L O N G

NOTES
1

INTRO & MATERIALS

H A U L
2-3

SETUP

1 9 8 3
4-8

YOUR FIRST CALL

10 - 11

PHASES OF THE DAY

12 - 17
S E A N PAT R I C K C A I N
ATLAS
19 - 23

Writing, Design, & Layout by Sean Patrick Cain

Cover photograph by Luke Stackpoole; interior photographs by

Luke Stackpoole, Katie Moum, and Jack Anstey END THE GAME
Playing card vectors by Vecteezy: Vecteezy.com 26 - 27
The Fate Core font is © Evil Hat Productions, LLC and is used with
permission.

This work is based on The Wretched (found at

http://loottheroom.itch.io/wretched), product of Chris Bissette and
Loot The Room, and licensed for our use under the Creative Com- APPENDICES
30 - 33
mons Attribution 3.0 Unported license
(http://creativecommons.org/licenses/by/3.0/).
NOTES
Content & Safety
LONG HAUL 1983 investigates themes of isolation, dependency, trauma, futility, and
mental and physical health. Stories may end in character death or defeat.

Your safety and well-being are always more important than the game. You might feel
the need to alter a dice roll, modify a prompt, revisit an earlier character choice, or
select a new ending. As the player, you have full authority to change the narrative as
you see fit.

Land Acknowledgment
Work on this game began while I was an uninvited occupant on land that was, and still
is, the Tribal land of the Nisenan people. The surrounding lands were the ancestral and
unceded homelands, as well as sites of meeting and exchange, for the Maidu, Miwok,
Me-Wuk, and Patwin Wintun Peoples. Much of my work was done while traveling across
Turtle Island.

I acknowledge that I have benefited, and continue to benefit, from the use and occu-
pation of these stolen lands. I pay respect to the ongoing stewards of these lands, and
remain committed to the process of dismantling the ongoing legacies of settler colonial-
ism.

LONG HAUL 1983 encourages players to create stories that consider the legacies of
stolen and exploited lands.

Thanks
I am so very grateful to every reader and playtester, including JT, Lex, Jason, Rayven,
Brenna, Heather, and Antonio. Your insights, curiosities, and creativities made this a
better game.

1
INTRO & MATERIALS
You’re about to play a game.
LONG HAUL 1983 is a game about a dangerous journey through an empty world.

It’s a solo game, so you can play it by yourself, at your own pace.

It’s a roleplaying game, so you’ll create, develop, and embody a character as you play.

It’s a storytelling game, so your choices will be driven by creativity, not strategy.

It’s a journaling game, so you’ll end the game with a unique record of your experience
to revisit and share.

You’ll need a copy of the Player Sheet.

As you set up and play the game, you’ll use the Player Sheet to track your progress,
build your story, and jot down any notes you find helpful.

You’ll need a standard deck of 52 playing cards.

This game is broken down into days; each day is a short chapter in your character’s
story.

Every day, you will draw cards from the deck. These cards, when used with The Atlas
(p. 19-24), will initiate events and invoke memories as you travel.

You’ll need four Fudge/Fate dice.

Days on the road are dangerous and uncertain. Dice represent your overall well-being
and are rolled to determine the outcomes of events.

Fudge dice — also known as Fate dice — are six-sided dice with an equal number of +,
-, and 0 sides. If you do not have access to a set of Fudge/Fate dice, the FAQ on p. 30
will show you how to use normal six-sided dice.

2
You’ll need a device to record your voice.
At the end of each day, your character will leave a message on an answering machine.
These messages will become the chronicle of your journey; they are how you tell your
story.

You can use a phone app, an analog cassette voice recorder, or anything else.

You’ll need a way to listen to music.

Occasionally, a card in the game will tell you to listen to a song.

¤ Spotify Playlist: ¤ Apple Music Playlist:

https://tinyurl.com/LongHaulSpotify https://tinyurl.com/LongHaulApple

The playlist’s first 13 tracks are connected to specific cards and in-game events; you
should Ignore them for now.

Tracks 14 - 26 can be used as an ambient soundtrack as you set up and play your game.

You’ll need some time.

Your story will sing when you move slowly. Let things linger.

LONG HAUL 1983 can be played in a single session, or spread out over several days.

