INDIE - September2020

IN*DIE
September 2020
Credits
The Indie Network is written by Zoe with art by Nynphaiel. Exodus is written
by Andrew Grondin with art by Nynphaiel. The Lonely Giant is written by
Nick Wedig with art by Nynphaiel. HyperHalfling’s Loot Tables is written by
The Hyper Halfling. The Last Rebel is written by W.H. Arthur with art by Jane
Hermiston. #SixMoves Les Miserables Edition is written by Logan. A Wood
Heart is written by James Chip with art by Georgie Bats. Rolling in the Aisles
is written by Dave Joria. Loot It or Lose It! is written and illustrated by Sam
Gundaker. Two // One is written by Vivian J. The Maven Guide is written by
Alda. Artefact Affinity is written by Nathan Blades with art by Nynphaiel.
Die20! is written and illustrated by Julian K. Gifts of Gods is written by
Steve Dee. Poems and Songs for Yon Adventures is written, composed and
performed by Sen.H.H.S. The Summoning Part 1: The Familiar is written and
illustrated by Nynphaiel. Red Box Dawn: The Ballad of Bargle is written by
Andi Lennon. Subject 3 Prone is written by Georgie Bats. Layout by Jane
Hermiston. Editing by Marx Shepherd. Cover art by Jane Hermiston. This
project was organised by Marx Shepherd.
The In*die Network
We’ve Only Just Begun
Author: Zoe
Aah! Oh my Gods! We did it! The first issue of In*die is here and I feel so lucky to be
part of it. We hope you’re gonna enjoy reading it as much as we’ve enjoyed making
it! We want this to be a space where we can celebrate and showcase the diverse,
amazing world of indie TTRPGs and supplements!
If you’re reading this zine, there’s a high chance that you’re already fond of the
indie space, but for those of you who are venturing into this world for the first time,
let me try to entice you...
Venturing Off the Beaten Path
There’s something that often happens to a group used to the mainstream scene
when new books come out. You see them on the shelves or in online stores, and
you think, “I really want to try this!” But then it’s a whole new system people need
to understand, there are new rules, perhaps it strays from well-known dice (or—
gasp—is even diceless!) and people tend to flock back to the tried and true. We want
to tempt you into taking that first step towards the unknown… and trust me, it’s
absolutely worth it.
A World of Discovery
The indie scene is a vast, amazing landscape of original ideas, new design
philosophies, experimental and brave adventures that focus on their world or their
mechanics in interesting ways. Most importantly, it’s filled with passionate, diverse
and incredibly talented individuals who want you to feel the same joy playing
that they felt while creating their work, and for you to bring their own unique
perspectives to your table.
What you can find in the indie scene is innovation and specificity: how many
times did we end up trying to homebrew a specific setting we wanted in a known
ruleset, trying to fit a round peg in a square hole? Here you can probably find what
you’re looking for—and if you dare push your boundaries further, you might even
find something you didn’t even know you wanted. Games able to create complex
interpersonal narratives with finely tailored mechanics, or that let you take the role
of things and creatures that you’ve never even thought about. Maybe just for a
one-shot, maybe for something more, indie games are fun and daring… and that’s
exactly why this scene is important and needs to be more widely recognized and
supported.
IN*DIE - SEPTEMBER 2020 1

So be daring! Look at the materials in this zine, look for the authors we showcase
and give them a shot! At worst, it’s gonna be a somewhat confusing one-night-
stand with some awkward mechanical snafu - but taking the chance can make it
the discovery of new and unexpected worlds and ways to play, a wonderful foray
into the unknown… and isn’t that what roleplaying is all about?

