1 shift. A quick
  on­the­spot repair to make a car drivable would require
  a mechanic skill check, which defaults to untrained
  knowledge ­1 with at least an extra ­1 shift because
  Arthur doesn't have tools. If the car doesn't run, go to #8
  for other transport options.
  If Arthur is driving a crashed car, a possible asking for
  trouble is: “Does the police see Arthur driving the
  damaged vehicle and pursue?” If the roll result is yes,
  the officer behind the wheel is a NPC with drive car 1,
  pistol 1 and general conflict 0 skill. Arthur might try to
  shake the tail (go to section III, entry #9) or else pull
  over, in which case the officer would insist on towing
  the car. If you want to pursue Arthur's trying to use skill
  checks to talk his way out of it, fight or run away, can
  improvise using the DIY Tools. With a successful skill
  check, Arthur might even convince the officer to give
  him a ride in the cruiser... If the officer draws her/his
  service weapon on the investigator (by your call or
  through a yes­no question result), he is taken down to
  the station. close the scene and go directly to scene 4.
  #8
  Arthur might hail a taxi or ride service. He might need
  to make a successful negotiate skill check, which falls
  under influence, to convince the driver to shake a tail or
  drive aggressively. That would default to Arthur’s
  7
  Ready for some improvisation? Here are tools you
  can use to make your own decisions on what to do in
  this obstacle scene:
  Skill checks: Figure out the skill check you want to
  make. You know why you want Arthur to succeed,
  but also consider what failure means before picking
  up the dice. Failure always has a consequence. The
  p.6 sidebars suggest what kinds of bad things can
  happen to Arthur.
  ­ Check window dressing. Clearly helpful things add
  1 shift; clearly hindering things subtract 1 shift.
  ­ If the skill check is opposed by a foe, subtract the
  foe’s specific skill or general conflict skill.
  ­ If you want the skill check to count toward
  meaningful success, it must be at 0 shifts (50/50
  moderate) or below.
  ­ Add in any relevant scene qualities last. Any that
  directly help or hinder, add or subtract 1 shift.
  ­ Pick up the dice and roll, and add a tick to plot
  stress. If the skill check succeeded and it qualified for
  meaningful success, mark it on the mission sheet.
  ­ Narrate the outcome.
  Ask for trouble: Ask a yes­no question that, if the
  answer is yes, introduces a new setback or headache
  for Arthur, often forcing a skill check.
  ­ Start at 50/50 moderate odds, and shift up or down
  in either direction based on relevant window
  dressing. The final must be 50/50 moderate odds or
  higher to qualify for meaningful success.
  ­ Scene qualities that directly affect the likelihood of
  the roll, add or subtract 1 shift apiece.
  ­ Pick up the dice and roll, add a tick to plot stress,
  and mark that you asked for trouble on the mission
  sheet, whether trouble happened or not. If the roll
  result was below the current level of plot stress, roll
  on unexpected events p.15.
  ­ Narrate the outcome.
  Yes­no questions: Ask the question for which you
  need an answer.
  ­ Start at 50/50 moderate odds, and shift up or down
  based on the likelihood that the answer should be
  yes, modified by shifts in either direction from
  window dressing and/or scene qualities.
  ­ Only ask if there is a reasonable chance for the
  answer to be yes or no. Otherwise just decide.
  ­ Pick up the dice and roll, and add a tick to plot
  stress. If the roll result was below the current level of
  plot stress, roll on unexpected events p.15.
  DYI TOOLS
  
  bicycle; commandeer an idling delivery truck; happen to
  see and flag down an acquaintance. Just assess the
  probability, ask a yes­no question whether it's possible,
  and use a skill check to make the attempt; remember
  each skill check failure consequence digs a deeper hole.
  III. VEHICLES AND CHASES
  #9
  For this section, refer to the DIY Tools on p.7 to make
  skill checks, ask for trouble, and to check the
  probability of any yes­no questions you might ask. If
  Arthur is not being tailed but you still need to reach
  three successful skill checks, go directly to entry #12.
  If Arthur is behind the wheel and is being tailed, he is
  going to try and lose the tail. This is an opposed drive
  car skill check: Subtract the foe’s drive car or general
  conflict skill from Arthur’s drive car 2 (plus or minus
  any shifts for the quality of the car, which is part of
  window dressing modifiers).
  If Arthur is a passenger and someone else is driving, he
  can try to talk the driver into driving dangerously. If he
  fails, go back to II, entry #8 (On Foot? Getting Mobile)
  as Arthur gets curbed. If he succeeds, the driver has a
  general conflict 0 skill. If you are generous, Arthur
  might contribute a +1 modifier to the driver's roll.
