Sunday, September 15, 2024

Why Does Nobody Talk About The WOMEN Who Lost America?!

I've really enjoyed reading "The Men Who Lost America" by the entertainingly named Andrew Jackson O'Shaughnessy. The premise behind the (non-fiction) book is very simple: the story of the (American) Revolutionary War as told from the British perspective.

 


O'Shaughnessy is an academic historian, and notes that surprisingly almost all scholarship has been performed by American researchers; the British historically seemed embarrassed to plumb deeply into the details of the episode, so most uncovering of primary sources on the British war effort have been performed by Americans abroad rather than home-grown academics.

The book is structured really well. Each chapter focuses on a particular individual responsible for leading a major aspect of the British war effort. They are also organized such that the chronology generally advances forward: there's definitely overlap, but usually a following chapter will describe how someone attempted to recover from the shortcomings of a previous leader. The chapters are also grouped into three overarching sections: first the political leaders, then the army generals, and finally the admirals. This turns out to work nicely in making sense of the overall conflict, as the political sections can go into a lot of detail on the background leading up to the war, the generals have non-overlapping reigns of chief commanders, and the admirals' efforts prove instrumental in securing non-disastrous terms for the British and paving the way for their navy-powered world domination in the 19th century.

I won't recap everything in the book, but broadly speaking, it was pretty eye-opening for me. A lot of things that I've taken for granted since early childhood turn out to be inaccurate or incomplete; I've gotten a better understanding of the broader context and stakes of the war beyond the border of the 13 colonies; and it was really compelling to see how certain key incidents like Benedict Arnold's betrayal or the Siege of Yorktown were seen from the British side.

The first chapter covers George III. I've just dismissively thought of him as a crazy, inept king, but he comes across really well in this book, albeit with some significant flaws in judgment. (This pattern will FREQUENTLY recur!) O'Shaughnessy notes that, almost right up until the outbreak of the war, George was actually generally better liked in America than he was in Britain. Stepping back a bit: Britain had spent a great deal to defend America during the French and Indian war (aka the Seven Years War) (Which, although O'Shaughnessy doesn't really get into it here, was basically single-handedly sparked by George Washington). America received a lot of the benefits of being protected by British military and diplomatic power, but the per-capita tax burden on people living in America was a miniscule fraction of what the average Englishman paid. So there was a growing sense in Parliament that America would need to pay more to contribute towards the upkeep of the Empire. As we all know, Americans strongly disliked this: actually paying taxes isn't fun, and beyond that, they resented being told what to do by people on the other side of an ocean, and more broadly felt disrespected and oppressed.

For most of the decade or two leading up to 1776, the conflict was seen as upholding the doctrine of the sovereignty of Parliament - that is, the idea that Parliament is the ultimate authority on all matters in the British empire. This is significant, in that the principal dates to the Glorious Revolution and is in some ways anti-monarchial. George III wasn't especially concerned about the colonists one way or another, but the politicians were keen to keep Parliament strong as an institution. So, there was this interesting dynamic where the colonists for a while were directly petitioning George to shield them from the actions of Parliament, implicitly promoting monarchy over democracy.

While George wasn't involved in the various taxes and acts that first assessed and later punished the Americans, once the situation escalated to the point of armed rebellion, he became firmly on the side of defeating the revolution by force. A kind of switcheroo occurred where Parliament, who previously had been so gung-ho on showing the Americans their place, began to have second thoughts and much more sympathy towards the rebel cause; while the king, who had been predisposed to show mercy, became intransigent on the need to unambiguously defeat the rebellion. And in fact the main reason why the war dragged on as long as it did, several years after Yorktown, is because George refused to give in.

Returning briefly to the topic of his mental state - as I wrote above, I've typically just dismissed George III as a "crazy king". He comes across as extremely stable, thoughtful, and rational in this book, with an awareness of the logistics of the conflict, strong understanding of the various people, and a grasp of details. Several people have audiences with the king and are very moved by the experience. Anyways, his famous "madness" turns out to have been a blood disease of all things. The symptoms would include seizures, period of delirium and incoherence, and, tellingly, purple urine. While this is a malady he struggled with, from this book it doesn't seem debilitating, more of an episodic thing that gradually increased with age but never really overwhelmed him.