Contents
1 The In*die Network
A manifesto on in*die zine’s mission
4 Exodus
A game for 3-5 players about standing together when it all falls apart
10 The LoneLy Giant
A solo journaling game about the last giant living in the lands of humankind
13 HyperHaLfLing's Loot TabLes
System-agnostic tables of unique and special treasures
14 The Last RebeL
A GM-less, card-based RPG where you play as the galaxy’s last hope
17 Première Partie
A collection of characters from *Les Miserables* as a single tabletop move
19 A Wood Heart
Trees have no tongues; but they speak to the heart
21 RoLLing in the AisLes
General advice for running comedic RPG adventures
26 Loot it or Lose it
Special items you might find left behind in any capitalist/consumer hellscape
29 Two // One
A lyric game about posing and taking selfies as a thirty ton mecha
31 The Maven Guide
Drop-in locations for your RPG, written in a restaurant review format
33 Artefact Affinity
GM-less worldbuilding that uses a tarot deck to inspire scenes from an
artifact’s history
35 Die20!
Why dice are cancelled forever
38 GIFTS OF GODS
A one-page RPG about mythology and dying gods
39 Songs and Poems for Yon Adventures
For the bard in you
42 The Summoning
A solo game about a familiar answering a call
45 Red Box Dawn : The BaLLad of BargLe
A retrospective piece on the trauma inflicted on a generation by the Red Box
48 Subject 3 Prone
A lyric game inspired by the short film This House Has People In It

Exodus
Author: Andrew Grondin
This is the story of the animals of Mossvale. For generations, the citizens of
Mossvale have lived alongside a settlement of humans in relative symbiosis. While
the humans may see the animals as pests, and the animals see the humans as part
of the scenery, neither side really wishes to see the other come to harm. Soon,
things will change. The End is coming to Mossvale.
Exodus is a game for one evening’s play by 3–5 players, plus one Narrator. The
players portray some of the citizens of Mossvale as The End falls upon them, while
the Narrator plays as the other characters and describes the events of The End.
Each player will need a pencil and paper, as well as three six-sided dice.
Challenges and Traits

When the player characters, either individually or as a group, encounter a
Challenge that they have the potential to fail, anyone engaging in the challenge
will roll two six-sided dice (2d6). A result of 5 or 6 on either die is considered a
Success. If you get two Successes you may give your excess Success to another
character in the same Challenge (if that kind of aid makes sense in the narrative).
Not succeeding a Challenge doesn’t mean catastrophe; you aren’t dealt damage
or killed outright. Instead, Failing a Challenge means that you succeed at a cost,
such as lost time or discarded supplies, such that future Challenges may be more
difficult.1
Traits are something special that defines a character. These are descriptors of
something that stands out about the character, and may modify Challenges in a
few different ways. A player and the Narrator must agree that a Trait is appropriate
before it can be applied to a Challenge. Equipment, which can be traded among
characters, can also have Traits.
ཧ If your Trait is a hard counter to the Challenge, you may choose to
automatically succeed (ex. a Mouse using Squeeze to hide from danger).
ཧ If your Trait is a soft counter to the Challenge, and you roll two matching
results (two 1s, two 2s, etc.), this counts as one success in addition to any rolled
successes. (ex. a Rabbit’s Fast versus a Human’s Clumsy).
ཧ If your Trait would help the group in a Challenge that more than one player is
rolling against, the target numbers for the group become 4, 5, and 6.
ཧ If your Trait would help only yourself (but not counter a Challenge) (generally
your Senses Trait), you may roll three six-sided dice (3d6) instead of 2d6.
1 It is important to remember that Exodus is a bittersweet game of personal sacrifice
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and teamwork, not a tragedy about the deaths of small woodland animals. The animals may
be put in distress or danger, but they are never seriously harmed or killed.
IN*DIE - SEPTEMBER 2020

