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Showing posts with label Zombies. Show all posts
Showing posts with label Zombies. Show all posts

Friday, 11 July 2025

[Free RPG Day 2025] Píaga 1348 Quickdeath

Now in its eighteenth year, Free RPG Day for 2025 took place on Saturday, June 21st. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.

—oOo—

The year is 1348 and mankind is subject to a divine punishment for its sins. For the last two years, all of Europe has suffered the devastating Black Plague which seems to spread fire and kills almost everyone it touches. The symptoms are easy to spot, black spots on the skin and swollen lymph nodes called buboes. Yet there is a second symptom, one that remained secret, one that the Papacy fought in secret and one it managed to eradicate—the Revenant Plague. Victims of the Black Plague are known to rise and not only spread its symptoms, but also feed upon the flesh of the living. The Papacy instituted the Ordo Mortis, a military order dedicated to not only fighting the secret war against the Revenant Plague, but also to keeping knowledge of the war against the Revenant Plague a secret. Word of it cannot spread, for it would weaken faith in the Catholic Church. This is the set-up for Píaga 1348, a storytelling game from NEED! Games, the Italian publisher best known for the Fabula Ultima TTJRPG.

Píaga 1348 Quickdeath is the quick-start released for Free RPG Day 2025. It includes the core rules, three scenarios, and four pre-generated Player Characters. The core mechanics are simple and straightforward, but the roleplaying game is played with shifting focus on the Soldiers of the Ordo Mortis who take it in turn to be the Soldier on Duty, whilst the other Soldiers will provide him with support—if they can. A Soldier is simply defined by several traits. These are the ‘Motto of the Ordo’; ‘Name’, including both full name and nickname, if any; ‘Description’; ‘Weapon’, which can also be an ability; and ‘Armour’. These are the five core traits, but he also has entries for ‘What I Want’, ‘What I Don’t Want’, and ‘Traumas’, the latter physical, psychological, and social wounds suffered when a conflict is lost. A player simply has to define these traits in order to create his Soldier.

At a start of scene, the Ludi Magister—as the Game Master is known in Píaga 1348—asks the player whose Soldier is the Soldier on Duty what he perceives and based on those answers, frames the scene for her players. When a conflict ensues, the Soldier on Duty’s player decides what his Soldier wants to do and builds a dice pool based on his five core traits. For each of them that the player can persuade the Ludi Magister to include, a six-sided die is added to the pool. Every result of five or six counts as a Success and only one Success is required for Soldier to achieve the objective outlined by the player. The Ludi Magister will narrate the outcome of the dice roll, though if a failure because no Successes are rolled, the Soldier on Duty will suffer a Trauma.

Any excess Success go into the Morale Pool, which on subsequent turns, the Soldier on Duty can draw from to increase the size of dice pool. Additional dice can come from the two sources. One is the other Soldiers, who can contribute dice based on their traits. The second is from a ‘Gamble’, in which the player adds a die of another colour to his dice pool. On a result of one, two, or three, nothing happens, but on a four, five, or six, the Soldier is ‘Exposed’. What this means that is a Soldier on Duty can still succeed—that is, roll a five or six—and still be ‘Exposed’. When ‘Exposed’, a roll is made on the ‘Gamble’s Outcome’ table. The result might be that a Soldier cannot use any further ‘Gamble’ attempts in the mission or that the Soldier is wounded and infected by a Revenant! Whatever the result, the outcome is narrated by the player.

What is important here is there is an economy to a player’s use of his Soldier’s five core traits. If they can be used all in one go whilst a Soldier is the Soldier on Duty, then they can be refreshed to be used on subsequent turns. Whilst a Soldier can use them to help another Soldier who is the current Soldier on Duty, it will mean that he will have fewer to use when it is his turn to be Soldier on Duty. Running out of traits and having none to confront a situation when a Soldier is Soldier on Duty means that he will automatically fail. This forces a player to husband the use of those traits from turn to turn.

The aim in Píaga 1348, and thus the Píaga 1348 Quickdeath, is to tell a choral story of life and death in the Middle Ages. This need not be a wholly accurate treatment of the Middle Ages and the Ludi Magister is free to add whatever anachronistic elements fits her campaign. For example, one of the pre-generated Soldiers is a Plague Doctor, a decidedly seventeenth century figure, but still feeling appropriate to the secret world of Píaga 1348. The basic elements driving a story are the Mission itself and ‘What I Want’ and ‘What I Don’t Want’ for each Soldier. The Ludi Magister is provided with decent advice for what is a quick-start, a set of prompts to set up her Missions, and three ready-play scenarios. They include investigating a haunted villa where several nobles fled to avoid the plague, tracking down a strange group of knights in rusted armour, and even ascending into the Carpathians to confront Count Vlad III who is said to have survived the Plague and become something more. All three come with detailed backgrounds, locations, secondaries (as NPCs are termed), and rumours. Lastly, there are four pre-generated Soldiers ready to play. They include an actual knight, a noble nun, an ex-assassin, and a plague doctor!

Physically, Píaga 1348 Quickdeath is fantastically presented. The woodcut style artwork and the use of a Gothic fount very gives it a singular look and conveys a lot of atmosphere to the Ludi Magister.

Píaga 1348 Quickdeath is simple to play and easy to grasp. After all, it could be described as just another zombie apocalypse roleplaying game, but the setting is different and the inclusion of the Black Death makes it even grimmer than most zombie apocalypse roleplaying games. As does the need for secrecy, which might result in the Soldiers going to deadly lengths to carry out this part of their duty. Overall, the Píaga 1348 Quickdeath provides a thoroughly engaging introduction to the setting of Píaga 1348 and purpose of the Ordo Mortis, as well as a gaming group with three good sessions of play.

Monday, 5 August 2024

[Free RPG Day 2024] Lost Tome of Monsters

Now in its seventeenth year, Free RPG Day for 2024 took place on Saturday, June 22nd. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.

—oOo—

Bar the dice, the smallest and very probably the weirdest release for Free RPG Day 2024 is the Lost Tome of Monsters: Free RPG Day Edition. Unlike the majority of the other releases, it is not a booklet, but what at first appears to be a pin (or badge) with a backing card. And this is more or less what it is, except that it is also something more. Published by Foam Brain Games, it is actually a ‘Pinature’ and an encounter. Except that description does not help given the fact that right now you are asking yourself, “What the hell is a ‘Pinature’?” It is a portmanteau word that combines ‘pin’ and ‘miniature’, and like that portmanteau word, what you get with is the Lost Tome of Monsters: Free RPG Day Edition is both a ‘pin’ and a ‘miniature’! The pin-part depicts a zombie in all of its ‘purple decayed flesh, knock-kneed, brain exposed, ragged cloth wearing, and blood dripping from the mouth’ glory. It is cartoonishly lurid as it looms over an open book, its pages marked with a ribbon. The book sits slightly forward of the zombie-figure, obscuring its twisted feet. This looks a bit odd, but the reason becomes apparent once you turn the pin over. On the back are two ‘Rubber Clutches’* and they look and are perfectly normal. However, at the bottom of the ‘pin’ there appears to be a hinge, right where the zombie’s feet are. The hinge enables the book on the front of the ‘pin’ to twist through ninety degrees and in doing so, provides a base for the zombie, which now stands vertically like a miniature much like the two-dimensional miniatures sold by W!ZK!DS. Thus, with the twist of the book base, the zombie goes from ‘pin’ to ‘miniature’ and back again. Hence, ‘pinature’.

* This I did know was a thing or what Pin Backs and Pin Attachments were called until I read ‘Custom Pins 101: Types of Pin Backs and Attachments’.