  Because losing a tail is a contested skill check, only
  apply bonuses or penalties from window dressing and
  scene qualities if they somehow give one driver an edge
  over the other. In a contested roll like a car chase, road
  and weather conditions usually affect everyone equally:
  don’t apply these penalties to a contested roll. If
  Arthur’s contested drive car skill check fails, go to #10.
  If it succeeds, he loses the tail. Go to #11.
  #10
  What is the consequence from the failed drive car skill
  check? Now it’s your choice! Make up your own, or ask
  untrained social 0. Or if you have a good fast­talking
  story in mind, narrate it and apply it to Arthur’s deceit 2
  skill. Arthur’s intimidate 2 should have at least ­2 shifts:
  Drivers do not take kindly to being threatened. Any
  social skill check failure gets Arthur ejected from the
  ride, with no other ride options close by.
  Arthur can call and ask for an immediate rental car
  delivery. There is a ­2 shift to this attempt by default.
  The skill check defaults to Arthur’s untrained negotiate
  0. As with a taxi or ride service, Arthur’s deceit 2 might
  be possible, but you'll need to narrate a great fast­
  talking story to justify rolling a deceit skill check.
  Arthur’s intimidate 2 is useless: threatening a rental car
  employee over the phone is a non­starter. Failure in this
  social skill check means the rep hangs up on Arthur.
  Arthur might take a gamble with public transportation.
  Getting the bus schedule right defaults to Arthur’s smart
  0; asking people for directions would default to Arthur’s
  savvy 1. A possible consequence for failing the roll
  might mean Arthur gets on the wrong bus and is lost:
  close the scene and go to scene 4. Or make up your own
  consequence. Arthur can't use social skills successfully
  on the driver, but he can get dropped (or booted) off.
  You can also get inventive asking for trouble.
  Arthur can try to steal a vehicle. That is ill­advised, but
  carjacking would be intimidate. Hotwiring might be
  disable (defaulting to Arthur’s untrained device/ranged
  ­2, with at least another ­1 shift for no tools), followed
  by mechanic (untrained knowledge ­1, again with at
  least another ­1 shift without proper tools).
  Arthur just might be able to hoof it. If you believe the
  investigator has made it far along to the Eritrean
  embassy already, the player can ask the yes­no question
  if the private investigator is within running distance. A
  skill check against his hardy 0 attribute could get Arthur
  there in time with an extended sprint. A failure, or
  asking for trouble, could either mean Arthur runs out of
  steam and reaches the embassy too late; or if you’re
  more forgiving, that Arthur takes a level of damage
  (representing fatigue from being out of breath, not
  actual wounds) that carries over into the next scene.
  Something else. There are many other possibilities to try
  and get Arthur back on track. Think about what you
  want the investigator to try and accomplish; you can use
  the DIY Tools on p.7 to go your own way. Try and get a
  8
  The mechanics make the game work. But the more
  interesting part of Libre Solo Role Playing is in the
  details. Don't miss out! If you find yourself going
  through the motions of rolls, stop every now and then.
  Take a moment to visualize, or at least think about the
  details of what's happening that moment in the scene. It
  adds creativity and a dimension of depth to the game.
  STOP AND SMELL THE...
  
  9
  SCENE 3: RUMBLE AT THE EMBASSY
  a yes­no question if you have more than one idea in
  mind. Some possible consequences: Arthur hits an
  object that disables his car or makes the airbag explode
  for a level of damage; the pursuing vehicle collides with
  Arthur’s vehicle, causing damage or injury; Arthur clips
  a pedestrian or hits another car, and if he takes off it's
  hit and run (see the suggestion of police pursuit in entry
  #7); Arthur runs into gridlock, and the pursuers catch up
  and block in his car. What skill check might Arthur use
  next to try and deal with the situation? Use the DIY
  Tools on p.7; remember that each skill check failure is a
  consequence, and that matters get worse as they pile up.
  When you are done here, go to #13.
  #11
  Arthur shakes the tail. You may still want to ask for
  trouble (to get the scene to qualify for meaningful
  success). In that case, you can roll to see whether
  something might go wrong during the rest of the trip.
  For example a big pothole might blow a tire, the
  radiator fails, or some other issue disables the car. These
  troubles might take you back to section II, entry #8.
  #12
  If Arthur is not being tailed but is behind the wheel of a
  drivable car, you can still use a drive car skill check for
  meaningful success, representing aggressive driving to
  get across town quickly. This could be another chance to
  get a successful skill check, and/or ask for trouble. If a
  check fails, you may return to entry #7 and #8 in secion
  II. Apply penalties based on how aggressively Arthur is
  driving and window dressing/scene qualities (such as
  rough ground/pavement, wet or night­time conditions).