If two Traits would modify a Challenge in the same way, they do not stack. However,
if they are both applicable to the situation, one Trait can be used to Help the Group
and another can be used to Help Only Yourself, for a 3d6 pool with a Success of 4 or
higher. Similarly, two negative Environmental Traits (discussed later) cannot stack
to have the same effect. If appropriate to the situation, a character can choose to
discard an Item Trait to turn a Failure on a Challenge into a Success. If a Trait can
counter a negative Trait, it is appropriate for the player and the Narrator to enter
a Trait bidding war until the two parties come to an agreement on the appropriate
mechanical effect.
Over the course of the game, a character can have their Trait Locked by an external
factor. The Narrator determines if a Trait is Locked and what factors (time, medicine,
etc.) are needed to unlock it. A Locked Trait cannot be used to modify Challenges.
Making a Character
To make a character, start by deciding what Species you are. Any animal is valid,
although the game is designed for smaller animals, with foxes and opossums at the
upper size limit. Choose one Movement Trait and one Sense Trait appropriate to
your character’s Species.2
Movement Sense
Fast Climb Sight Taste
Squeeze Dig Smell Touch
Fly Swim Sound
Leap Stalk
Next, choose your Profession, either from the list below or from a discussion with
your Narrator. Professions grant one Trait and one Item.
ཧ The Farmer gets a Sturdy Frame from hard toil and carries with them A Shovel.
ཧ A Healer can Ease Wounds using medicine and carries Bundled Herbs.
ཧ The Knight swears to Defend Others with honor and wears Metal Armor.
ཧ A Scholar is Very Wise from years of study and always has A Book.
ཧ The Scoundrel knows Cunning Secrets and is never without Something Sharp.
Every character also starts the game with one Personal Item. Like the Items granted
by the Professions, this is something useful to your character that adds another
Trait. Finally, every character has a Specialty Trait, which is something in which they
personally excel. The Personal Item and Specialty must be approved by the Narrator
before the start of play. Once all the mechanics are in place, you are ready to give
your character a Name, and to start play!
2 If you don’t like the movement options listed here, ask your Narrator for a more
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appropriate one.

My Name is _____________________.
I am a _______________ and my Profession is _______________.
Move Trait: ________________ Sense Trait: _________________
Specialty: ________________________
Profession Trait: __________________
Profession Item: ________________
Personal Item: _________________

The Narrator
As the Narrator, you are in charge of preparing the game, organizing all of the
locations and non-player characters (NPCs), and portraying The End. Before the
start of the game, ask yourself:
ཧ What time period is this story set in? Modern? Historic?
ཧ What is the nature of Mossvale? Is it a small farming commune? A western-style
town?
ཧ What is the nearby human settlement like? A monastery? An apartment
complex?
ཧ What is The End? A flood? A fire? A blizzard? A volcano? An earthquake?
ཧ What is the Safe Place? Another building? High ground?
These questions will guide how the world of your game’s Mossvale will function,
what will drive the characters out, and where they’ll go. These can be anything
as long as they fit the thematic mold of “Mossvale is destroyed by <The End> and
the player characters must flee to <Safe Place>”. Once you’ve established the
settlement, decide on some animal and human NPCs to populate it. Think of two or
three pivotal Scenes to guide your characters along the narrative path.
Scenes are mini-dramas for the characters to play through. Every Scene should
have a description, an immediate threat, and a goal. These should give you a set of
Environment Traits with which to work. A Scene might look like:
Description: “You enter the Chapel. Dozens of pews are lined up side-by-side
before the pulpit, where you have entered. The large double
doors are partially open, showing the courtyard outside. The
Chapel is on fire, and as you are looking around a great burning
tapestry collapses behind you, bathing the hazy smoke of the
room in sunlight. Brother Michael is in the aisle, coughing and
disoriented.”
Threat: On fire
Goal: Get to the courtyard
Traits: Burning, Smoky, Brother Michael: Confused
NPC animals up to the size of dogs are built with the same rules as Player
Characters. Anything larger than that is treated as part of the Environment,
meaning that they add their Traits to the Environment pool. Events in the Scene can
add, subtract, or change Environment Traits as they play out.
As the Narrator, you can use Environment Traits against the player characters to
hinder their progress. Similarly, players can use these Traits to their own benefit.
The negative possibilities are listed here. For the positive possibilities, use your best
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judgement and let the players’ creativity flourish when using Environment Traits.

