Merobaud Roulant, Inquisitor (luminary)

“A man sins out of entitlement or out of desperation. He feels that life owes him more, and turns to foreign deities and occult practises to increase his lot. Or he is desperately trying to survive, and turns to foreign deities because they will provide for him and his children where the faith will not. As long as men turn from the true path out of honest need, it is we, the well fed and well clothed, who are at fault. Our response must be care and education first, and the whip and pyre only when nothing else will save a soul.”

Merobaud Roulant, Inquisitor


Few organisations spark wariness in player characters the way the name of the Inquisition does. Fantasy setting or history, a faith or church bureaucracy’s official investigators and enforcers are typically viewed with caution, distaste, or outright fear by the heroes portrayed by the players. The arrival on-scene of the church’s official Inquisitors is bound to shake up the story. Whether the heroes are allies of the religious organisation in question, or its starch opponents, they must respond. More so if the Inquisitor in question turns out to maybe not be quite a bad guy after all.

Non-player character with stats, personality, and plot bunnies, all wrapped up for insertion in your historical and/or fantasy campaign.

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What are luminaries?

Luminaries are non-player characters who can be inserted into an existing campaign or storyline. Luminaries are not necessarily influential or powerful; they are people who, for some reason or other, can set off a story. While luminaries can reference literature or movies they need to be able to exist out of context. They must be easily adaptable to an existing game setting of somebody else’s design. Luminaries usually require integration with an on-going storyline or setting.

The Angry Sea (miniplot)

The god of the sea is angry and now a coastal town is paying the price. The heroes must appease the sea god or make him lose interest in punishing innocent fishermen. But is that all?


“Because there’s nothing more beautiful than the way the ocean refuses to stop kissing the shoreline, no matter how many times it’s sent away.”

Sarah Kay


The Angry Sea can be used with a coastal town in any fantasy or historical setting that allows for pantheistic religion, i.e. such a thing as a god of the sea actually exists. For settings with a monotheistic world view, a sea demon or ocean faerie can be substituted. For full effect of the sea god’s wrath, the story should be set in a town or townlet on an island or otherwise cut off from the rest of the world if the sea routes are not available. In a city that cannot send for supplies over land, the ability to sail and fish the ocean means the very difference between life and death.

  • Violence: Low, though final encounter is likely.
  • Sex: Low. Mention of rape and prostitution.
  • Plot nature: Investigation.
  • Primary skill set: Street lore, Charisma.

Right-click to read The Angry Sea in another tab or download the pdf file to your hard drive.

What are miniplots?

Miniplots need to be able to stand on their own. While they can reference literature or movies, they need to be able to be inserted into an ongoing storyline. Miniplots must come with all relevant information contained, or be easily adaptable to an existing game setting of somebody else’s design. Miniplots usually require integration with an on-going storyline or setting.

Ambush at the Mouse Ballet (Miniplot)

Ambush at the Mouse Ballet

The heroes have ticked off a thieves’ guild, group of smugglers, gang of thugs, or other criminal element of the city’s underground, and now they’re walking into the repercussions. This miniplot is essentially a bar brawl with frills.

For whatever reason the heroes are walking into an ambush, the intent of which is to scare them off. Murder, even among thugs, is a crime carrying heavy punishment in most medieval or early industrial communities; a bit of rough handling tends to get the message through. Particularly if it’s clear that the heroes are getting one last chance, and there will not be another.

What exactly the heroes have done, and to whom, is not relevant to this miniplot. Make sure they know they’ve ticked off the local gang, and wait for them to walk into a trap. Or have them be confused for some other guys and walk into the trap in a case of mistaken identities.


“I don’t know what these travellers did, or what they took. All I know is that there are some people in this city, some very fine people who happen to be paying me and by extension, you ladies. Those people want these fools to understand that this is our town, our money, our rules. Make it clear to them, Thatcher— that’s what the boss said. And if they still don’t take the hint, next time you use crossbow bolts from rooftops.”


Right-click to read Ambush at the Mouse Ballet in another tab or download the pdf file to your hard drive.

What are miniplots?

Miniplots need to be able to stand on their own. While they can reference literature or movies, they need to be able to be inserted into an ongoing storyline. Miniplots must come with all relevant information contained, or be easily adaptable to an existing game setting of somebody else’s design. Miniplots usually require integration with an on-going storyline or setting.

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