3
It’s 1983, and the world feels hollowed out.

Yesterday:
Sirens cluttering the highways. CB chatter about
a jetliner disappearance. Rumors of a plague.

Today:
Radio silence. Fires on the horizon. Desolation.
You’re in the cab of an aging semi-truck. It’s your rig. You’re an owner-operator.

Doors are locked. Windows up. The air is stale.

You catch yourself in the rearview. You see:

¤ A wilting perm
¤ Your father’s hat
¤ A black eye
¤ Ragged stubble
¤ Unmaintained cornrows
¤ A graying beard
¤ A shitload of blush
¤ Unexpected bruises
¤ A decent mullet
¤ Feathered bangs
¤ An odd sunburn
¤ Crusty eyeliner
¤ A busted lip
¤ A cheap gold chain
¤ An unkempt moustache
¤ A sweat-stained headband
¤ A bloody nose
¤ Perfect dreadlocks
¤ Chapped lips
¤ A well-groomed soul patch
¤ Your auntie’s earrings
¤ Bloodshot eyes
¤ Thick sideburns
¤ A faded neck tattoo

Yesterday, you finished a run. You ate a full meal and slept on the familiar coil-spring mat-
tress in the back of the cab. This morning, same routine as always.

You were awake for a solid hour before you noticed.

You are utterly alone.

There’s still power. Hot water. Megastore aisles are still lit. Gas pumps are functional, so
there’s fuel, too. But no people anywhere. Not one.

You think to yourself:

¤ This is just like that story. ¤ This is all so fucked. ¤ This must be hell.
¤ This is just like my dream. ¤ This is all my doing. ¤ This must be paradise.

You listen to the squeak of vinyl as you shift your weight in the driver’s seat.

You’re thinking about how far you are from where you need to be. Where you might be need-
ed. Where someone might be waiting for you.
¤ Someone alone and scared. ¤ Someone who never stopped loving you.
¤ Someone you owe. ¤ Someone who doesn’t like to be kept waiting.
¤ Someone who owes you. ¤ Someone you need to prove wrong.

Someone who might appreciate a phone call at a time like this.

You need to hit the road. No time to waste.

But your thoughts are cloudy, and a song keeps rattling around in your head. You keep
mumbling:
¤ We’ll make it through.
We’ll make it.
We gotta make it.
¤ We’ve got to stop all men
From messing the land
When what we understand
This is our last and only
chance
¤ They tell me of a home ¤ This may be the last time
Where no storm clouds rise Maybe my last time
They tell me of an I don’t know
Unclouded day
¤ Mornin’ Mister Radio
¤ I just wanna be Mornin’ little Cheerios
Your fantasy Mornin’ sister oriole
I just want you to be Did I tell you everything is
Right next to me fine in my mind?

You start the engine.

It’s 1983, and you need to find a phone.

PREPARING TO

TRAVEL
You will travel far. Thousands of miles.

Scenery will change: sometimes rapidly, sometimes

imperceptibly.

There is always a trace of fire on the horizon.

On your Player Sheet, list these eight environments in

any order that makes sense to you.
¤ Ice
¤ Snow
¤ Wind
¤ Rain
¤ Heat
¤ Flood
¤ Fog
¤ Dust

The first location on the list is already marked. This is

where you begin.

When you are told to advance to the next location, do so.

Mark it. This is now where you are, a bit closer to your Destination.

The final location is your Destination. If you reach it, end the game.

DESTINATION
Your Destination is a very specific person in a very distance place. They might be a
lover, a child, a parent, a lost or absent friend.

Define the relationship. Be specific. Give them a

name. Write it all on your Player Sheet.

Every day ends with you, at a pay phone, leaving a mes-

sage on this person’s answering machine.

They never pick up the phone.

You keep calling.

6
DEVELOPING

STRUGGLES
Your Destination might be unreachable.

This might all be for nothing.

But you will drive, day after day after day, until you can’t.

WOUND
You are wounded. It’s minor, but could — and, over the course of the game, presumably
will — get worse.

Name the wound. Note it on your Player Sheet.

THREAT
The world is not entirely empty.

Begin thinking of an external threat that will appear, pursue you, destroy you.