  #13
  Have you managed three successful skill checks and
  asked for trouble three times yet? Once you have done
  both, you can try to close the scene. Do that by rolling
  (d100) against plot stress. If you roll at or below the
  current level of plot stress, go to unexpected events p.14
  and resolve the roll before closing the scene. Otherwise
  the scene closes smoothly.
  If you still need another successful skill check or asking
  for trouble, Arthur Falcone could hit road construction
  delays in downtown Mill City, and try to navigate his
  way around the jam to get to the embassy in time.
  Navigate is part of wayfinding, which falls under
  Arthur’s untrained animal/vehicle 0. The consequence
  for failure puts Arthur in congested traffic, running out
  of time. Maybe the investigator can jump out of the car
  and make a run for it: go to entry #8, under Arthur just
  might be able to hoof it. Or you may have other ideas
  that Arthur might use to get through heavy traffic and
  reach the embassy in time, in which case use the p.7
  DIY Tools to work it out.
  If you still haven't reached three qualified successful
  skill checks and asks for trouble, you can try to
  improvise ideas using the DIY Tools for as long as you
  can come up with increasingly harsh consequences for
  failure. If you run out of ideas, or the consequences get
  too severe for Arthur, you may throw in the towel:
  Arthur fails to reach the embassy in time and his
  assignment has failed. In that case, close the scene and
  go straight to scene 4 wrap­up. k
  This segment, which is a simple taste of direct conflict,
  is called an encounter scene. Your goal this scene is
  simple. Arthur arrives outside the Eritrean embassy
  where he faces off against group of foes. To achieve
  meaningul success, he has to win the conflict. In Libre
  Solo Role Playing, losing a conflict can have very
  serious fallout. The stakes are high. Obviously, you
  could come up with lots of clever ways that would let
  Arthur bypass the conflict brewing here. In the full
  game it’s easy to flip an encounter scene into an
  obstacle scene and skirt a dangerous conflict. For this
  training wheels edition, you don't have that option.
  Arthur has just one way to get meaningful success for
  this scene: engage and defeat the foe group.
  This encounter scene is also a follow­up scene, which
  means it starts immediately where the last one left off. If
  Arthur has been grazed or wounded in past scenes, that
  carries over. As before, make a mental picture about
  what the area around the embassy looks like, and what
  kind of neighborhood it is in. Carry over anything that’s
  relevant from the last scene's window dressing and
  qualities, as window dressing for this scene. Roll three
  fresh scene qualities, incorporate them into your mental
  picture and write them down.
  This time you’ll have a foe group in the scene: A tall,
  tough­looking man in a leather jacket and four lackeys.
  The tough is classified as a leader, which just means he
  can’t be attacked until all his lackeys (called a team, and
  
  10
  out the leader, at which point Arthur wins the conflict.
  For each failure (rolling a no result), Arthur takes a level
  of damage. Every round of conflict is a skill check, so it
  adds a tick to plot stress.
  Arthur needs to fight to succeed in this scene. But he
  doesn’t need to play fair. Consider that the foe group
  wants the bag, and given a choice would rather not get
  into a punch­up. If Arthur approaches to parlay, the foe
  group engages him first to intimidate (at conflict 1),
  which Arthur resists with his willful 0. If Arthur fails,
  the likely consequence is that he gives them the bag. If
  he succeeds in the skill check, Arthur has the chance to
  try his deceit 2 against their conflict 1, for example.
  Draw on the DIY Tools on p.7 and get creative.
  Arthur could get an advantage if he can stage a
  successful ambush, taking the foe group by surprise. If
  that happens, for the first round the foe group can only
  defend at conflict 0 (that is, Arthur deals damage if he
  succeeds the first round conflict skill check, but if he
  fails he takes no damage). Treat the fight as a regular
  conflict after the ambush round.
  If Arthur wins the conflict, he can call Miss Marjani to
  meet him outside the embassy. A regal lady will exit the
  building, likely with a look of shock at whatever
  carnage Arthur wrought. She will coolly accept the bag
  and thank the investigator. Test scene plot stress one
  final time (d100) before closing the scene, for the
  possibility of a final unexpected event.
  If Arthur wins the conflict and rolls the foe group for
  cash, he can net about $50 apiece from each of the four
  team members, and about $250 from the leader. Taking
  peoples’ wallets after beating them up is right up there
  with intentionally ramming cars into people ­­ the sort
  of thing that comes back to haunt an investigator.