The second chapter covers Lord North, who was the Prime Minister leading up to and during most of the war. He's a really fascinating character: while nominally the most powerful man in Britain, he's cripplingly indecisive, unable to set clear policy, resolve disputes between subordinates, or clearly express his aims. As with most of the people in this book, he does have some very strong talents: he was also the Chancellor of the Exchequer, prior to and during his term as Prime Minister, and seems to have been a financial genius, ably managing the empire's challenging loans and expenditures. But he is wholly inadequate to the wartime task, and recognizes his own limitations. It's both comical and pathetic how frequently he asks to be allowed to resign, only to be turned down over and over and over again: all of his potential replacements are opposed to the war, and King George demands a supporter in this role.

Among other things, this book is an interesting snapshot into a particular window in the development of institutions: we learn that North was one of the first people to carry the specific title Prime Minister, and people were still trying to figure out exactly what that job entailed. He leads a Cabinet, but there wasn't really a concept of a unified Cabinet policy, it was more of a collection of powerful individuals, who in this case often publicly warred with one another. We still see the remnants of a feudal patronage system, as certain individuals in the House of Commons or the House of Lords will have a certain number of members of Parliament in their pocket, and appeasing these specific factions is required in order to maintain a majority for the present government. Fascinating stuff!

Jumping forward to the army: much like with Lord North, there's a strong strain of indecisiveness that seemed to paralyze British action for the crucial first years of the war. Fundamentally, both sides still saw each other as British: many Americans wanted the respect and representation of their island ancestors, while the British wanted to discourage their wayward children and bring them back into the fold. So while the British arrived with a significant military force to exert their will, they didn't really want to use it: the commanders understood well that violence would harden the Americans' resolve and make rapprochement more difficult.

At this time, most leaders of the military were hereditary nobles, which meant they also had active political careers, and as a result many talented leaders were not eligible to lead the American war because they had opposed the war. The first pair of leaders were two brothers, General George Howe and Admiral Richard Howe. In some respects they were the best leaders of the war because they collaborated so well between the army and the navy; throughout the rest of the war, the two branches notoriously failed to cooperate. However, the brothers insisted on also being appointed as peace commissioners, so they arrived with fig branches in addition to rifles.

Howe seems to have been a good military commander, thrashing George Washington in a series of battles that ended with New York City firmly under British control. But he and his subordinates failed to prevent the escape of the Continental Army, which could have delivered a decisive knock-out blow. There's a lot going on in that escape, but one big element, again, is that Howe didn't really want to kill the Americans: their goal was essentially a "shock and awe" campaign that would make the Americans realize their cause was hopeless and end the war before too much bloodshed occurred. That dual role of peace commissioner and military commander made it hard to decisively pursue strong victories, in much the way that Lord North had a hard time deciding on a specific course of action.

There are of course many factors that lead to Britain's loss, but I came away from this book with the impression that the single greatest error was that Britain assumed that the silent majority of Americans were loyalists, and that the revolutionaries with a small and loud minority, so the thinking went that all the British had to do was show up, then loyalists would flock to their side and they would collectively steamroll the opposition. That wasn't the case, of course: yes, there were loyalists, but far fewer strongly committed loyalists than strongly committed revolutionaries. When loyalists did declare for the British, the army felt compelled to protect them, which then necessitated defending those areas and limiting the available forces for offensive actions. Otherwise, when the British left, the loyalists would be driven out or even killed by partisans. The Howes like many later commanders realized that they couldn't in good conscience call upon the loyalists unless they were prepared to protect them.

One of many factoids I learned throughout the book is that the size of both the British and the American militaries steadily declined after 1777. On the American side, the pay was bad, the currency inflated into near-worthlessness, conditions were generally miserable, with shortages of food and clothing and shelter and heat. The British had supply problems of their own but didn't need to worry about soldiers deserting; rather, their problem was that Britain had to defend a far greater area than just America. Even as the war started they were nervous about the situation in Ireland and retaining Canada, and once France and Spain entered the war they had to worry about their possessions in the Caribbean, Gibraltar, Jersey, India and various East Asian islands. The commanders on the ground in North America always recognized that they had far too few men to accomplish their mission, but despite that were always being ordered to send men to Jamaica, to Nicaragua, to various other places. So their resources kept dwindling, and yet King George and the Secretary of State Lord Germain demanded offensive actions and taking the initiative. Little wonder that the commanders fared so poorly.