Defining the Threat gives you, the player, some control over the story’s themes, tone,
and even genre. (Maybe the Threat is an armed gang of far-right separatists, or a
sentient viral cloud, or a solitary government agent tracking survivors and cleaning
up evidence. Maybe it’s an extraterrestrial force sent to exterminate and colonize, or
a desperately hungry brigade of half-dead livestock, or an elder god, or a single child
with unimaginably destructive powers. Maybe you’re not the hero of this story, but an
unwelcome trespasser on lands that are not yours to use. Etc.)

Right now, you only need to have a vague sense of the

Threat. Jot a single, short idea on your Player Sheet.
You will continue to define it as you play, and as it gets
closer.

When you are told to advance the Threat, mark an empty

spot on your Player Sheet.

When you mark the fourth and final spot, the Threat over-
takes you. End the game.

7
UNDERSTANDING

STATS & DICE

You have three Stats: Body, Mind, and Rig.

Body represents your physical health and strength. Mind represents your spirit, hope,
and clarity. Rig represents the condition of the semi truck you drive.

ROLLS
Some cards will direct you to roll your dice. (“Make a Rig Roll.” “Make a Body Roll.” Etc.)

Whenever you are told to roll, roll all of your dice.

Fill the relevant Stat’s boxes with your best dice. Place the dice right on your Player
Sheet. Unfilled boxes count as -.

If the sum of the dice is negative, you fail the roll. Anything else is a success.

(Sample dice rolls can be found on p. 32.)

FAILURE
You begin the game with four dice. They represent your overall well-being.

When you fail a roll, remove one die from the game. Success will be harder to achieve.

When you fail a Body Roll, consider the worsening of old wounds or the emergence of
new ones. When you fail a Mind Roll, consider the emotional and psychological toll.
When you fail a Rig Roll, consider the groans of the failing mechanics.

When you lose your last die, your journey stops. End the game.

ADVANCEMENT
When you are told to advance a Stat, cross
off a box. You now need one fewer die to
resolve your rolls, and success will be easier
to achieve.

Select one Stat to advance now. Cross off a

box on your Player Sheet.

8
Make your first call.
For your first call,
review and follow this outline:
You just finished a job.
Name what you were hauling and how the drive went.

You don’t know what to say.

Describe the weather. (Check your Player Sheet.)

You don’t understand what happened to everyone.

Make a wild guess.

You plan to drive as much as you can. You’ll stick to the highways and stop only for sleep.
Share this plan.

If you chose to advance the Body stat:

Share how you are feeling. Be vulnerable.

If you chose to advance the Mind stat:

Mention your wound. Don’t try to play it down.

If you chose to advance the Rig stat:

Attest to the reliability of your vehicle. Then compare its health to yours.

You don’t want them to worry too much.

Hint at the Threat.

You need them to understand your commitment.

Make a promise.

Say goodbye and end the call.

It’s time to go.
11
The game is divided into days.
Each day is played in four phases.
1. Start the engine.
2. Hit the road.
3. Check your progress.
4. Make the call.
PHASE 1:

START THE ENGINE.

Every day begins with the same ritual: you slide your
keys into the rig’s ignition and turn.

Try it now.

Find the Engine block on your Player Sheet.

Roll your four dice.

Place your best two dice on the two boxes.

If their sum is negative — 0- or -- — the engine doesn’t start. Take a moment to

consider the grinding of the engine as it cranks and fails.

Unlike other rolls in the game, there is no permanent consequence for a failed roll when
starting your engine. Just try again. Gather all four of your dice. Roll them again. Fill
the two boxes. Keep trying until you succeed.

If the sum of the two dice is not negative — ++ or +0 or 00 or +- — the engine

starts. Take a moment to consider the reassuring rumble. You’re ready to hit the road.

Once your engine starts, you’re ready to hit the road.

14
PHASE 2:

HIT THE ROAD.

Days on the road are long and tedious. There are occasional moments of beauty or
hope, but the days are more often punctuated with panic, dread, or agony.

When you hit the road, take three cards from the deck. Place them face down in front of
you.

Then: reveal them, one by one.

First. And then. And then.

Refer to the Atlas as you reveal each card to tell the story of your day.