  If Arthur is incapacitated, he loses the conflict. Move
  directly to the scene 4 wrap. If Arthur flees from the
  conflict, the foe group lets him go. They’d prefer to
  snatch the bag, but they just need to prevent delivery to
  succeed. Again, Arthur loses the conflict. In either
  event, it's time to move to close the scene, rolling d100
  against plot stress to check for an unexpected event,
  then move on to scene 4 wrap. k
  treated as one entity) are taken out first. The leader has
  general conflict 0 skill. The lackeys are a weak team,
  but as long as any team member is still standing, add +1
  to all skill checks made by the leader. That means the
  foe group defaults to a general conflict 1 for skill
  checks. The foe group isn’t armed with weapons: They
  want the bag. Barring that, they want to stop its
  delivery. They’re not murderers.
  Once you’re done jotting down scene qualities and
  window dressing, inherit the last scene's ending plot
  stress and add 5. Roll d100: If you roll at or below the
  current level of plot stress, roll in the unexpected events
  section, and incorporate the result into the start of the
  scene.
  As you open the scene, consider how Arthur is going to
  enter it. Will he screech to a halt in front of the embassy
  in a beaten­up car? Is he huffing and puffing up the
  sidewalk to get there in time? Does he park a few blocks
  away and try a sneaky or nonchalant approach?
  The rules for this conflict are as simple as it gets. For
  the base chance of success, Arthur has brawling 1; the
  foe group collectively has conflict 1. Conflicts are
  contested skill checks, so subtract the foe group skill
  from the player character's skill: That makes the two
  sides evenly matched before applying any window
  dressing or scene qualities. In contested skill checks,
  only count window dressing and scene qualities if they
  give one side a clear edge over the other. Don't count
  qualities like rain, rough or slippery ground, or poor
  lighting that affect both sides equally.
  For a straight­up fight, each round of conflict is an
  opposed skill check. For each success (rolling a yes
  result), Arthur takes out two team members. That means
  if Arthur succeeds twice, all four lackeys (weak team
  members) are taken out. At that point only the leader
  will be left, who has conflict 0; a final success will take
  In the full game, throwing in the towel or suffering
  other setbacks in any one scene doesn't mean the
  mission fails. There is always the option to set up the
  next scene to try and get the story back on track.
  Stories can end up winding in unexpected directions
  while working to recover from the fallout of the
  player character's past mishaps.
  SCENE RECOVERY
  
  important (to Peter at least), the bag was delivered and
  the deal closed. Arthur's hospital bills are covered, as
  are vehicle and property damage.
  If Arthur had one scene with meaningful success, Peter
  is upset but downplays his disappointment. If the bag
  was lost or stolen, Peter’s insurance covered some of
  the loss, but Peter also makes it clear that Arthur
  embarrassed him in the eyes of the buyer. If Arthur still
  had the bag but didn’t deliver it in time, Peter informs
  him that the buyer got cold feet and the deal fell
  through. Arthur doesn't get any money for botching the
  delivery, but insurance is going to cover at least some
  expenses for any injury and damages. The police looks
  the other way if there was a punch­up, but the
  investigator might be in legal trouble for blatantly
  criminal violations like stealing vehicles, or attempts to
  run people over.
  If Arthur had no meaningful successes, Peter is livid. He
  heaps abuse on the investigator, even if Arthur is
  recuperating in a hospital bed. There may be lawsuits
  Whether Arthur managed to get the two meaningful
  successes he needed for the adventure or not, it’s time to
  wrap up the assignment. This is not a follow­up scene; it
  takes place days later with Arthur’s patron, Peter Havik­
  Stand. You may choose or roll the place (If you decide
  to choose rather than roll, places that make sense would
  be the cafe where the assignment started; or else a
  hospital bed if Arthur became incapacitated). Visualize,
  roll three scene qualities, write down window dressing,
  carry over plot stress from the last scene and add 5, then
  test plot stress by rolling d100 to check for an
  unexpected event to incorporate at the start of the scene.
  If scenes 2 and 3 both had meaningful successes, narrate
  a positive outcome for Arthur. Peter has lawyers on
  retainer who will settle or otherwise deal with anything
  illegal the private investigator might've done during the
  assignment. Anyone Arthur might have injured along
  the way should recover without too much trauma. Most
  11
  You might have Arthur try something clever in the encounter scene. Refer to the DIY Tools on p.7 for rules.
  Sneaking: Arthur needs two sneak checks of his untrained sneak ­2 against the foe group's notice 1. Two
  successes permit an ambush; failure means the foe group detects Arthur and the conflict starts immediately.