The encounter is described on the card that comes with the ‘pinature’. It is a ‘Challenge Rating 6’ encounter that begins with the adventurers playing dice and having a nice time at ‘Ye Olde Local Game Store’. This is interrupted by a storm and an unnatural darkness which surrounds the establishment and as thunder and lighting flash outside the store’s windows, the doorbell chimes. The shopkeeper screams in fear as it is not another customer that has entered the shop, but a zombie—the zombie of the ‘pinature’. As it lurches towards the adventurers, it utters one word: “Gammeeeesssss……” Do the Player Characters cower in fear or do they let the zombie join in? Also, where did the zombie come from, are there more? How can the zombie understand the rules of the game? And lastly, does the zombie have anything to do with the unnatural dark and the storm? The first question is the crux of the encounter, whilst the others are hooks that the Game Master can expand as possible further hooks.

There is no clear suggestion as to what roleplaying game exactly the encounter is written for, but the ‘Challenge Rating 6’ of the encounter suggests either Dungeons & Dragons, Fifth Edition or the Pathfinder Roleplaying Game. That said, with the ‘Challenge Rating 6’ being the only mechanical element to the Lost Tome of Monsters: Free RPG Day Edition, the encounter can be very easily adapted to the roleplaying game of the Game Master’s choice.

Physically, the Lost Tome of Monsters: Free RPG Day Edition is decently done. The zombie ‘pinature’ is small, but nicely detailed and really quite cute. The card captures the zombie ‘pinature’ in all of its lurid detail on the back, whilst the encounter is given on the back. The text for that is small though, and not easy to read.

The Lost Tome of Monsters: Free RPG Day Edition is both cute and silly. The zombie ‘pinature’ is the cute, in addition to being gory, whilst the adventure is the silly, what with adventurers playing in ‘Ye Olde Local Game Store’ and a zombie wanting to play games. Overall, tongue in cheek and not without its charms, but definitely the weirdest release for Free RPG Day 2024.

Friday, 2 August 2024

Hordes & Haven

Road to Haven
is a campaign for
Zombicide Chronicles: The Roleplaying Game, which is based upon the collaborative board game, Zombicide: 2nd Edition. Published by CoolMiniOrNot and Guillotine Games, this introduces a new mode of play for the roleplaying game—‘Campaign Mode’. This introduces the concept of missions connected by a one or more plots and by recurring NPS—‘Non-Player Survivors’. In the case of Road to Haven, the number of missions is short, just ten, and the plots are not complex. Ultimately, what Road to Haven does is provide a continuing motivation for the Survivors—as the Player Characters are called in Zombicide Chronicles—to do more than roam the city in search of food and supplies to scavenge. The main plot concerns the location of a secret military base called ‘Haven 3’, which might be located somewhere in the city. If the Survivors can deduce its location, they can hopefully find it, open it up, and once inside determine if is safe from the zombie hordes outside. That truly would be a haven! However, discovering this information will not be easy. A secret military base is secret for a reason and even before the apocalypse, very few people knew of its existence. Of course, since the apocalypse and the rise of the corpse cortège, even fewer people know! Can the Survivors get lucky and find the one person surviving who does know? This is not the only problem that the Survivor will have to deal with in their quest for answers. There is also something causing the zombies to mutate weirdly and if it spreads, it is going to make life for everyone still alive in the city—let alone anywhere else—a whole lot harder. Plus, there are other Survivors, and Survivors being Survivors, they often come with their issues, some of them left over from before the apocalypse.

The Road to Haven: Campaign Book actually does a bit more than just present a campaign. It introduces a total of eight new Survivor Archetypes. Of these, four are ready to play, meaning that the players can pick from these or those from the core rulebook and that they also serve as replacement Survivors or NPS. These four are the School Teacher, the Mortician, the Surfer, and the Firefighter. The other four are first encountered as NPS in the course of the campaign and once the scenarios where they first appear have been resolved, they are ‘unlocked’ and can be played as Survivors. These four are the Conspiracy Theorist, the Urban Climber Girl, the Social Worker, and the Exotic Dancer. The other thing aspect about the campaign that is ‘unlockable’ is knowledge about the Zombies. Early on in the campaign, the Survivors will discover a dossier of notes about the zombies called, ‘Anatomical Guide to Zombies’. This depicts the various types of zombies and their potential weak points. As a Shelter Action carried out between missions, a Survivor can attempt a new training action, ‘Compile the Anatomical Guide’. This requires a Survivor to consider the zombies fought by the group in the previous mission. His player then rolls an Education Check and for every success, the Survivor identifies a ‘weakness point’ in particular type of zombies. Once all of the weakness points have been identified, the Survivors can replace ordinary dice with Mastery dice they attack that type of zombie.

The campaign will also have the Survivors facing off against some nasty zombified monsters in addition to those found in Zombicide Chronicles: The Roleplaying Game. They include several twisted animals and a zombie centipede that splits apart! Many of the new zombie threats are connected to the campaign’s secondary plot about the
mutant zombies. In addition, the campaign can also be modified by ‘Campaign Events’. These can be used by the Game Master to modify individual missions with seemingly random events. Some are helpful, such as an unexpected cargo drop by a military aeroplane, or weird, such as an eclipse, but others are also tied to the main plot of the campaign itself. All of them are optional, but a lot of them are fun—the idea of fighting zombie hordes in the middle of an eclipse is never going to be less than memorable.

The campaign opens with a standard Supply Run-style mission. When the Survivors rescue an NPS called ‘Tinfoil’, he tells them about a secret he has discovered—a radio broadcast! This, he thinks, is coming from a secret bunker and if it is still intact, it means it will have supplies and it will be safe. However, he does not know where it is, and since there is no Internet anymore, there is no easy way of finding out! Confirming the existence of the bunker and determining its location form the main strand of the campaign. It will take the Survivors to various locations across the city, including a library, the old city zoo, and an ‘exotic’ nightclub… In the process, the Survivors will also encounter some oddly mutated and much deadlier zombies. The question is, is there something affecting the zombies and twisting them into much nastier versions? Of course there is, and investigating this forms the basis of the second of the three plot strands in Road to Haven. Both this and the third strand are much, much shorter than the campaign’s main plot to find the hidden bunker. When the Survivors do find the hidden bunker, they will also discover secrets so dangerous that they could destroy the world and the campaign with it...

All ten missions in Road to Haven are presented in the same format. This begins with an introduction and a detailed description of the locations, a set of floorplans, details of the events that will be triggered during the mission, and descriptions of the adversaries and NPS who will be encountered during the mission. Objectives are also outlined and what happens next is discussed in the in the aftermath. The event descriptions can be quite detailed, but it does feel slightly out of order to have them after the location descriptions rather than before.

In terms of setting, the city in Road to Haven can be a generic city as in the core rulebook for Zombicide Chronicles: The Roleplaying Game or it can be set in the city of the Game Master’s choice. With its preponderance of guns, it is not as easy to adapt to anywhere outside of the USA.

Physically, Road to Haven is big, bold, and in your face. It is heavily illustrated with lots and lots of cartoon style artwork, decent maps and floorplans, and fully painted shots of the city. The book is well written and easy to read.

As a campaign, Road to Haven is short and uncomplicated, the latter meaning that it is relatively easy to run for the Game Master and the former that it can played through in as little as ten sessions (though it will probably take a few more). As the first campaign for Zombicide Chronicles: The Roleplaying Game, it completely suits the big, bold cartoon world of the roleplaying game and the board game it is based on.

Friday, 19 July 2024

[Free RPG Day 2024] Death Out of the Stars

Now in its seventeenth year, Free RPG Day for 2024 took place on Saturday, June 22nd. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.

—oOo—

Death Out of the Stars
is a scenario for Plague Bearer: Dark Fantasy Roleplaying. This is the fantasy version of Zombicide Chronicles: The Roleplaying Game. Published by CoolMiniOrNot and Guillotine Games, Plague Bearer: Dark Fantasy Roleplaying is the roleplaying adaptation of Zombicide: Black Plague, the medieval adaptation of the board game of Zombicide, 2nd Edition, which of course, is given its own roleplaying game with Zombicide Chronicles: The Roleplaying Game. The scenario is short, playable in a single session, and can be played using the Plague Bearer Quickstart Rules, which also has the six pre-generated adventurers needed to play. Death Out of the Stars can also be run as a sequel to ‘Blood and Wine’, the scenario in the Plague Bearer Quickstart Rules or simply be inserted into the Game Master’s campaign.