There are four types of cards:

Body cards invite you to consider the physical needs, injuries, and sensations of
your character.

Mind cards invite you to consider the fears, memories, and perceptions of your
character.

Rig cards invite you to consider the condition of your vehicle as you make your
way.

Road cards invite you to consider the world outside of your rig. Road cards also
represent your travel; they will get you closer to your destination.

When you have revealed and resolved three cards, you may end your drive.

Note: You always have the choice of drawing and revealing additional cards. Extra time
on the road is dangerous, but it might get you closer to where you want to be.

When you end your drive, you’re ready to check your progress.
15
PHASE 3:

CHECK YOUR PROGRESS.

Some days are more fruitful than others.

When you check your progress, start by checking the cards you’ve revealed. If you
revealed at least one ♠Road♠ card, advance to the next location. You’re getting closer.

(If you have not revealed a ♠Road♠ card, you’ll begin the next day in the same loca-
tion.)

Then, reflect on your day. What happened? What has changed? What do you now
understand?

Collect your thoughts, check your notes, and prepare for the call you’re about to make.

After you’ve checked your progress, it’s time to make the call.
16
PHASE 4:

MAKE THE CALL.

At the end of each day, your character finds a pay phone and places a call to their
Destination.

No one ever picks up. There is never a conversation. You leave a message on an an-
swering machine.

The content of the call is always up to you. You’ll frequently summarize the events of
the day, but should feel empowered to move in other directions. Each call is an oppor-
tunity to develop backstory, theories, and your character. Remember, too, that it might
be your last call.

Don’t overplan or script it. Keep it loose and conversational when you begin to record.

Leave your message.

When you’re finished, take a moment. Discard the day’s cards and think about what
tomorrow might bring.

After you’ve made your call, you’re ready to start a new day.
17
ATLAS
 BODY
Beckoned by neon lights, you find a stash of something helpful: maybe a field of fresh

A
produce, some water purification tablets, or a first aid kit. Where did you find it? Why
does it feel like a blessing?
Advance the Body Stat.

2
The next time you fail a Body Roll, you get a second chance and can reroll your dice.
Save this card as a reminder; discard it when you reroll.

You roll to a stop in front of a wounded animal and decide to remove it from the road-

3
way. There is something … off … in its appearance. What do you notice? How does
it lash out as you attempt to move it?
Make a Body Roll.

4 One of your senses is heightened. Another is dulled. Describe these sensations.

Inconsistent sleep is taking its toll. You are unfocused, irritable, and anxious. What
5 prized possession would you trade for one good night’s rest?
Make a Body Roll.

6
You find yourself wishing to change one feature of your physical body. You know this
would help you survive. What do you wish to change?

A long-dormant chronic injury is flaring up. Define the injury and add it to your Player
7 Sheet. Describe your discomfort.
Make a Body Roll.

8
Food has been especially hard to find today. What compromises have you made to
keep yourself fed?

Smoke from distant fires approaches. You feel dizzy, nauseous, and disoriented.
9 Describe the smell.
Make a Body Roll.

Something feels off. What is it? Pick a body part and describe it in detail.
10 ¤ Your fingernails
¤ Your tongue
¤ Your ankles
¤ Your armpits
¤ Your jaw
¤ Your knees

J
A wound has become infected. How bad is it?
Make a Body Roll.

Q
You feel something deep within you – a pulsating, a pounding, or a throbbing – and
understand it to mean the Threat is close by. What led you to this interpretation?

You have a violent, face-to-face encounter with the Threat. Advance the Threat and

K
describe the encounter.
If the Threat has not overtaken you, make a Body Roll to determine the extent of
your injuries.

20
 MIND
Out of nowhere, the rig’s tape player comes to life. You hear the voices of The Staple
Singers. Pick a song (tracks 1-6) and listen to it.

A
¤ “Will the Circle Be Unbroken?” ¤ “Hammer and Nails” ¤ “We’ll Get Over”
¤ “This May Be the Last Time” ¤ “I’ll Take You There” ¤ “Uncloudy Day”
It calls to mind a moment of peace. What do you remember?
Advance the Mind Stat.

2
The next time you fail a Mind Roll, you get a second chance and can reroll your dice.
Save this card as a reminder; discard it when you reroll.