ཧ Environment Traits can downgrade a Trait from a hard counter to a soft
counter, or remove a soft counter Trait.
ཧ If the Trait is a hard counter to the player, they are blocked from performing
the task. Alternatively, the player countered must alter their approach to the
Challenge.
ཧ If the Trait is a soft counter to the player, they require two successes to
complete the Challenge instead of just one.
ཧ If the Trait would hinder the group the success value becomes 6.
ཧ If the Trait would hinder only one character, that player must roll 1d6 instead
of 2d6.
At the start of the game, have each of the players describe their character, what
they do in Mossvale, and one place in the town they frequent. Allow the players to
narrate how their characters interact with one another and the human settlement.
Note the important humans and how they perceive the animals. When everyone is
comfortably settled into their characters, initiate The End.
Display subtle signs of The End, like creeping smoke or a tremor in the earth. Then,
The End descends upon them all suddenly, wiping out major landmarks in Mossvale.
This should be your first Scene, with the characters reacting to The End. Have the
players roleplay their characters’ responses. Who do they go to help? What do they
grab? They’ll only have enough time to perform a few actions before having to flee.
Give them Traits based on their choices in this Scene. Seed the idea of the Safe Place
in this Scene, either from the character’s knowledge or some external input.
The next Scene should see the characters moving through the human settlement.
This is where they’ll have the opportunity to assist the human characters. Have
the actions of the human characters and other gargantuan creatures change the
landscape as the Scene plays out, modifying the Environment Traits as needed. The
chaos of the humans reacting to The End is beyond the scope of the characters’
perception, so don’t be afraid to obfuscate some details. If you haven’t pointed the
players towards the Safe Place yet, do so during this Scene.
The final Scene is the characters’ struggle to reach the Safe Place. The End should
be mostly played out by now, so they’ll be hampered by the aftermath of the
disaster. Burned carriages, high water levels, collapsed buildings, anything that
could have been left behind by The End should serve as potential Environment
Traits. Let the consequences of the players’ choices in the past two Scenes come to
fruition here. Did they help others? Did they keep their supplies on-hand? How do
these change their circumstances? This should be a bittersweet and difficult Scene,
but in the end the player characters should be reunited with their friends and
family at the Safe Place. This is a story of pathos, not tragedy.

Media Touchstones
If you’re the Narrator and you’re looking for ideas to use for this game, the author
suggests the following media. You may want to share whichever media you
draw the most inspiration from with your players to get everyone into the right
headspace (and as a fun post-game discussion topic).
The Secret of NIMH (MGM, 1982) Redwall (Philomel / Hutchinson, 1986)

Homeward Bound (Disney, 1993) The Amazing Maurice and His Educated
Rodents (Doubleday, 2001)
We3 (Vertigo, 2004) The Brambly Hedge Complete
Collection (HarperCollins, 2018)
The Animals of Farthing Wood
(Hutchinson, 1979)

The LoneLy Giant
Author: Nick Wedig
“There were giants in the earth in those days,” say the human priests in their churches.
The humans tell themselves that the giants have disappeared from the Earth. And this
is true of all giants, save for you.
Before the other giants left, you swore an unbreakable oath. So long as the oath
is unfulfilled, you can never die, nor leave your vigil-station. No giant has ever
abandoned an oath once sworn.
You swore an oath to watch over something in this land; an oath with no clear end.
Even as the world passes you by, you remain on the edge of the human world,
watching and acting as your oath requires.
This is a journal-writing game for a single player. To play this game, you will need
a notebook or another method to record your journaling. You will also need three
visually distinct sets of dice, with d4, d6, d8, d10, d12 and d20 in each. Each set of
dice represents a tone; when asked to narrate, you will roll one die from each set
and answer the question in the tone that matches the die that rolled highest. You
begin with a d20 for each tone; over the course of the game, this will change.
One set of dice will represent your Terrible Strength that can move mountains, but
can also injure the most vulnerable if not used with caution.
The second set symbolizes your Numinous Awareness. As a being of raw elemental
power, you are mystically tied to the land around you, and you know many things
that a mortal never could.
The third set is for your Weary Sorrow. Left alone in this world, the centuries have
begun to weigh upon your soul. A part of you wishes to abandon your oath, though
a giant may never do so.
Answer these questions now, using a different tone for each of the three questions.
ཧ What unfulfilled oath still binds you to this earth?
ཧ Why did the other giants leave this world?
ཧ What terrible fate befalls a giant who abandons their oath?
The rest of the game will consist of writing entries in your journal, recording your
giant’s experiences as they wait to fulfill their oath.