  Using the antique gun: Start with two yes­no questions: Is it locked in a case (very likely)? Are bullets and
  gunpowder included (unlikely)? If Arthur can get at it, maybe he can use the antique pistol with his intimidate.
  Vehicular mayhem: Use drive car to jump the curb and ram the foe group for a level of damage. That's good
  for an ambush, but after the first round Arthur needs to exit the vehicle to continue a regular conflict. Running
  people over could make for big future problems!
  Swap gun/gun case for decoy: A shrewd move, but it has no direct effect on this scene's conflict.
  Call for backup: Another shrewd idea, but Arthur has no time to delay; he needs to face this conflict now.
  Phone Miss Marjani: If Miss Marjani steps out, the foe group will intercept and detain her. That's good for a
  temporary distraction (giving Arthur a bonus to a skill check). She will not fight. If the Eritrean embassy is
  notified they, they call metro police. Miss Marjani, concerned for her safety, slips away and the mission fails.
  CONFLICT OFF THE RAILS
  SCENE 4: IT'S A WRAP!
  Even when a player gets the meaningful successes
  needed to finish the story, that only means the player
  can narrate a positive outcome. It doesn't always
  mean that the original mission succeeded, just that
  the final result ends up being positive for the player's
  character. The form that success takes can be much
  more ambiguous than the sample endings here.
  POSITIVE OUTCOME
  This final segment is also a cutscene, focused on closing
  dialog and resolution of the mission. For this adventure
  the resolution is abbreviated into a positive outcome and
  the consequences of failure. In the full game, the player
  isn't constrained to a straight win­lose scenario. The
  player can keep trying for meaningful successes to get a
  positive outcome. By the end of a story, that positive
  outcome might not look much like the original mission.
  The full game also lets the player delve into loose ends
  that might have come up during the adventure (possibly
  for future stories), and collect rewards and assign player
  character experience for future stories.
  
  From p.3. Each time you come to this table, add plot
  stress as directed and roll d100. If you roll at or below
  the current level of plot stress, go to the unexpected
  events section on p.14 and follow the instructions.
  1: Peter says reluctantly, “It’s a firearm, a valuable 18th
  century antique pistol. That’s why you don't go into the
  embassy with the bag ­­ you don’t want that kind of
  trouble.” Add two plot stress, go back to questions.
  2: Peter says, “I’ll add $300 to your pay and you stop
  asking questions. Deal?” If Arthur accepts, add one plot
  stress and wrap up the scene. If Arthur does not accept,
  add one plot stress and go back to questions, but apply
  an extra ­1 shift to any further questions.
  3: Peter very reluctantly (hands you his keys / takes out
  his smartphone and begins fidgeting with it), muttering
  PETER'S ANSWERS
  something under his breath. If Arthur got keys to Peter’s
  expensive luxury sedan, it is “premium equipment”,
  which adds a +1 shift to any drive car checks. If Arthur
  gets a rental, it will be delivered at the cafe in a few
  minutes. In either case, add two plot stress and apply an
  extra ­1 shift to any further questions.
  4: Peter gives Arthur a sour look. “If you think we have
  time to call up your friends, you didn’t hear me the first
  time.” Add three plot stress and go back to questions.
  5: Peter hesitates. “Well, there is this European gent
  named Marik. Marik Gaard. We have a disagreement
  over this,” he waves his hand over the bag. “That’s why
  I’m handing this job to you at great expense instead of
  paying some courier twenty bucks. ” Add three plot
  stress and go back to questions.
  12
  and police charges looming against Arthur. Peter rubs in
  that the investigator botched the transaction and ruined
  an important partner relationship. Peter swears that he’s
  going to stick Arthur with the bill for mishandling what
  should have been a routine delivery.
  Who was behind the toughs? Why was the bag and its
  contents so important, and who was the buyer? Who is
  Miss Marjani, and what ties does she have to the
  Eritrean embassy? What is her involvement above and
  beyond the deal?
  We won't address these questions at the end of this
  particular assignment. In the full game, it's normal to use
  a closing cutscene to wrap up at least some of these
  loose ends, or record them for future investigation.
  Whether Arthur succeeded or failed in this particular
  assignment, the player can pick up these elements in
  future Libre Solo Role Playing sessions, over time
  building a rich tapestry of people, places, items and
  motivations as part of a continuing series of stories.
  Besides any monetary rewards and information insights,
  at the end of a story Arthur would also pick up
  experience that can be spent on building up the
  investigator's skills, skill groups and even attributes.