An unhealthy coping mechanism is no longer available to you. What do you miss the
3 most about it?
Make a Mind Roll.

As you drive, your mind drifts to a past moment of affection and care between you
4 and your Destination. Why does this memory remain clear, when so many others are
fading so quickly?

As you drive, your mind drifts to a past moment of regret and shame directly con-
5 nected to your Destination. What happened?
Make a Mind Roll.

6
The current landscape somehow reminds you of a short trip you took a long time ago.
Describe the memory.

Sleepless and exhausted, you find yourself staring at the fires along the horizon. You

7
swear you see a shape, or maybe even a physical form, in the smoke. What do you
see?
Make a Mind Roll.

8 How does it feel to know that you may never see anyone ever again?

You catch yourself muttering a short phrase over and over again. What is it? Is it a
9 helpful mantra, or an unhealthy compulsion?
Make a Mind Roll.

10
You are once again overwhelmed by your solitude. You fantasize about a passenger
seated next to you as you drive. Describe the imagined conversation.

You remember a horrific nightmare about a Wound. It grows, shifts, pulses, and trans-
J forms. Describe the dream.
Make a Mind Roll.

Q
A safe stretch of highway gives you time to theorize. Why is the Threat pursuing
you? How did it all start?

You sense the Threat nearby, but cannot see it. What do you smell? What do you
hear? Advance the Threat and describe the sensations.
K If the Threat has not overtaken you, make a Mind Roll to try and control your
fear.

21
 RIG
You come across your twin: a rig, same model, same year, but in much better condi-

A
tion. You can salvage parts, make repairs, etc. How do you picture the driver of this
twin?
Advance the Rig Stat.

2
The next time you fail a Rig Roll, you get a second chance and can reroll your dice.
Save this card as a reminder; discard it when you reroll.

3
Intense weather conditions cause you to drift off the road. Describe your panic.
Make a Rig Roll.

4 You CB radio sputters; unclear voices fill your rig’s cabin. What do you hear?

As you climb a steep, miles-long hill, the engine groans. You push it, and the needle
of the temperature gauge rises.
Make a Rig Roll.
5 If your game is not over: You reach a scenic overlook and cut the engine to let it cool
down. You have a few quiet minutes, and decide to write something short and special
and precisely-worded; you’ll carry it to your destination.
Play “Blink” by Hiroshi Yoshimura (track 13). Begin writing; stop when the song ends.

6
You keep something stashed beneath the driver’s seat. What is it? What is its cur-
rent value to you?

7
Your rig rocks and convulses as you navigate rough roads.
Make a Rig Roll.

8 Where do you sleep? How do you hide? What wakes you most often?

You make a tight turn on a steep hill. There’s fire in the roadway, and your brakes
9 won’t stop the rig in time. What do you do?
Make a Rig Roll.

10
You spray paint a word/symbol/icon onto the hood of your rig. What does it look like?
What is its message?

Barrelling down an empty stretch of highway, you slow down to a crawl as you ma-

J
neuver past (and over) wreckage and debris that could mangle your rig. What do you
see in the piles?
Make a Rig Roll.

Q
As you inspect your rig, you find evidence of the Threat on an exterior door handle.
What do you see?

You catch sight of the Threat in your rearview mirror. Advance the Threat and de-

K
scribe your escape attempt.
If the Threat has not overtaken you, make a Rig Roll to determine the condition of
your vehicle.

22
 ROAD
You begin to make sense of the roadways. Is it intuition, experience, or simple luck?

A
Do you believe in a higher power?
Immediately advance to the next location. When you check your progress at the
end of the day, advance as normal.

The road offers you the gift of foresight. The next time you reveal a Threat card,

2
return the Threat card to the deck and shuffle. You have avoided the Threat, albeit
temporarily.
Save this card as a reminder; discard it when you use it.

You are drawn to a small car on a side road. A boombox sits on the car’s hood, filling
the air with unfamiliar music.
Pick a song (tracks 6-12) and begin listening to it.

3
¤ “Future Shock,” Herbie Hancock ¤ “Nuclear War,” Sun Ra
¤ “I Just Wanna Be Your Fantasy,” Cheryl Lynn ¤ “Attitude,” Bad Brains
¤ “Try Again,” Champaign ¤ “Mornin’,” Al Jarreau
After a minute, stop the song. The boombox’s batteries are dead.
As the song ends, what crosses your mind?