After the strong initial opening in New York, General Burgoyne's decisive defeat at Saratoga rocked the British on their heels, with everyone belatedly realizing that this war would drag on for years. After the Howes were recalled General Clinton took command. He comes off as amusingly whiny in this book: like everyone else in his position, he realized that his situation was hopeless, and he just cannot stop complaining about it, constantly feeling that he's being set up as a scapegoat to pin the failure on.

Dysfunction is a huge recurring theme of the book, with people and organizations unable to cooperate. Shipping vinegar from Britain to America takes seven months. Something like twenty separate departments are responsible for transporting supplies for the war, and none of them are under the control of the War Department. Generals Clinton and Cornwallis start off on fairly cordial terms, after some catty comments and stirring up drama, they get into a situation where they won't talk with one another for months. Clinton is hunkered down in New York City while Cornwallis is rampaging throughout the Carolinas; Clinton thinks that Cornwallis is making a mistake and accomplishing nothing, but doesn't bother to order him to do anything different. Cornwallis eventually reaches the Chesapeake Bay, after which Clinton sends his first direct order in half a year, to fortify a harbor as a new naval base. Neither of them are aware that the British Navy is mostly in the Caribbean and Cornwallis is dangerously exposed. This all leads to the huge defeat at Yorktown, the single biggest military disaster of the war.

The last part of the book focuses on the admiralty; shorter than the others, it just has two chapters, one on Rodney and the last on the Earl of Sandwich. Like most people in this book, Rodney has many facets. He wins great renown for the Battle of the Saintes and for relieving the siege of Gibraltar. But much of the chapter focuses on his capture and plunder of St. Eustatius, a Dutch free port in the Caribbean. Rodney was badly in debt and stood to personally benefit from a share of plunder, so he basically ignores the military needs of Cornwallis and other generals to instead go after a rich trading port. This is a pretty dark section, and we read about Rodney's anti-semitism and general nastiness in this episode. While his action pretty directly contributed to the loss of America, he's just about the only person in the book who emerges from the war with his reputation enhanced, thanks to his victories elsewhere at sea.

Finally, the Earl of Sandwich (who, yes, does seem to be the inspiration for the word "sandwich" as we use it today) is a pretty compelling character. He's the oldest member of the cabinet and an institutional link with the earlier regimes of government. He's the First Lord of the Admiralty, which is usually held by an admiral, but he's a very capable administrator. Much like Lord North in the Treasury, Sandwich provides excellent reforms for the navy: across two terms in office, he personally walks the docks to inspect them, sees chronic issues like rotting timbers, and starts a significant program to improve Britain's process for procuring, building, repairing and replacing ships.

One of many ironies in the book is that the Earl had strongly argued early on for greater investments in the navy, as much of the fleet is mothballed in peacetime and many of the remaining ships are past their useful life. Lord North and others deny him. Later on, once the war expands to include France and Spain, England becomes hugely vulnerable to their combined navies. The government belatedly begins to fund the expansion, but it takes years to build new ships, so they can't arrive soon enough to be of help in this war: in fact, despite the wartime infusion of investment, the size of the navy actually declines, as older ships need to be retired before the new ones can replace them. The Early of Sandwich becomes one of the most hated people in the entire book, blamed for all the deficiencies of the navy, despite the fact that he recognized those deficiencies before anyone else and tried to have them fixed back when it could have done some good.

The book ends with a relatively upbeat assessment of the legacy of the war for Britain. Yes, Britain "lost": she had to surrender the colonies. But thanks to some late naval victories, Britain was able to negotiate separate peaces between America, France and Spain, and received better terms than otherwise might have been achieved. Thanks to the vision and drive of the Earl of Sandwich, Britain ended the war with a powerful and well-functioning navy, which directly paved the way for the globe-spanning Britannia empire of the 19th century. The early chapter on Lord North similarly notes how, thanks to his prudent management of Britain's finances, the war, while painful and expensive, could ultimately be borne by Britain's credit markets; on the flip side, France, which "won" the war, acquired incredible debt as a result, which directly led to the summoning of the Three Estates, the French Revolution and the end of the monarchy. When you zoom out a few decades, it isn't crazy to think that Britain came out of the war rather well. In fact, we learn that the value of Britain's trade with America was greater after the war than before it.

So, yeah! Good book. I thought it was interesting, well-written, well-structured, gave me new perspectives on old stories and introduced me to some (to me) brand new stories. I'd definitely recommend it to folks who enjoy history.