Death Out of the Stars begins en media res. The Player Characters—or Survivors—are on the run, being chased by a large horde of the undead, their only route forward being to cross a wooden bridge to Nahum Island. Fortunately, the wood of the bridge is rotten and collapses under the weight of the charging corpses, dashing them onto the rocks below. Unfortunately, the wood of the bridge is rotten and collapses under the weight of the charging corpses, trapping the Survivors on the island. The island is heavily wooded and with its steep cliffs and rocky shores, would be to be ideal holdout against the cadaver cavalcade which has arisen elsewhere in Wulfsburg. Unfortunately, the island too seems bereft of the living, although its undead strangely bloodless when compared to those of the mainland—grey of pallor as if drained of colour and wasting away to dust. Similarly, buildings are rapidly deteriorating and collapsing into piles of dust. Consequently, it looks like Nahum Island is not the refuge that the Player Characters might have hoped that it would be. They must face more zombies—even if they are different to the ones across the water—and discover what is happening on Nahum Island before making their escape, ideally after having dealt with the problem.

Horror fans may well recognise the reference in the scenario’s title and Death Out of the Stars certainly has a Lovecraftian feel to it. If one half of the scenario is the cosmic horror of H.P. Lovecraft, the other half is the corruptive influence of Warhammer Fantasy Roleplay, as if a lump of Warpstone had fallen from the sky. This gives the scenario an unsurprisingly grim tone, far less cartoonish than that of Zombicide Chronicles: The Roleplaying Game. Still, as befits a scenario set within a Zombicide setting, there is still scope for bloody—or in this case, dusty—action.

Physically, Death Out of the Stars is very well presented. The scenario is decently written and both the artwork and the maps are excellent.

Death Out of the Stars is a weird and creepy scenario in between the blasts of sword swinging, mace bashing action as the Survivors hold back the members of the cadaver cavalcade and try and work out what is going on on Nahum Island. It is a pleasing shift of tone from the often-cartoonish style of Zombicide Chronicles: The Roleplaying Game and is a solid addition to any Plague Bearer: Dark Fantasy Roleplaying campaign.

Saturday, 6 July 2024

Your Walking Dead Guide Book

It seems surprising to realise that The Walking Dead is over two decades old. The comic by writer Robert Kirkman and artist Tony Moore first appeared in 2003 and the resulting television series from AMC first aired in 2010 and has been followed with numerous spin-off series since. Both revitalised the zombie horror subgenre and the television series in particular, made zombies and horror acceptable to mainstream broadcasting like never before. Both comic book and television series tell the story of Rick Grimes, a sheriff’s deputy from Cynthiana, Kentucky, who after being wounded in the line of duty, awakes to find his wife and family missing and the world very much changed. Society has collapsed, the dead walk and hunger after our flesh, a virus means that everyone will rise as a walker after death, and the survivors huddle together, co-operate and scavenge for supplies, and somehow make choices that will keep them alive. The walkers are everywhere, a menace that cannot be vanquished, but they are not the only threat. Some survivors are prepared to kill and steal from other survivors—and worse. It is into this post-apocalyptic world where the dead walk—there are no such things as zombies—that the Player Characters are thrust into The Walking Dead Universe Roleplaying Game.

The Walking Dead Universe Roleplaying Core Rules, published by Free League Publishing following a successful Kickstarter campaign, provides everything that a gaming group will need to roleplay in the world of The Walking Dead. The means to create characters, rules for scavenging and surviving in this post-apocalyptic world, dealing with encounters with the Walkers, building a community and sanctuary, and more. The community and sanctuary rules come into play in the second of the roleplaying game’s two modes—Campaign Mode. Where that is intended for long term play, the other mode, Survival Mode, is designed for one-shots, was presented in The Walking Dead Universe Roleplaying Starter Set. So far, so good, but the obvious question that anyone is going to ask is, “What does The Walking Dead Universe Roleplaying Game offer that other zombie-themed roleplaying games do not?” The most obvious answer would be that it offers the opportunity to roleplay in a setting that is not that far removed from our own and one that is familiar to anyone who has watched any of the television series. Much like any other licensed roleplaying game, but in terms of a zombie-themed roleplaying game, what The Walking Dead Universe Roleplaying Game focuses on is survival against threats from without and within. The threats from without can, of course, include the Walkers, but in terms of storytelling, the real threats from without are other survivors outside of the Player Characters’ own group. Examples from the television series include the inhabitants of the town of Woodbury, the group called the Wolves, and, of course, the Saviors led by Negan. The threats from within are, of course, fellow survivors and what they might do to jeopardise survival of the group they belong to. The Walkers do remain an ever-lurking, constant threat, but unless their attention is aroused, they are not an active threat, more a passive one that is never going to go away. To that end, the roleplaying advises that the principles of the roleplaying game be made clear to new players, including, “Do whatever it takes to survive”, “Death is inescapable”, “You are never safe”, and so on. Make no mistake, The Walking Dead Universe Roleplaying Game is not like other ‘zombie’ roleplaying games in which the Player Characters go around slaughtering the undead.

A Player Character in The Walking Dead Universe Roleplaying Game is first defined by an Archetype. This defines what the Player Character did prior to the apocalypse, as well as also
the Player Character’s key Attribute and Skill, possible Talents to choose from, an Anchor, an Issue, and a Drive, plus starting Gear and relationship to other Player Characters. The Archetypes are Criminal, Doctor, Farmer, Homemaker, Kid, Law Enforcer, Nobody, Outcast, Politician, Preacher, Scientist, and Soldier. He has four Attributes—Strength, Agility, Wits and Empathy. These range in value between two and four, as do skills, but the key Attribute and key Skill can be five. Health Points represent a Player Character’s physical health and cannot be higher than three. A Player Character also has an Anchor, an Issue, and a Drive. An Anchor is another person—Player Character or NPC—that the Player Character cares about and who is used narratively to ‘Handle Your Fear’ and when attempting to relieve Stress. The Issue is a roleplaying hook, such as ‘You think you are better than them’ or ‘Unable to sit down and shut up’ that the Game Master can use to create interesting, typically challenging situations. Drive is what pushes a Player Character to grit his teeth and withstand the pain, like ‘You love your mother’ and ‘God put me here to save their souls’. Once a session, a Drive can be invoked to gain extra dice on a test. The Drive can also be lost, which triggers a ‘Breaking Point’ and if not regained or replaced, it can result in the Player Character being ‘Shattered’.

To create a character, a player selects an Archetype, distributes thirteen points between the four attributes, twelve between skills, and choses Issue, Drive, and Anchor.

Name: Brady Ferrell
Archetype: Farmer
Strength 5 Agility 3 Wits 2 Empathy 3
Skills: Close Combat 1, Force 4, Manipulation 1, Ranged Combat 2, Scout 2, Tech 2
Talents: Tough as Nails
Drive: I do what is right
Issue: 
Dogmatist
Gear: Toolbox, Jeep, Survival Equipment
Relationships: You are family

Mechanically, as with other
Year Zero Engine roleplaying games, whenever a Player Character wants to undertake an action in The Walking Dead Universe Roleplaying Game, his player roles a number of Base Dice equal to the attribute plus skill plus any modifiers from gear, Talents, help, or the situation. If a single six, a Success, is rolled on the Base Dice, the Player Character succeeds, although extra Success will add bonus effects. However, if no Successes are rolled and the action is failed, or he wants to roll more Successes, the player has the choice to Push the roll. In which case, the Player Character suffers a point of Stress and gains a Stress Die. The player must also explain what the character is doing differently in order to Push the roll. For the pushed roll, the player will roll all of the Base Dice which did not roll success and the Stress Die. In fact, until the Player Character finds a way to reduce his Stress points, his player will continue to add Stress Dice equal to his character’s Stress Points on every roll. Only one pushed roll can be made per action, but the danger of having Stress Dice is if their results should be a one or ‘Walker’ symbol. It means two things. First, if the player has not yet pushed the roll, he cannot do so. Second, whether or not he has pushed the roll, it means that the Player Character has ‘Messed Up’. Typically, this means that he increased the numbers of Walkers nearby and attracted their attention, turning up the dial on the Threat Meter. In other situations, a ‘Messed Up’ might mean the Player Character has got lost, lost his footing, said the wrong thing in a tense standoff, and so on. Other sources of Stress include being short on food and water, getting shot at, seeing someone in the group get bitten by a Walker, killing someone in cold blood, and so on.