  Wrap the story with a final roll against plot stress. If the
  roll triggers an unexpected event, resolve it before
  closing this final scene. k
  Thanks for guiding Arthur through the mean
  streets of Mill City! Hopefully you enjoyed this
  introductory challenge, and had the chance to take
  the adventure off the rails even just a little. May
  all your future successes be meaningful.
  During play, you may have picked up some of the
  game's tactics. Draw on your bonuses to raise the odds
  when the consequences for failure are risky; make skill
  checks for meaningful success when the consequences
  are manageable, ideally after lining up a scene quality
  for tailwind. Ask for trouble in ways that might prompt
  skill checks, which can be turned back to meaningful
  success. Manage the economy of actions and yes­no
  questions to minimize plot stress' unexpected events.
  FINAL WORDS
  In the full game, you leverage environment, equipment
  and people (allies, patrons, rivals, foes and others) to help
  position each scene for meaningful success. If in this story
  you considered (or even better, ended up trying out via the
  DIY Tools) something totally off the charts, like having
  Arthur carjack the minivan driver's vehicle, or offering
  $100 to his taxi driver to join the punch­up in scene 3,
  then congratulations! That's exactly the sort of thinking
  that Libre Solo Role Playing is all about. k
  
  13
  Scene 1
  Scene Qualities, Person, Item
  Plot Stress
  Window Dressing, Notes
  Skill Successes: ◊
  ◊
  ◊
  Ask for Trouble: ◊
  ◊
  ◊
  Meaningful Success?
  Scene 2
  Scene 3
  Scene 4
  Scene Qualities, Person, Item
  Plot Stress
  Window Dressing, Notes
  Skill Successes: ◊
  ◊
  ◊
  Ask for Trouble: ◊
  ◊
  ◊
  Meaningful Success?
  Scene Qualities, Person, Item
  Plot Stress
  Window Dressing, Notes
  Skill Successes: ◊
  ◊
  ◊
  Ask for Trouble: ◊
  ◊
  ◊
  Meaningful Success?
  Scene Qualities, Person, Item
  Plot Stress
  Window Dressing, Notes
  Skill Successes: ◊
  ◊
  ◊
  Ask for Trouble: ◊
  ◊
  ◊
  Meaningful Success?
  MISSION SHEET
  Use the tracking sheet here to write down scene qualities and window dressing for setup.
  Track plot stress and any other important details as the scene progresses.
  ABOUT LIBRE SOLO ROLE PLAYING
  This adventure shows off some pieces of the Libre Solo
  Role Playing game. The full game's storytelling engine
  should work with most settings and RPG rules; or use
  the book's included RPG rules, which are tuned for the
  storytelling engine. Libre Solo Role Playing covers how
  to build scenes, how to ask and use yes­no questions
  and skill checks effectively, shows when and how to ask
  for trouble, and provides ways to handle other persons
  (patrons, allies, rivals, foes) in the game. The RPG part
  of the game covers generating a player's character,
  allies, rivals and foes. It includes simple and complex
  rules for building powers for settings using magic,
  psionics, advanced technologies or super mutations (or
  all of the above). There rules­lite RPG mechanics
  handle skill checks and conflicts elegantly, even with
  many allies and foes using a range of gear and abilities
  in a scene. It includes progression of the player's
  character, allies and rivals through gaining experience.