Saturday, September 07, 2024

Sovereign Syndicate

Thanks to the good graces of Another Brother, I recently got to play through Sovereign Syndicate, a great little indie RPG. Reading the description makes me think that it was created in a laboratory specifically to appeal to me: if you imagine the intersection between Shadowrun Returns, Disco Elysium and Fallen London you'll have a great idea of what this game is. As those are my three favorite RPG-ish properties of the last decade, it's a uniquely compelling pedigree.



Sovereign Syndicate is set in an alternate version of Victorian England. There's steampunk-y technology, along with a completely new world history that includes some new global superpowers (Zululand is an empire that spans the Atlantic). One of the more striking aspects is the insertion of fantasy races into human society; unlike Shadowrun's adoption of Tolkien-esque elves, dwarves, orks and trolls, Sovereign Syndicate highlights races from classical mythology like centaurs, minotaurs, cyclopses and satyrs.



Like Disco Elysium and Fallen London, Sovereign Syndicate has stats like an RPG, but is oriented around non-lethal encounters and problem-solving using skills like observation, critical thinking, persuasion and sleight of hand. The system oozes with flavor: you may level up in humours like "yellow bile" and "melancholy", which will eventually increase stats like "Self-Determination" and "Animal Instinct". The skill system isn't as broad as Disco Elysium, but is used very similarly: you take challenges based on the skills you have, and also see reactive observations from your inner dialogue based on those aspects. (So, your "Animal Instinct" may chime in in response to something another character says. Even the art for these aspects is very evocative of Disco Elysium's. Overall the game very much feels like it's continuing in Disco Elysium's footsteps, which is fantastic, because we need a lot more of those sorts of games!



Continuing with the very unique and evocative character of its systems, Sovereign Syndicate does not follow the die-rolling or random-number-generator approach followed by most RPGs. Instead, challenges are based around a Tarot deck. When you take a challenge, you'll draw a card from the deck, add that value to the relevant stat, and compare that against the challenge value. So, for example, if you are checking a Spryness of 20, have an innate Spryness of 15, and draw a 6 of Cups, then you'll have a total of 21 and pass the challenge. The special card "The World" will auto-pass any challenge, while "The Fool" will auto-fail the challenge and re-shuffle the entire deck.



This has some interesting and cool mechanical implications. It took a while for me to realize it, but you're essentially card-counting whenever you check the odds of completing a challenge. If you've already drawn a lot of high cards, then those can't be drawn again until you find The Fool, so you're more likely to be stuck with a lower card; of course, if you have had a string of bad luck, then karma is naturally weighted in your favor and you'll be more likely (but not guaranteed) to draw a high card. Neither success or failure are ever guaranteed, and there's always an outside chance that luck will triumph over the odds. Also, this system limits against save-scumming: you're not re-rolling the dice, just drawing whatever card is on top, which was set way back when the deck was last shuffled. BUT, depending on where you are in the game, you might be able to take different challenges to get deeper into your deck before returning to the first one.



The tarot deck you're using is specifically the "minor arcana". You can also acquire "major arcana", which permanently unlock certain dialogue choices and abilities: being a social chameleon, or blunt speaking, or able to cast illusion spells. They function like Etiquettes in Shadowrun, giving you a challenge-free way to progress in a dialogue or situation.



I really love the non-combat design. I think a lot about ways that we could design and play RPGs without fighting and killing, and I love seeing more and more of these games come into the world. So many of the things we have in RPGs today are there because Gary Gygax made an arbitrary decision 60 years ago, and we all kind of continue those systems forward without thinking about it: things like gold, XP, levels, hit points, etc. I love it when games get away from those conventions. Sometimes, as with Tides of Numenara, it can feel like the designers are working a bit too hard to go against the grain, which also isn't great: doing something different isn't automatically better, and can feel annoying if you're being asked to learn a new system that doesn't improve on the mechanics or flavor of the status quo. But it's really nice to feel like you're playing a game that popped in from a parallel universe where games evolved differently, and Sovereign Syndicate belongs to that latter group of games. 

One specific example here: your character's mood acts kind of like their health bar. It's a range from 0-100, with descriptions like "weary" near the bottom and "content" near the top. Your mood may be damaged if you fail a challenge, but also if, like, you see a dead bird in the gutter, or if you give a cynical answer to a question. You can improve your mood by succeeding, but also by expressing optimism, noticing pretty things in the world, or listening to praise from others. Once you get the hand of the system, it's pretty easy to raise by paying attention to your surroundings and the options: picking upbeat replies, taking baths, and so on help raise it, so you can maintain around 100 after a while. In some ways this becomes self-reinforcing, as certain dialogue options are themselves gated by your current mood.