There are several means of getting rid of Stress. Primarily, these consist of a Player Character connecting and interacting with his Anchor, and at the end of the day, simply getting a good night’s sleep and plenty of rest. Whilst interacting with an Anchor can be during play, at the end of each session, a Player Character has to deal with the dreadful things that he has seen and done that session. This is done via the ‘Handle Your Fear’ mechanic and is triggered if the Player Character has suffered a Breaking Point like his Anchor being killed or disappearing, brutally killing or beating someone who is defenceless, is Broken by damage, suffers five Stress Points, and so on. At this point, the player rolls Base Dice equal to either his character’s Wits or Empathy, with a bonus for any Anchors who are still alive. This roll cannot be pushed, needs only one Success to succeed, but if failed, causes the Player Character to become Overwhelmed, meaning that he loses his Drive, becomes mentally Shattered, or his Issue is changed or added to.

Combat scales in The Walking Dead Universe Roleplaying Game depending upon who or what the Player Characters are facing. Duels are one-on-one attacks handled via opposed rolls, each combatant hoping to gain more Successes than the other. Brawls handle combat between multiple participants in which the Leadership skill can be used to hand out bonuses to allies in the fight. Combat is deadly though, a Player Character only possessing three points of Health and once they are lost, the Player Character is Broken, gains a point of Stress, and his player must roll on the Critical Injuries table. The lack of Health in comparison to other roleplaying games is compounded by the limited access to medical care. Make no mistake, The Walking Dead Universe Roleplaying Game is deadly.

A setting which is already deadly due to low health and lack of healing, is compounded by the presence of the Walkers. They are a constant, lurking presence in The Walking Dead Universe, in game terms that presence is typically written into a scenario at a particular location or encounter, as you would expect, but also brought into play randomly whenever a player rolls a ‘Walker’ symbol on a Stress Die. Narratively, this could be as simple as the Player Characters opening a door to discover a room full of Walkers or a Walker bursting out of a bush to attack the Player Characters. The presence of the Walkers is tracked by the Threat Meter, which ranges from zero and ‘You are in a cleared area and safe. For now.’ to six and ‘The dead are in your face, surrounding you.’ The Threat Level is raised by rolling a ‘Walker’ on a Stress Die, failing a skill roll to avoid Walkers, doing something in the game to attract their attention, and so on. Ideally, the Player Characters will sneak around them as they scavenge buildings and search locations, but of course, that is unlikely. At low levels on the Threat Meter, it is possible for the Player Characters to go quiet and wait it out until the Walkers have either wandered off or gone quiet themselves. At higher levels, the Player Characters will need to find a way to distract the Walkers and make them go elsewhere or fight them. Encounters with a few Walkers are possible and these can be engaged in ‘Single Walker Attacks’, but Walkers congregate and then they fight as Swarms. Fights against Swarms are group endeavours, the aim being to roll more Successes than a Swarm to first reduce its size and then escape it. If a Player Character or Player Characters lose against a Walker attack, there is a table of very nasty and brutal ‘Walker Attack’ effects which will have the players wincing when they hear the results. The rules cover sacrificing another, brawling amidst a Swarm, clearing out an area, and lastly, amputation, the latter the last desperate result to resolve after a Walker bite…

One of aspects of The Walking Dead Universe Roleplaying Game that it shares with many other Year Zero roleplaying games, and that is its community rules. In roleplaying games such as Mutant: Year Zero – Roleplaying at the End of Days and Vaesen – Nordic Horror Roleplaying, the Player Characters begin with a community that they can improve through play and so gain rewards and advantages that will benefit both the community and further play. In The Walking Dead Universe Roleplaying Game, the Player Characters have a Haven rather than a community. It is where as survivors, they can live protected from both Walkers and predatory humans, grow food, undertake projects to improve the facilities, and go out on supply and scavenging runs. A Haven is defined by its characteristics, its Capacity and Defence, and its Issues. The characteristics are its description, answers to questions such as “Where can you post lookouts?” or “What characteristics of the haven annoy you or make people irritated?”, whilst Capacity measures the maximum number of people who can live there and Defence its ability to withstand an attack—whether from Walkers or other humans. Within the Haven, both Player Characters and NPCs can pursue projects such as creating an apiary or setting up a simple alarm system, teach skills to NPCs, and build and repair gear. However, all Havens have at least one Issue that will cause problems for the inhabitants, such as “Something regularly draws walkers to this location” or “Rats everywhere”. Worse, some Issues will be secret and can only be discovered during play. Issues will drive some of the story and plot to any campaign of The Walking Dead Universe Roleplaying Game. How these play out will affect the Haven’s Capacity and Defence—for good or ill—and ultimately, whether both it and its inhabitants will fall.

The Walking Dead Universe Roleplaying Game offers two modes of play. One is Survival Mode, suitable for convention play or one-shots. The other is Campaign Mode, further divided into two sub-modes. In Free Play, the game is a played as a standard campaign, dealing with the survival of both the Player Characters and their Haven in the long term over a wide area. Season Mode is designed to emulate the television series more than Campaign Mode, structuring the campaign story around particular threats, locations, issues, and in particular Challenges, all of which will change from one Season to the next. Of course, the Player Characters will face Challenges in all three modes and there is advice for the Game Master on how to create and escalate them as needed. Similarly, there is good advice for the Game Master on running the game, creating factions, handling NPCs, scenes, and the horror at the heart of the game. This is all supported with numerous tables of content and possible encounter ideas, as well as two scenarios.

Both scenarios complete with pre-generated Player Characters, detailed descriptions of their set-ups, and good write-ups of the various NPCs and factions and they want. The Survival Mode scenario is ‘The Golden Ambulance’, which is set between Seasons Two and Three of The Walking Dead. The Player Characters go out in search of much-needed medicine and discover an abandoned ambulance which seems to contain some ready to scavenge medical supplies. Is it too good to be true? Add in the tensions between the pre-generated Player Characters and this is a tight, fraught affair. For the Campaign Mode, the ‘Atlanta Campaign Set-Up’ provides the Game Master with everything she needs for a campaign set after the events of The Walking Dead.

If there is one thing missing from The Walking Dead Universe Roleplaying Game, it is the stats and write-ups of the NPCs from the various television series. Some do appear in The Walking Dead Universe Roleplaying Starter Set, but anyone coming to this roleplaying game from the television expecting to see the heroes and villains from the series will be disappointed. That said, this is a roleplaying about The Walking Dead Universe, not any one television series and its cast. The setting content in the roleplaying game is also post Series Eleven after the protagonists of The Walking Dead have left the Atlanta area.

In addition, there are rules for Solo Play in which the player works to ingratiate himself in a Haven that he has recently arrived at. A Player Character for this is slightly more skilled than standard beginning Player Characters. The Player Character will also be accompanied a Companion NPC. The rules are very serviceable and even suggests that the player play himself as a Player Character, but given the brutality of the roleplaying game, the player had best get used to the idea that he might die in the process!

Ultimately, the issue with The Walking Dead Universe Roleplaying Game is its brutality and the grim nature of the world it depicts. By design, neither this brutality nor the grim nature are wholly externalised as you would expect in a survival horror roleplaying game. They occur within the Haven where the Player Characters have taken sanctuary as well as the outside world. Issues within the Haven—both personal and integral to the Haven—will instigate and drive conflict, not just between the Player Characters and NPCs, but also between Player Characters. This is even shown in the examples of play that run throughout the book, which from a reading standpoint, will make you hate the character of Hannah. In terms of play, it demands a maturity of player to handle that and the necessity of Safety Tools. The discussion of the latter and of the possibility, even likelihood, of Player Character versus Player Character conflict and Safety Tools could have been better handled.