  Optional rules cover more complex use of powers; there
  are guidelines for setting up challenges across longer
  journeys and quests; rules for generating random deadly
  monsters; and an optional way to generate random
  rewards. The Libre Solo Role Playing game also
  includes two sample settings sketches ­­ modern­day
  Mill City shown here and Artanes Bronze Age low
  fantasy. It includes an extended annotated play­through
  sample transcribed from actual game play. k
  
  Wide open spaces
  High Observation point
  Sight­blocking
  Hot
  Humid
  Cold
  Dry
  Breezy
  Windy
  Gale
  Cloudy
  Overcast
  Stormy
  Clear
  Still
  Sprinkling
  Rain (sleet/snow)
  Downpour (blizzard)
  Work sounds
  Running water
  Blowing winds
  Traffic/Passers­by
  Birdsong
  Animal sounds
  Quiet/serene
  Floral/sweet smells
  Solid/hard ground
  Soft/plush ground
  Smooth/slip ground
  Rough ground
  R: Conversation
  R: Argue/debate
  R: Study/learn
  R: Guard/vigilance
  R: Guard/vigilance
  R: Anxiety/fear
  R: Anxiety/fear
  R: Hate/anger
  R: Hate/anger
  R: Hunt/scavenge
  R: Welcome/friendly
  R: Worship/reverent
  R: Sick/diseased
  R: Drunk/drugged
  R: Hurt/suffering
  R: Respect/grateful
  R: Celebrate/fest
  R: Tired/rest/sleep
  R: Cook/eat/drink
  R: Lack/hungry/poor
  SCENE QUALITIES
  Square/Meeting hall
  Warehouse/storage
  Marketplace
  Farm/villa/estate
  Smithy/factory
  Crafting­place
  Shop/store
  Tavern/inn/hotel
  Arena/sport­place
  Streets/alleys
  Luxury digs
  Library or lab
  Palace/fortress/HQ
  Keep/tower
  Field/meadow
  Garden/lawn/park
  Temple/church
  Home/hovel
  Cellar/underground
  Port/station/transit
  Memorial
  Crowded
  Plants
  Garbage/rubble
  Offal smell
  Cooking smells
  Pollution/smog
  Chemical smells
  Incense/perfumed
  Stuffy/stale smell
  Cramped
  Furniture­strewn
  Curtained
  Machinery/magic
  Background noise
  Music
  Stairs/ramps
  Terraced
  Vehicle(s)
  Fence/hedge
  Ditch
  Dank/damp
  Bright/well­lit
  Gloomy/dimly­lit
  Twilight/dusk
  Shadowy
  Hazy
  Foggy
  Dusty
  Smoky
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  00
  For this quickstart, when you get an unexpected
  event, roll d10 and look up the result below. Apply
  the result as soon as possible. If it just can’t be
  worked into the scene, you can ignore the result.
  After you’ve rolled here, regardless of what (if
  anything) happens, cut your current level of plot
  stress in half, rounding down.
  1: Arthur does something noisy or clumsy, like
  knocking over or dropping an object. If it’s
  something really critical, Arthur can try a nimble
  skill check to recover.
  2: Nothing happens
  3: Any foe in the scene is momentarily distracted.
  Describe why. Arthur may seize the moment to take
  an action (i.e., make a skill check).
  4: Nothing happens.
  5: Look out! Something big and heavy comes
  flying/swinging/careening at Arthur, who must make
  a nimble skill check to dodge out of the way. If
  Arthur fails, he takes a level of damage.
  6: Some random people (window dressing) in the
  scene are friendly to Arthur. This may give a +1 or
  ­1 shift to one yes­no question or skill check.
  7: Nothing happens.
  8: Some random people (window dressing) in the
  scene are mistrustful of Arthur. This may give +1 or
  ­1 shift to one yes­no question or skill check.
  9: Nothing happens.
  10: Any foes in the scene detect Arthur and try to
  engage in physical conflict. But if Arthur is already
  fighting foes, instead they hold momentarily: This is
  an opportunity for Arthur to parlay and de­escalate.
  If there are no foes in the scene, a nasty
  troublemaker from Arthur's past named Rabin
  Trebon has seen the investigator and moves in to
  settle an old score. Rabin has brawling 1, intimidate
  1, and conflict 0. See scene 3's conflict rules for
  guidance how to handle a punch­up with Rabin.
  EVENTS TABLE
  14
  The protagonist (player's character) has three levels of
  wounds before being taken out. All other persons go
  down with one hit except for teams, where one level of
  damage takes out two members.
  Grazed: a close call but nothing serious. Normally, the
  player's character could shake it off after a night's rest.
  Wounded: a serious injury that gives the player's
  character ­1 shift to all skill checks (including rolls
  against attributes). The condition lasts the duration of the
  mission.
  Incapacitated: unconscious or otherwise totally
  helpless: Don't close the current scene formally, it ends
  immediately. Go directly to scene 4 for the aftermath.
  PLAYER CHARACTER HEALTH
  YES­NO QUESTIONS
  & SKILL CHECKS
  SHIFTS
  YES
  NO
  +3
  Nearly Certain
  1­95 96­00
  +2
  Very Likely
  1­80 81­00
  +1
  Likely
  1­65 66­00
  0
  50/50 Moderate
  1­50 51­00
  ­1
  Unlikely
  1­35 36­00
  ­2
  Very Unlikely
  1­20 21­00
  ­3
  Nigh Impossible
  1­05 06­00
  Each scene has three randomly rolled scene qualities.