I'm not sure what happens if your mood reaches 0 - mechanically it seems like it could be a "game over" type of situation, but given how the rest of the game works, I imagine it's more of a story impact, restricting your actions to the "Weary or Worse" choices.

The mood bar oddly makes me think of Lord of the Rings Online. In the Tolkien mythos there is no resurrection, so death has always been tricky to handle in games set in Middle-earth. LOTRO handles this by instead having "Morale", which functions equivalently to Health but is meaningfully different in the story. The idea is that your character can press on, will grow discouraged over time (due to their wounds or other hardships), and once they fall into despair they give up and need to return home to regather their strength and courage. Acts like singing are very powerful in raising morale, functioning similarly to applying a bandage to a health-based system but much more meaningful and evocative in this setting. Anyways, I like how Sovereign Syndicate does something sort of similar, and I think it could work well for lots of other games too. (There are many other examples, of course. Failbetter has Fallen London with "menaces" like Scandal and Suspicion, along with Supplies and Nightmares in the Sunless games, and going way back there's Sanity in the Call of Cthulhu pen-and-paper games.)

Visually, the art design of Sovereign Syndicate feels a lot like the new Shadowrun games. It mostly feels isometric, with a bit of dynamic shifting: in Shadowrun there was a light parallax effect around the Y axis when you panned the camera. In Sovereign Syndicate, the camera always centers your character in the middle of the screen, but the camera tilts around as you move through the map. For a while I thought Sovereign Syndicate also used 2D hand-painted backgrounds, but later levels of the game make more clear that the whole game is 3D, just locked to a range of a given isometric angle.



Also like Shadowrun, most of the gameplay consists of you clicking to walk around on a map, then clicking on people and objects to interact with them. This brings up a Shadowrun-style (and I suppose Disco Elysium-style) dialogue pane on the right where you can read through the speech or narration, and select from a few response choices. 



There's also an occasional segment of comic-book-style movement panels. I was impressed that these are introduced so late in the game; it's pretty striking and cool imagery, and it was nice to have it be a surprise and not something you see right off the bat. Likewise, there's no voice acting in the game, but it's really cool to hear a character sing after playing as them for a while.



Before dipping into plot discussion, I have a few minor criticisms to share:

  • The music is pretty, but is too short and quickly gets repetitive. This is compounded by how often music is shared between different large maps.
  • The art style is pretty nice, but the loading screens feel muddled.


  • Navigating large areas like Sorris Square gets tedious. I'm glad that you can fast travel between maps, but you often need to walk a long way to get where you need to be. (I'm really feeling for the players of my Shadowrun campaigns!)

  • There are some minor glitches with quest progression. Occasionally the Journal still lists a task even if you've completed it. There was one point where I thought the game was stuck, had to Google and find that I needed to take a non-intuitive step to progress.
  • This isn't exactly a problem, but the Journal includes some tasks that aren't really actionable (like "Wait to find out more about the voices in your head") alongside actual things you can progress. Early in the game you get a LOT of quests and can only see 4 on screen at a time, although it's easy enough to pop open the Journal and see the rest. (Later on you can trim down and just have a main and a couple of side quests at a time, which feels better.)

That's about it for complaints! Now for some

MINI SPOILERS

Besides sharing some of the same design principles and mechanics, I feel like the overall ethos of Sovereign Syndicate fits within the psychic space of Shadowrun, Disco Elysium and Fallen London. All of these games feel generally progressive, skeptical of capitalism in general and the mechanization of labor in particular. They also (other than DE) express some interest in transhumanism and non-biological sentience. (Well, I guess DE does have the Horrific Necktie, so maybe that counts.) Sovereign Syndicate is maybe a bit more like Shadowrun in that the world created seems to imply a point of view but that point of view isn't explicitly expressed within the game, whereas DE and FL seem more confident in adopting an authorial perspective.



One really cool aspect of Sovereign Syndicate is that you play as four (mostly three) distinct characters. You don't travel together in a party: instead you play as one for a while, then after hitting a story beat you switch to another, and so on. For each character you choose an initial "archetype" that sets their initial stats, which in turn helps determine how they will tend to approach problems: like, a Clara who focuses on Grace will likely mostly try to charm people, while a Clara who focuses on Intellect will outwit them. This opens up some neat possibilities for you as a player: personally, I find it easier to role-play against type when I have multiple PCs, so one might be a goody-two-shoes while another is a scoundrel.