Physically, The Walking Dead Universe Roleplaying Game is a superb looking book, although no photographs are used from The Walking Dead television series, so fans may be disappointed. That said, the artwork, done in the house style for Free League Publishing is very good and fits the world very well.

The Walking Dead Universe Roleplaying Game is a really tight, sparse design, feeling quite light in comparison to other core rulebooks and more so in comparison to core books for other licensed roleplaying games. That though, is really due to the lack of background or setting material, and the need for background or setting material. After all, this is a roleplaying game set in our world just a few months from now and it is both a genre and a setting that we are familiar with. Thus, the Game Master has everything that she needs to run a post apocalypse game, whether that is as a one-shot or campaign, or even a solo game. A gaming group had better be prepared though, for The Walking Dead Universe Roleplaying Game and the world it depicts is bleak, unforgiving, and brutal, forcing the players and their characters to make some very tough choices.

Sunday, 9 June 2024

Your Walking Dead Starter

It seems surprising to realise that The Walking Dead is over two decades old. The comic by writer Robert Kirkman and artist Tony Moore first appeared in 2003 and the resulting television series from AMC first aired in 2010 and has been followed with numerous spin-off series since. Both revitalised the zombie horror subgenre and the television series in particular, made zombies and horror acceptable to mainstream broadcasting like never before. Both comic book and television series tell the story of Rick Grimes, a sheriff’s deputy from Cynthiana, Kentucky, who after being wounded in the line of duty, awakes to find his wife and family missing and the world very much changed. Society has collapsed, the dead walk and hunger after our flesh, a virus means that everyone will rise as a walker after death, and the survivors huddle together, co-operate and scavenge for supplies, and somehow make choices that will keep them alive. The walkers are everywhere, a menace that cannot be vanquished, but they are not the only threat. Some survivors are prepared to kill and steal from other survivors—and worse. It is into this post-apocalyptic world where the dead walk—there are no such things as zombies—that the Player Characters are thrust in The Walking Dead Universe Roleplaying Core Rules and The Walking Dead Universe Roleplaying Starter Set.

The Walking Dead Universe Roleplaying Starter Set is published by Free League Publishing and provides an introduction to roleplaying in The Walking Dead Universe, with a simplified version of the rules, a complete scenario in the Survival Mode, and everything necessary to play that scenario. This includes two sets of dice, four maps, ten pre-generated Player Characters, and the Threat Meter. Everything is presented in full colour, though no photographs are used from The Walking Dead television series, so fans may be disappointed. That said, the artwork, done in the house style for Free League Publishing is very good and fits the world very well.

So opening up the box, the first things to be found in the box are the dice and the Threat Meter. The dice consist of two different sets. The black Base Dice are marked with a ‘target’ symbol on their six faces to indicate a Success when rolled, as are the red Stress Dice. However, Stress Dice also have a ‘hand’ symbol on their one faces. When these are rolled after a Pushed dice check, they indicate that the Player Character has ‘messed up’ and attracted the attention of the Walkers. This, of course, is a bad thing. The Threat Meter is a simple dial that goes from one to six—it should actually go from zero to six—that is used to indicate how active the Walkers are and how many are present. The higher the number on the Threat Meter and the greater the number of Walkers and the more active they are. Below this are the pre-generated Player Characters. Six of these are standard Player Characters as you would create using The Walking Dead Universe Roleplaying Core Rules. Each has full stats, skills, a Talent, an Issue and a Secret which could get them into trouble, as well as some background. These six—plus one for an NPC—are designed to be used with ‘The Wolves’ Den’, the scenario in The Walking Dead Universe Roleplaying Starter Set, and are given both male and female names to give the players the choice. The other four are characters from the television show, and they consist of Carol Peletier, Glenn Rhee, Michonne, and Gabriel Stokes. These four are done in full colour as opposed to tan tones of the other six. The four maps are done in full colour on very sturdy paper. One is double-sided and depicts north-east Georgia on one side and south-west Virginia on the other. The other three depict locations for ‘The Wolves’ Den’ scenario.

The ’Rules’ booklet explains everything about characters, combat, and Walkers. Anyone who played a year Zero Engine roleplaying game will be familiar with most of its contents. A Player Character has four attributes—Strength, Agility, Wits, and Empathy—rated between one and five, and each attribute has three associated skills, for a total of twelve in the game. These are rated between one and six. In addition, a Player Character has a Talent, such as ‘Eye on the Ball’ which enables a Player Character to relieve a point of Stress when a threat or enemy is defeated or overcome or Scavenger, which enables the Player Character to find more rations or food when scavenging. Health Points represent a Player Character’s physical health and cannot be higher then three. A Player Character also has an Anchor, an Issue, and a Drive. An Anchor is another person—Player Character or NPC—that the Player Character cares about and who is used narratively to ‘Handle Your Fear’ and when attempting to relieve Stress. The Issue is a roleplaying hook, such as ‘You think you are better than them’ or ‘Unable to sit down and shut up’ that the Game Master can use to create interesting, typically challenging situations. Drive is what pushes a Player Character to grit his teeth and withstand the pain, like ‘You love your mother’ and ‘God put me here to save their souls’. Once a session, a Drive can be invoked to gain extra dice on a test.

Mechanically, as with other Year Zero Engine roleplaying games, whenever a Player Character wants to undertake an action in The Walking Dead Universe Roleplaying Core Rules, his player roles a number of Base Dice equal to the attribute plus skill plus any modifiers from gear, Talents, help, or the situation. If a single six, a Success, is rolled on the Base Dice, the Player Character succeeds, although extra Success will add bonus effects. However, if no Successes are rolled and the action is failed, or he wants to roll more Successes, the player has the choice to Push the roll. In which case, the Player Character suffers a point of Stress and gains a Stress Die. The player must also explain what the character is doing differently in order to Push the roll. For the pushed roll, the player will roll all of the Base Dice which did not roll success and the Stress Die. In fact, until the Player Character finds a way to reduce his Stress points, his player will continue to add Stress Dice equal to his character’s Stress Points on every roll. Only one pushed roll can be made per action, but the danger of having Stress Dice is if their results should be a one or ‘Walker’ symbol. It means two things. First, if the player has not yet pushed the roll, he cannot do so. Second, whether or not he has pushed the roll, it means that the Player Character has ‘Messed Up’. Typically, this means that he increased the numbers of Walkers nearby and attracted their attention, turning up the dial on the Threat Meter. In other situations, a ‘Messed Up’ might mean the Player Character has got lost, lost his footing, said the wrong thing in a tense standoff, and so on. Other sources of Stress include being short on food and water, getting shot at, seeing someone in the group get bitten by a Walker, killing someone in cold blood, and so on.

There are several means of getting rid of Stress. Primarily, these consist of a Player Character connecting and interacting with his Anchor, and at the end of the day, simply getting a good night’s sleep and plenty of rest. Whilst interacting with an Anchor can be during play, at the end of each session, a Player Character has to deal with the dreadful things that he has seen and done that session. This is done via the ‘Handle Your Fear’ mechanic and is triggered if the Player Character has suffered a Breaking Point like his Anchor being killed or disappearing, brutally killing or beating someone who is defenceless, is Broken by damage, suffers five Stress Points, and so on. At this point, the player rolls Base Dice equal to either his character’s Wits or Empathy, with a bonus for any Anchors who are still alive. This roll cannot be pushed, needs only one Success to succeed, but if failed, causes the Player Character to become Overwhelmed, meaning that he loses his Drive, becomes mentally Shattered, or his Issue is changed or added to.