4
The weather brings an unexpected moment of peace. What beauty do you see on
the other side of the windshield?

5
You cross a border of some kind. What infrastructure do you see? Why does it all
seem so irrelevant now?

6
An old billboard reminds you of life before all this. What insignificant little thing is it
advertising? Why do you miss it?

7
You nearly collide with an animal as it dashes into the path of your rig. What distract-
ed you from the road ahead?

8
You watch the distant fires along the horizon as they grow and shrink. What do you
think started them?

9 You pull over to nap in a safe place. Describe it.

10
Unpeopled landscapes stretch out in all directions. Whose land are you on? What do
you know of its history?

You realize you’re lost. How did you get so confused? What distracted you?
J Discard this card; it will not help you when you Check Your Progress. Immediately
draw and reveal a new card in its place.

You slow down to study a decaying body: a victim of the Threat, and the first body
Q you’ve seen since all of this began. What exactly do you see? How do you know this
is the Threat’s doing?

K
Across a nearby wall, you see shocking evidence of the Threat’s presence. What is it?
Advance the Threat.

23
AND
FINALLY:
END THE GAME.
1. If you reached your DESTINATION:
You have arrived.

Close your eyes and take one full, slow breath. Consider the reunion.

When you feel ready, choose one:

¤ Fast forward one week. ¤ Fast forward one month. ¤ Fast forward one year.
You are back on the road. You are back on the road. You are back on the road.

What have you learned? Why did you leave? And what’s the one thing you forgot to
say?

Pull over and make a call. Then, end the game.

2. If the THREAT caught up with you:

You can get to a phone and make one final call.

You must attempt to give a warning and share your understanding of the Threat.

The call must end before this warning is complete.

Make the call. End it abruptly. Then, end the game.

3. If you failed a BODY roll:

You are close to death.

Consider your wounds. Take a breath and close your eyes.

Visualize your body. Your rig. The road. Your Destination.

End the game.

26
4. If you failed a RIG roll:
Your rig has failed you, so you head out on foot.

From here on out, ignore the Atlas. The rules have changed.

Take one full, slow breath. Then, draw a card.

If it is a ♠Road♠ card, immediately advance to the next location.

If it is a Threat (King) Card, immediately advance the Threat.

If it is neither of these, do nothing.

Take another breath. Draw another card.

Continue until one of two things happen:

1. You make it to your Destination. Play out Ending 1.

2. The Threat overtakes you. Play out Ending 2.

5. If you failed a MIND roll:

You, the player, can pick any different ending — even a happy one.

Your character will experience this ending.

But you, the player, will understand that the narration is unreliable. Things are askew.
Your character is truly, definitively losing their grip on reality ... or maybe just using
fantasy to avoid the horrors of the world.

27
APPENDIX:

FAQ
What are Fudge/Fate dice?
Fudge dice — also known as Fate dice — are six-sided dice with an equal number of +,
-, and 0 sides.

If Fudge/Fate dice are not available, you can use normal six-sided dice by treating 1s
and 2s as -, 3s and 4s as 0, and 5s and 6s as +.

Armed with a permanent marker, you can also use Jonathan Walton’s “Connect the
Dots” method to make your own Fudge/Fate dice from normal six-sided dice. The 2 and
3 sides become the - sides, the 4 and 6 sides become the 0 sides, and the 5 and 1
sides become the + sides.

Do I shuffle cards between days?

No. Once you begin playing, there is no need to reshuffle unless a specific card in-
structs you to do so.

Will the engine always start?

Yes. Even with a single die, you only need to roll a + to start the engine.

Can I get stuck in a location?

Yes. You advance to the next location when “at least one ♠Road♠ card” is revealed.
You could reveal all 13 ♠Road♠ cards in less than eight days, and would then be unable
to advance to any further.

This is intentional. The story of LONG HAUL 1983 is often one of persistence in the face
of certain failure. Knowing that your character will be unable to reach their destination,
you could continue playing and craft a complete, compelling story.

30
How long or short can a game be?
The longest possible game is 17 days long. The shortest possible game ends on the
very first day. Both scenarios are extremely unlikely.