The actual plot of the game takes quite a while to get going, it's more about immersing in the atmosphere. You start off playing as Atticus Daly, an illusionist Minotaur who is contacted by a mysterious man to get out of a jam. Later on you also play as Clara Reed, a courtesan; and Teddy Redgrave, a combat veteran and tinkerer dwarf along with his automaton. The main plot seems to circle around a Jack the Ripper-esque criminal known as the Courtesan Killer who has been murdering Londoners. That's mostly a background concern, though: your characters are focusing on other tasks and looking into the killings whenever the opportunity arises.

MEGA SPOILERS

Some evidence suggests that a werewolf is the killer, but that evidence seems a bit too convenient, and for much of the game I suspected that they were being made scapegoats. Werewolves seem to be the main target of prejudice at least in London; people generally seem cool with centaurs, maybe just slightly skeptical of cyclopses and minotaurs, but quite down on werewolves.



As it turned out, I was right, I think. A lot of disparate plot threads come together at the end. I'm not 100% sure, but I think it's something like this:



The industrialist Silas Bragg (Lord Braxton) is a brilliant inventor. He created the Determination Core, which enables Otto with free will. He also wants to prove that the Determination Core can be used on humans; in particular, vegetative people can be brought back to self-sufficiency. This is a significantly harder task as the Determination Core is metallic and any human body would reject it. Braxton steals research from Dr. Wainwright, a scientist, and uncovers a serum that will allow the body to accept the transformation. That serum requires a large quantity of live werewolf blood. Braxton then contracts with Molly O'Malley, a crimelord, to obtain that werewolf blood. Separately, Madam Zora, proprietress of the brothel, has murdered some of her girls, and then murdered others who were getting close to discovering she had done it. The madame and Molly collaborate to frame a werewolf for the crimes. Once he is under suspicion, the werewolf will be offered sanctuary away from the police and imprisoned by Molly at Braxton's manor, where he can be exsanguinated for the experiment. Oh, but the woman selected for the experiment is none other than Atticus's mom.



So, everyone ends up having some connection: Atticus is close to the victim, Clara is friends with the murdered courtesans and an employee of the murderer, the dwarf is hired to kidnap the werewolf. They all come together at the end to uncover the plot, save the werewolf and stop the experiment. The mysterious masked man from the start of the game arrives with the authorities to take the perpetrators into custody. Much like Nick Fury, he then reveals that he represents a special organization that works for Her Majesty to confront secret threats to the Empire... and he is looking to recruit all four of them into this organization, Sovereign Syndicate.



So the whole game ends up feeling like a sort of origin story, the first chapter in an Avengers or League of Extraordinary Gentlemen, with the implication that these characters have been recruited into a bigger world of new adventures.



Some final thoughts:

I still had some open and unresolved quests at the end. I'm not sure if that's because I missed some things during the game or if I was locked out of completing some of those tasks from failed skill checks or earlier decisions I'd made.

I am curious about money. It's an important and seemingly very limited resource throughout the game, and there doesn't seem to be enough to do everything that you need. That said, there didn't seem to be any consequences to, say, not paying Atticus's rent. There's a lot of stuff that I could have bought that I chose not to, and I wonder what any of that does.



Near the end of the game, the loading screens and dialogue made it sound like I (Clara) had discovered some damning evidence in the madame's room; but I'm like 99% sure that I never searched her room. It seems like a bug, but maybe I clicked through something without clocking what it was talking about.



There's a ton of acknowledgement of your actions at the very end of the game, as the masked man recounts many of the side-quests you finished and choices you made. This isn't as much choice-and-consequences in the main body of the game, at least not that I picked up on; it could be interesting to see how things change in a replay.



END SPOILERS

As I keep writing, one of my favorite things in the world is a Relatively Short Game. Sovereign Syndicate isn't super-short; it kept me entertained for over a week of nights and weekends. Still compared to the mammoth RPGs I've been playing lately like Elden Ring, it's incredibly satisfying to be able to start, play, and end a game in a reasonable amount of time. Sovereign Syndicate impressively manages to do that while also delivering a wholly original world, new mechanical system, and a complex storyline will multiple player characters and dozens of non-player-characters. While definitely a lower-budget game, it hits above its weight and has earned a place on my shelf of fun indie RPGs.