  results 81­00 are rationales (reflecting attitude or
  behavior of generic people present in a scene)
  
   
   
  ATTRIBUTES
  (+1, 0, -1)
  STRONG
  NIMBLE
  HARDY
  SMART
  WILLFUL
  SAVVY
  PHYSICAL/MELEE:
  SKILLS: ___________________________________________________
  (strong+hardy, untrained -1)
  (skill groups: perform, martial arts, athletics, weapon)
  DEVICE/RANGED:
  SKILLS: ___________________________________________________
  (nimble+hardy, untrained -1)
  (skill groups: bows, throwing, guns, gunner, disable, *dodge)
  ANIMAL/VEHICLE:
  SKILLS: ___________________________________________________
  (strong+savvy, untrained -1)
  (skill groups: ride, handle animal, wayfind, crew, drive, pilot)
  SUBTERFUGE/SURV:
  SKILLS: ___________________________________________________
  (smart+nimble, untrained -1)
  (skill groups: hunt, survive, streetwise, sneak; *notice)
  KNOWLEDGE:
  SKILLS: ___________________________________________________
  (smart+willful, untrained -1)
  (skill groups: crafts, medic, profession, mechanic, *research)
  SOCIAL:
  SKILLS: ___________________________________________________
  (savvy+willful, untrained -1)
  (skill groups: influence, interact)
  POWER:
  SKILLS: ___________________________________________________
  (special ability=hardy -1; 
  (types: melee, ranged, attribute, skill, equipment/utility)
  magic=smart -1; 
  psionics=willful -1. No untrained)
  *Notice, research and dodge are standalone skills, not skill groups
  GRAZED          WOUNDED           INCAPACITATED
  (until end of scene or 
  healed; no other effect)
  (-1 to all skill checks 
  until healed)
  (ends scene; proceed to 
  next scene)
  (lift, push, carry, break)
  (balance, avoid, manipulate)
  (resist fatigue, recover)
  (general knowledge)
  (resist manipulation)
  (favorable reaction)
  DESCRIPTION & GOALS
  PATRONS, ALLIES, RELATIONSHIPS
  SIGNATURE GEAR, EQUIPMENT, VALUABLES:
  0
  1
  -1
  0
  0
  0
  0
  -1
  1
  -1
  0
  1
  X
  drive car 2. 
  brawling 1.
  gather information 0; notice 0. 
  deceive 2; intimidate 2. 
  Arthur Falcone is a private investigator who is a bit awkward, but pleasant 
  to be around. Falcone washed out of the corporate world (field sales job) 
  after uncovering and whistle-blowing on organized criminal activity at his 
  company, which cost him his job: hard-learned lessons about discretion. 
  Falcone started his struggling independent detective agency a few months 
  ago and is desperate for work. Thanks to his people skills, Arthur managed 
  to pal up with Peter Havik-Stand, who thinks Arthur is more successful & 
  experienced than the reality.
  Peter Havik-Stand: impulsive wealthy 
     businessman (patron).
  Toni Graham: unflappable part-time assistant 
     (ally).
  Emily Chan: police detective (rival).
  weathered trenchcoat, fedora.
  beaten up four-door compact car 
  (-1 to drive car checks).
  cheap cell phone
  wallet with 200 dollars, maxed-out credit cards.
  cramped 2nd-story office in dingy city building.
  about 2,500 dollars in bank account
  BASE
  CHARACTER: _______________________ PLAYER: _______________________ XP: ___
  UNTRAINED
  -1
  -2
  0
  -2
  -1
  0
  Arthur Falcone
  
  This work uses fictitious names, characters, places and incidents. Any resemblance to actual events, locales or persons is
  entirely coincidental. ©2017 Brian Washburn. Artwork by Doug Chapel, www.dsquared.org
  Special Delivery!
  Private investigator Arthur gets a
  cakewalk assignment dropped in
  his lap: Just get a bag across town
  by 5pm. Courier jobs are usually
  beneath Arthur, but at $600 for
  two hours' work, that's quick and
  easy money he can't afford to turn
  down. And that's how his troubles
  began...
  This introduction to Libre Solo
  Role Playing wraps a sample of the
  game's tools and RPG rules around
  a branching path adventure. The
  rules have been stripped down and
  combined with a partly pre­scripted
  plot, to mix a taste for the rules
  with an underlying structure. As the
  story progresses, go off the rails
  and make it your own.
  The full Libre Solo Role Playing
  game lets you tell stories in your
  own way. It creates obstacles to
  overcome, plot twists, setbacks and
  surprises. Recruit allies to help
  your player character's cause;
  square off against dangerous foes
  and recurring rivals. Take your
  character on perilous journeys;
  conduct thorough investigations;
  seek to overcome the threats of an
  unpredictable world.
  Libre Solo Role Playing
  http://www.librerpg.com
  
SOURCE: textdata/thevault/Solo/2. GM Emulators & Generic Solo Rules/Libre/Libre Solo Role Playing - Training Wheels Adventure.pdf