Combat scales in The Walking Dead Universe Roleplaying Core Rules and The Walking Dead Universe Roleplaying Starter Set depending upon who or what the Player Characters are facing. Duels are one-on-one attacks handled via opposed rolls, each combatant hoping to gain more Successes than the other. Brawls handle combat between multiple participants in which the Leadership skill can be used to hand out bonuses to allies in the fight. Combat is deadly though, a Player Character only possessing three points of Health and once they are lost, the Player Character is Broken, gains a point of Stress, and his player must roll on the Critical Injuries table. The lack of Health in comparison to other roleplaying games is compounded by the limited access to medical care. Make no mistake, The Walking Dead Universe Roleplaying Core Rules and The Walking Dead Universe Roleplaying Starter Set is deadly.

A setting which is already deadly due to low health and lack of healing, is compounded by the presence of the Walkers. They are a constant, lurking presence in The Walking Dead Universe, in game terms that presence is typically written into a scenario at a particular location or encounter, as you would expect, but also brought into play randomly whenever a player rolls a ‘Walker’ symbol on a Stress Die. Narratively, this could be as simple as the Player Characters opening a door to discover a room full of Walkers or a Walker bursting out of a bush to attack the Player Characters. The presence of the Walkers is tracked by the Threat Meter, which ranges from zero and ‘You are in a cleared area and safe. For now.’ to six and ‘The dead are in your face, surrounding you.’ The Threat Level is raised by rolling a ‘Walker’ on a Stress Die, failing a skill roll to avoid Walkers, doing something in the game to attract their attention, and so on. Ideally, the Player Characters will sneak around them as they scavenge buildings and search locations, but of course, that is unlikely. At low levels on the Threat Meter, it is possible for the Player Characters to go quiet and wait it out until the Walkers have either wandered off or gone quiet themselves. At higher levels, the Player Characters will need to find a way to distract the Walkers and make them go elsewhere or fight them. Encounters with a few Walkers are possible and these can be engaged in ‘Single Walker Attacks’, but Walkers congregate and then they fight as Swarms. Fights against Swarms are group endeavours, the aim being to roll more Successes than a Swarm to first reduce its size and then escape it. If a Player Character or Player Characters lose against a Walker attack, there is a table of very nasty and brutal ‘Walker Attack’ effects which will have the players wincing when they hear the results. The rules cover sacrificing another, brawling amidst a Swarm, clearing out an area, and lastly, amputation, the latter the last desperate result to resolve after a Walker bite…

There is good advice for the Game Master including how to make it scary and how to include the characters from the television series as NPCs, and to not cheapen the lives of the Player Characters and the NPCs. All this complements the Principles of the Game given at the start for both players and the Game Master. These are to do whatever it takes to survive; death is inescapable, the Player Characters are never truly safe or alone, and that in terms of game play, everyone is telling a story and fiction comes first. There is advice too on running the game mode for the scenario in The Walking Dead Universe Roleplaying Starter Set. This is Survival Mode, typically a scenario with pre-written events and locations which can be played in a session or two, as opposed to Campaign Mode, played in multiple sessions with a more open storyline.

The scenario in The Walking Dead Universe Roleplaying Starter Set is ‘The Wolves’ Den’. This is written around two other aspects of The Walking Dead Universe—that the stories are not about the Walkers, but about the survivors and often, other survivors are more of a danger than the Walkers. It is written around the six pre-generated Player Characters included in The Walking Dead Universe Roleplaying Starter Set and opens with them searching for two of their number who have eloped, breaking up a relationship in the process and taking some valuable equipment, including a vehicle and weapons, with them in the process. The scenario gets nastier and nastier as it progresses, building from creepy to in-your-face horror, culminating in a confrontation with a band of The Wolves, the violent group of survivors encountered in the fifth and sixth seasons of The Walking Dead television series.

Physically, The Walking Dead Universe Roleplaying Starter Set is very well presented. Everything is of a very high quality, especially the maps which can be used beyond the play of ‘The Wolves’ Den’, as can the Threat Meter. However, the books need a slight edit in places and not everything is quite as clearly explained as it should, such as handling NPC skills.

If there is a problem with The Walking Dead Universe Roleplaying Starter Set, it is that it only has the one scenario, ‘The Wolves’ Den’. Essentially, once the scenario has been played through, the obvious value and utility of The Walking Dead Universe Roleplaying Starter Set is not as great as it should be. However, look at The Walking Dead Universe Roleplaying Starter Set instead as a toolkit and it is actually more useful than it first appears. It has official dice for The Walking Dead Universe Roleplaying Core Rules and the Threat Meter is a useful tool to have sat on the table, the maps are great, and the pre-generated Player Characters are useful for when running The Walking Dead Universe Roleplaying Core Rules. It is disappointing that there is only one scenario in The Walking Dead Universe Roleplaying Starter Set, but there is a lot that is useful too.

The Walking Dead Universe Roleplaying Starter Set is a very good introduction to The Walking Dead Universe Roleplaying Core Rules and roleplaying in the brutal world of The Walking Dead.

Friday, 4 August 2023

[Free RPG Day 2023] Zombicide: Chronicles Free RPG Day 2 Mission Booklet

Now in its sixteenth year, Free RPG Day for 2023 took place on Saturday, June 24th. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Thanks to the generosity of David Salisbury of Fan Boy 3, Fil Baldowski at All Rolled Up, and others, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day, both in the USA and elsewhere.

—oOo—

It is more common for roleplaying games to get turned into board games, for example, Exalted: Legacy of the Unconquered Sun for the Exalted roleplaying game from White Wolf Entertainment and Grand Tribunal, the board game set in the world of Atlas Games’ Ars Magica, but that trend is on the turn. Root: The Tabletop Roleplaying Game from Magpie Games is based on Leder Games’ Root: A Game of Woodland Might and Right, whilst the popular Zombicide board game from CMON Global Limited now has its own stand-alone roleplaying game in the form of Zombicide: Chronicles – The Roleplaying Game. For Free RPG Day 2021, CoolMiniOrNot and Guillotine Games released the Zombicide: Chronicles Free RPG Day Mission Booklet. This contained a trio of short scenarios which can either set up or continue a post-apocalyptic campaign in which the dead rise, walk, shamble, or even run, and want to munch on your brains. However, it did not contain any rules from Zombicide: Chronicles—for that the Zombie Master needed to download the Zombicide: Chronicles Quick-Start, which has everything necessary to play through the three scenarios in the Zombicide: Chronicles Free RPG Day Mission Booklet. This is also the case for the Zombicide: Chronicles Free RPG Day 2 Mission Booklet.

The Zombicide: Chronicles Free RPG Day 2 Mission Booklet contains two scenarios rather than the three of Zombicide: Chronicles Free RPG Day Mission Booklet from Free RPG Day 2021. They will work with either the Zombicide: Chronicles Quick-Start or the full rules from Zombicide: Chronicles – The Roleplaying Game.
The first of the two missions in the booklet, ‘Car Crush’, is the longer and the more detailed—and is the better for it. The scenario begins with the Survivors encountering Reginald, a chauffeur—who happens to be an English chauffeur for a well-known rapper in the pre-Zombicide Chronicles world—in a spot of difficulty. His limousine’s battery is flat and needs replacing, but he is surrounded by zombies. If he can get a replacement battery, he can get to a source of food and supplies that has yet to be scavenged. Can the Survivors help? Thankfully, the chauffeur has stopped right outside the perfect place to find a replacement battery: Monster Joe’s Used Auto Parts. The rest of the mission is a sandbox adventure set entirely within the confines of a junkyard. Which just happens to be full of zombies because the Mob used ‘Billy Boy’, Monster Joe’s enormous car crusher, to dispose of bodies. Unfortunately, the Mob has been using it for years and whilst that was not before the apocalypse, after an apocalypse when the undead have arisen to walk the earth and feed on the living, it definitely is! This results in a great set-up with members of the corpse cortege ready to leap out of partially crushed wrecks and the junkyard’s car graveyard. It being a junkyard, it has towering piles of well, junk, and scrap, some of them noteworthy and interesting some not, and it has dogs to discourage would be thieves and intruders, and some of these are, of course, zombie dogs.