How can I share my recordings?

Start here: https://spc.itch.io/longhaul1983

The game’s Itch.io page has a dedicated space for sharing recordings, stories, and other
artifacts.

If you’re posting anything through social media, use the hashtag #LongHaul1983 to
connect with other players.

And please let me know so that I can share and celebrate your creativity! On Twitter,
I’m @seanpatrickcain.

How can I, a settler, learn more about Indigenous lands?

To start learning about the lands you currently occupy, visit Native Land Digital’s inter-
active map: https://native-land.ca

Get to know resources and organizations like:

¤ LANDBACK ¤ Warrior Women Project

https://landback.org/ https://www.warriorwomen.org/

¤ Indigenous Action Media ¤ The Red Nation

https://www.indigenousaction.org/ https://therednation.org/

¤ NDN Collective ¤ The Indigenous Anarachist Foundation

https://ndncollective.org/ https://iaf-fai.org/

¤ The Sogorea Te’ Land Trust ¤ Native American Land Conservancy

https://sogoreate-landtrust.org/ http://nativeamericanland.org

And don’t forget to open your wallet. A portion of all LONG HAUL 1983 sales will be
used to support Indigenous-led organizations and mutual aid efforts.

31
APPENDIX:

SAMPLE DICE ROLLS

SUCCESSES
You have four dice and three boxes to fill. You have one die and two boxes to fill.
You roll +0--. You roll +.
You use the three best dice. You treat the empty box as a -.
Result: +0- Result: +-

You have three dice and two boxes to fill. You have two dice and one box to fill.
You roll +--. You roll 0-.
You use the two best dice. You use the better die.
Resut: +- Result: 0

FAILURES
You have four dice and three boxes to fill. You have three dice and two boxes to fill.
You roll +---. You roll 0--.
You use the three best dice. You use the two best dice.
Result: +-- Result: 0-

You have two dice and three boxes to fill. You have one die and three boxes to fill.
You roll +-. You roll +.
You treat the empty box as a -. You treat each empty box as a -.
Result: +-- Result: +--

ENGINE
You have three dice. You have one die.
You roll ---. You roll +.
You use the best two dice. You treat the empty box as a -.
Resut: -- Resut: +-
The engine does not start; you try again. The engine starts; you hit the road.

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APPENDIX:

PLAYLIST
TRACKS 1 - 13 TRACKS 14 - 26
The tracks are only played when specific These tracks can be used as background
cards give instructions to the player. atmospherics during setup and play.

1. “Will the Circle Be Unbroken?” 14. “In the Beginning”

The Staple Singers, 1960 Michael Stearns, 1981

2. “This May Be the Last Time” 15. “Satz: Exil Sils Maria”
The Staple Singers, 1955 Klaus Schulze, 1972

3. “Hammer and Nails” 16. “As Above, So Below”

The Staple Singers, 1965 Carl Matthews, 1978

4. “I’ll Take You There” 17. “Slow Music”

The Staple Singers, 1972 Lol Coxhill & Morgan Fisher, 1980

5. “We’ll Get Over” 18. “Drums”

The Staple Singers, 1969 Laurie Spiegel, 1975

6. “Uncloudy Day” 19. “Meditation No. 1”

The Staple Singers, 1960 Laraaji, 1980

7. “Future Shock” 20. “The Sixth Wave - Deep In The Sea”

Herbie Hancock, 1983 Suzanne Ciani, 1982

8. “I Just Wanna Be Your Fantasy” 21. “Rêve”

Cheryl Lynn, 1982 Vangelis, 1979

9. “Try Again” 22. “Oakwood Green”

Champaign, 1983 Deux Filles, 1982

10. “Nuclear War” 23. “Rubycon, Pt. 1”

Sun Ra, 1982 Tangerine Dream, 1975

11. “Attitude” 24. “The Unanswered Question”

Bad Brains, 1982 Isao Tomita, 1978

12. “Mornin’” 25. “21:32”

Al Jarreau, 1983 Cluster, 1971

13. “Blink” 26. “Oxygene, Pt. 1”

Hiroshi Yoshimura, 1982 Jean-Michel Jarre, 1976

33
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30