‘Car Crush’ details nine locations, each one a set-piece of its own. In addition to this, there are a trio of events which add flavour and a little pathos to the whole affair. The scenario also serves as a prequel to Road to Haven, which is the first campaign for Zombicide Chronicles. To play that, Reginald should survive the mission and drive the Survivors to the Shopmarket, which marks the start of the campaign proper, where they will be able to resupply with food and perhaps even run into Reginald’s boss, Adam W. Clever. Even if the Zombie Master decides not to run the scenario as part of the Road to Haven campaign, this is a really fun scenario which plays up to the classic tropes of American junkyard, right up to including links with the Mob.

Where
‘Car Crush’ was more open and had more of a freeform feel to it, the second mission, ‘Oliver Twisted’ is more constrained and tactical, and as the title suggests, it involves children. It is also the shorter of the two. It also assumes that the Survivors have access to a Shelter and have made contact with other Shelters such that the Survivors possess a radio and a codebook which enables the various occupants of the Shelters to communicate with each other in secrecy. Unfortunately, the Survivors have had their copy of the codebook stolen—and stolen by children, no less! So to enable the Survivors to remain in contact with the other Shelters, they need to retrieve the codebook. Which means finding the children, who all turn out to be orphans with a strong distrust of adults. Plus, the one orphan who stole the codebook has been kidnapped by the ‘Devils’, a band of soldiers who have holed up in the upper levels of a city block. Worse, they have surrounded it with zombies! This sets up a tactical situation in which the Survivors—none of them trained soldiers—have to assault or break into hideout occupied by trained soldiers. Whilst there is some roleplaying to be had between the orphans and the Survivors, ‘Oliver Twisted’ primarily consists of combat and stealth, and it lacks the inventiveness of ‘Car Crush’. Not every scenario has to be quite as inventive, but ‘Oliver Twisted’ is just merely okay.

Physically, Zombicide: Chronicles Free RPG Day 2 Mission Booklet is well presented, the artwork, all cartoonish zombies and Survivors, is decent, and the one map in the booklet does the job very nicely.

If the Zombie Master wants two more Missions for
Zombicide: Chronicles – The Roleplaying Game, then Zombicide: Chronicles Free RPG Day 2 Mission Booklet will give her that. If the Zombie Master is planning to run Road to Haven, the first campaign for Zombicide: Chronicles – The Roleplaying Game, then the Zombicide: Chronicles Free RPG Day 2 Mission Booklet is exactly what she needs. Either way, the Zombicide: Chronicles Free RPG Day 2 Mission Booklet includes two Missions which are decent, but one of which is a lot more fun and inventive than the other.

Sunday, 5 February 2023

A Grave Future

The Fall that brought about the end of humanity was generations ago. Who knows how long? Most were lost in the balls of nuclear fire that blossomed around the world and then by the biological and chemical agents which ravaged the remainder, followed by disease and starvation. The survivors and their children and their children only lived because they were infected by a fungus, one that mutated into different strains until those infected were different from one strain to the next and they were definitely not human. Some were closer to the zombies which arose from the dead, though they retained a spark of intelligence and even what might be called humanity. Others have mastered the powers of the mind. Whilst the Infection, as the fungus which infects everyone and everyone is known, enables the different Strains to survive the new world, it is far from a safe world. Areas are still poisoned by radiation and other agents from the Fall, the Fungus has also mutated animals and plants, the dead can still rise as zombies or zeds, and towns, settlements, and trade caravans can be attacked by raider clans, cannibalistic scavengers who spread the Bad Brain disease, which turns those it infects and kills into yet more raiders of those clans! Yet there is hope. The survivors of Nor’Merica—and particular, the Nor’East—are rebuilding, recovering old technology and inventing new ones. There are ways to generate electricity, but it is always in short supply. Travel is possible via trade caravans which wend their way between the fortified settlements of the Wastes as well as by sea. Yet there is another strangeness to the Infection. The Grave Mind. Death is not the end. When a Survivor does return from the dead, they often come back having had deeply strange personal experiences… And the more often a Survivor is killed and returns from the Grave Mind, the more of his personal connections with the world are lost.

This is the setting for Dystopia Rising: Evolution, the Post Apocalypse roleplaying game from Onyx Path Publishing. Originally published as Dystopia Rising by Eschaton Media in 2011, the new edition was published in 2019 following a successful Kickstarter campaign. It employs the Storypath system, a simpler and streamlined version of the earlier Storyteller system designed for slightly cinematic, effect driven play, each player able to turn his character’s actions into stunts. The core rulebook includes everything necessary to play—rules for character generation, the Storypath system, the dangers of the wastes, factions and secret societies, faith and belief, psionics, descriptions of the Nor’East, an introductory scenario, and advice for the Storyguide as the Game Master is known.

A Player Character in Dystopia Rising: Evolution has nine Attributes—Intellect, Cunning, Resolve, Might, Dexterity, Stamina, Presence, Manipulation, and Composure; several of the roleplaying game’s sixteen skills plus Skill Tricks and Specialities associated with those skills; and Edges, Paths, and Aspirations. Both Attributes and Skills are rated between one and five. A Speciality provides an enhancement when using it, for example, ‘Knifework’ for the Close Combat skill or ‘Wound Treatment’ for the Medicine skill, whilst Skill Tricks can add more dice to a roll, increase scale of what a character can do, change the Target Number for an action, or provide a free Stunt, for example, ‘Born to Ride’ for Pilot skill or ‘Bomb Awareness’ for the Lore skill. 
Dystopia Rising: Evolution includes examples of three for each skill, but encourages the Storyguide and players to create their own. Either way, it costs of point of Momentum to activate a Skill Trick. Edges are the equivalent of advantages, and for certain characters can be Faith or Psi Edges. A Player Character has three Paths. His Strain Path represents his history and strain of humanity, as well as his Strain Condition; his Role Path is his occupation or what he is good at; and his Society Path represents his connection to a group or society. The Strain Condition represents a situation or response—whether by the Survivor or to the Survivor—which will penalise his actions. In some cases, it is possible to overcome a Strain Condition, at least temporarily, but with others it is impossible. For example, one of the five pre-generated characters has the Strain Path of Vegasian, which means she is flamboyant and an entertainer, and consequently, the Strain Condition of ‘Born Coward’, meaning she is not always trusted and suffers the complication of Shifty; the Role Path of Scoundrel, good at deceiving others and relieving them of their money; and the Society Path of Black Market. In play, Paths are avenues of progress for Survivors, but also storytelling tools that the Storyguide can pull a player and Survivor into the ongoing story of a scenario or campaign. Aspirations are a character’s goals and are either short or long term.

At the heart of a Survivor is a Strain. 
Dystopia Rising: Evolution presents eight Strains—Devoted, Elitariat, Evolved, Gorgers, Landsmen, Mutants, Nomads, and Townies. These are further divided into three Lineages to provide a total of twenty-four base archetypes upon which to base a character. For example, the Devolved Strain include the unbreakable Irons, the strong Reclaimers, and the Unstable who are capable of controlling psionicists and the undead. Not all of the Strains get on with each other, but what Dystopia Rising: Evolution makes clear is that they are very much not the equivalent of race. Further, it also makes clear that the post apocalypse of the Fall means that the Survivors have transcended the negative attitudes of humanity from before.

To create a Survivor, a player devises a concept and then selects a Strain Path, Role Path, and Society Path. Each Path provides dots or points to assign to associated skills. Plus, the player has another six to freely assign. Depending upon the rating of the skills, a Survivor can also have a Skill Trick and a Speciality. He has three pools of points to assign to his Survivor’s Attributes to the three Arenas they divided into—Mental, Physical, and Social. Lastly, the Survivor receives all of the associated Edges and gear from the Paths.

Name: Mortlake
Strain: Devoted – Unborn (Condition: Not Like the Others)

SKILLS
Academics 0, Athletics 0, Close Combat 1, Culture 0, Empathy 1, Firearms 0, Integrity 1, Leadership 0, Lore 3 (Grave Mind Expert), Medicine 3 (Medical Genius), Persuasion 1, Pilot 0, Science 1, Subterfuge 0, Survival 2, Technology 0

ATTRIBUTES
Force – Intellect 3 Might 1 Prescence 1
Finesse – Cunning 4 Dexterity 3 Manipulation 3
Resilience – Resolve 2 Stamina 1 Composure 3

PATHS
Strain: Devoted – Unborn 1
Role: Sawbones
Society: Psionicists’ Guild

ASPIRATIONS
Short: To rescue his mentor
Short: To find work as a sawbones
Long: To explore the Grave Mind

EDGES
Acute Sense 1
Meditation 1
Mentor 1
Psionicist 3 (Death Shroud, Whispered Insight, Borrowed Memories)
Skilled Healer 2
Unshakable Devotion

GEAR
Bandages, Healing Herbs, Shiv

Mechanically, 
Dystopia Rising: Evolution employs the Storypath system. The core mechanic uses dice pools of ten-sided dice, typically formed from the combination of a skill and an attribute, for example Pilot and Dexterity to sail a boat, Survival and Stamina to cross a wilderness, and Persuasion and Manipulation to unobtrusively get someone to do what a character wants. These skill and attribute combinations are designed to be flexible, with a character’s preferred method described as a character’s Favoured Approach. So, a character whose Favoured Approach is Force, would use Close Combat and Might in a melee fight; if Finesse, Close Combat and Dexterity; and if Resilience, then Close Combat and Stamina.

The aim when rolling, is to score Successes, a Success being a result of eight or more. Rolls of ten are added to the total and a player can roll them again. A player only needs to roll one Success for a character to complete task, but will want to roll more. Not only because Successes can be used to buy off Complications—ranging between one and five—but also because they can be used to buy Stunts which will impose Complications for others, create an Enhancement for another action, or one that it makes it difficult to act against a character. Some Stunts cost nothing, so ‘Inflict Damage’ costs nothing, though may cost more if the enemy is wearing soft armour, a ‘Critical Hit’ costs four Stunts, and so on. Instead of adding to the number of dice rolled, equipment used adds Enhancements or further Successes for a player to expend, but the player needs to roll at least one Success for equipment to be effective.

Under the Storypath system, and thus in 
Dystopia Rising: Evolution, failure is never complete. Rather, if a player does not roll any Successes, then he receives a Consolation. This can be a ‘Twist of Fate’, which reveals an alternative approach or new information; a ‘Chance Meeting’ introduces a new helpful NPC; or an ‘Unlooked-for Advantage’, an Enhancement which can be used in a future challenge. Alternatively, a character gains Momentum which can be expended to gain an Enhancement or to activate a Skill Trick or an Edge.

The rules in 
Dystopia Rising: Evolution cover narrative and dramatic scale, combat—players roll an appropriate Resilience Attribute to generate Successes to be expended on Defensive Stunts, and procedurals such as information gathering, intrigue, influence, and so on. These are all clearly explained and all easy to use in play. In general, the Storypath system is clearly presented and quick to pick up and the rules have a cinematic quality to them, especially with the availability of Stunts and Consolations in the face of failure. The rules specific to Dystopia Rising: Evolution also cover what you would expect in a post-apocalyptic setting—food and water, the dangers of dehydration, weather and radiation, diseases from Bad Brain Disease to Necrosis, scavenging and crafting, and so on.

In addition, neither death nor disability marks the end of a Survivor in 
Dystopia Rising: Evolution. In the case of the latter, there is discussion of and rules for continuing to play a disabled Survivor, including with the use of assistive devices. Indeed, one of the pre-generated Survivors is depicted as being in an armoured wheelchair and equipped with armoured leg braces. In the case of the former, there is a chance that the Survivor will return anew, the fungus that infects him, breaking down his corpse, and rebuilding it to reappear at a settlement’s Morgue, a site enhanced by psionic crystals, a few days later, memories intact, wounds repaired, but emotional attachments stripped away. If this occurs too often the Survivor may come back as a Zed, a true zombie. It is also possible to actually walk among the Zeds undetected with the Necrokinesis psionic influence, and even reach into the Grave Mind ask questions of it. Other psionic influences are more traditional, for example, Pyrokinetics and Telekinetics.

In terms of setting, 
Dystopia Rising: Evolution adds factions, a bestiary of strange creatures and things locations, and more across the Nor’East. The factions include genre classics like the bounty hunters of the Lone Star Rangers and the postmen of the Post Walkers of the Postal Service, but also those particular to the setting, such as the Road Crew which scouts out locations for the ‘Guts N Bolts’ racing tournaments, the Psionicists’ Guild—the acceptable face of psionics, and the Priests of the Sound, whose members have the blueprints of radio equipment tattooed on their skin and are zealously dedicated to building radio networks. There are secret societies too, like the Black Market, the Dead Sight Society dedicated to the eradication of psionicists, Murder, Inc, the Servants of the Undying which holds that the Grave Mind is the path to immortality, and more. Add to this a variety of different faith and churches, such as the Church of Darwin and The Nuclear Family, and the Story Guide has a rich source of background and potential NPCs to build upon. The various faiths and their churches are actually more detailed than the other organisations. This is partly because faith can play a key role in the future of Dystopia Rising: Evolution and of the Survivors, especially if a Survivor adheres to a particular creed and backs this up with Faith related Edges. Although Dystopia Rising: Evolution is a not a supernatural roleplaying game and its zombies are not the zombies of classic horror, the use of some Faith Edges push the game in that direction if only slightly.

There is good advice for the Storyguide on running 
Dystopia Rising: Evolution, from adjusting the tone of the post-apocalypse to bringing the world to life, presenting hard questions and hard choices in play and dealing with difficult players, and more. In some ways it feels familiar, but this does not stop it from good advice. Specific advice is given on how to manage the Grave Mind in play since it is intended to be a traumatic experience for the Survivor. The background hints at the horrifying nature of the Fall, before going on to emphasis the efforts to made to rebuild civilisation, hold off the raider clans, and the wariness of over expanding and exploring too far, the Midwest having become dominated by a spreading mass of trees and foliage that is home to a vast array of mutant animals and creatures. The base setting is that of Philly del Phia, which is described in some details, as are parts of Old York. The rest of the Nor’East is described in broader details and the rest of the world in details broader still. These are areas for the Storyguide to develop. Rounding out Dystopia Rising: Evolution is ‘Let the Dead Lie’, an introductory scenario for the setting which takes place in Philly del Phia. It is a two-session affair which sees the Survivors investigating the death of the brother of an NPC who has suspicions that something is amiss following his own return from the Grave Mind. It should introduce the players to the core aspects of the setting and serve as the starting point for a campaign.

Physically, 
Dystopia Rising: Evolution is cleanly and tidily presented. It is done in full colour, often with a rust-streaked palette. If there is an issue with Dystopia Rising: Evolution it is that the character generation is not as easy as it could be. Not from a mechanical process, but a conceptual one. Putting together a Survivor means looking at a lot of options and trying to work out what works with what. In preparing a campaign of Dystopia Rising: Evolution, the Storyguide may want to work through some concepts before presenting them to her players.

Dystopia Rising: Evolution is an engaging entry into the post-apocalyptic genre. It shifts the zombie apocalypse in a different direction, dangerous and intriguing, of course making zombies the threat, but also pushing the Player Characters ever closer and right up to that line where they too might be considered zombies themselves. And while the aim of the roleplaying game—like any other—is not necessarily to die, the Grave Mind suggests that there is something more to dying than simple oblivion. As with other Onyx Path Publishing roleplaying games, humanity remains at the forefront of the roleplaying game and in Dystopia Rising: Evolution, retaining is about not losing it to the Grave Mind, protecting the community, rebuilding civilisation, and holding off the dangers which threaten from beyond the Wastelands. Dystopia Rising: Evolution is a roleplaying game about still being human even if the body and the mind has evolved, sometimes to the point of near undeath, and it is superbly supported with an interesting array of character options for the players and a richly detailed background for the players and Storyguide.