For each entry in the journal, roll your three tone dice, one for each tone. Initially, this
will be three d20s. Take the die that rolled the highest result. Answer the question
that corresponds to the number that you rolled, and answer it using the tone of the
die that rolled that number. Write as much or as little as you need in order to feel
that you have answered the question. When you are done writing, decrease that
tone’s die size by one level (from d20 to d12, d12 to d10, d10 to d8, etc). In future rolls,
use the new die for that tone, until the tone decreases in size once again. If a tone at
d4 decreases, then treat all future rolls as if that tone had rolled a 1.
If there is a tie for the highest die, then your answer should be particularly painful or
onerous. Use any tone you like, but don’t decrease the tone’s die. Instead, cross out
the question you rolled. If you roll a crossed out question later on, treat it as if you
had rolled the next lowest number instead.
The Questions
13+ What tasks must you perform to uphold your oath? What thoughts
do you have while performing your duty?
12 What makes you curious about the humans who live nearby? What
happens when you investigate?
11 Why does your oath still hold meaning to you?
10 What happens when humans disrupt natural cycles with their
technology and growth? How do you intervene?
9 How does the world about you change over time?
8 What stories do the humans tell themselves about you?
7 What makes you question the wisdom of your oath?
6 Which of their troubles do the humans blame you for?
5 Something endangers your ability to keep fulfilling your oath. What is
it? How do you respond?
4 How do the humans try to harm you or drive you from their lands?
What happens when they fail?
3 What terrible mistake did you make, and why did you make it? Who
will be harmed as a result?
2 Why do humans need your help, whether they admit it or not?
1 How does your oath come to an end?

HyperHaLfLing's
Loot TabLes
Author: Danielle Stephens
Magic Items (which may be sufficiently advanced tech...)
1 Jyla’s Mandolin well-loved instrument made of iridescent pale
yellow wood, painted over with delicate lacy black
designs. Listeners hearing music played on this
mandolin are more inclined to treat the musician in
a positive manner.
2 Birds of Chance two pigeons perch, face-to-face, on opposite
edges of this silver cup. Fill the cup with
birdseed and ask a question about the future;
one bird speaks the best case scenario, while
simultaneously the other speaks the worst.
3 The Coronet of Wisdom wreath of live laurel sprigs that rustle gently as if
in a breeze. The wearer hears a distinct “Shush!”
in the rustling during any situation where they
should really keep their mouth shut.
4 Potion of Grace miniscule orchid of blown glass, which is a bottle
containing one drop of perfection. Drinking
requires breaking the glass, granting the drinker
one perfect moment.
5 The Vessel shrivelled turnip carved into an expressive face.
Touching this vessel to a dying creature will
imprint their essence into the turnip, which will
henceforth act as the original would have done.
Can be reused.
6 Attention’s Game beautiful game board made of dark red wood
inlaid with seashell. Potential players are those
who find the board fascinating, and they must use
an enormous force of will to avoid sitting down
to play. A game lasts until all players are mentally
exhausted, and participants will remember only
that it was the most intellectually stimulating
experience of their lives.

The Last RebeL
Author: W.H. Arthur
Four years ago, the Revolutionaries rebelled against the Interstellar Imperium. At
the end of the war, the empire’s experimental weapon destroyed the universe’s dark
matter and destabilised spacetime. You are the last rebel, who came back from the
edge of the galaxy with a way to save the day.
Setup
A game for 3-6 players, with no GM needed. You will need a regular 52-card deck of
playing cards, with jokers removed, a six-sided die and writing materials. The game
takes 1.5 to 3 hours; a 2 hour game would allow 6-8 turns to be played.
Shuffle the deck of playing cards. Everyone draws three cards from the deck.
Always draw back up to three cards after you play a card.
Place the die next to the deck with ‘6’ facing up. This is the hope counter.
Initial Questions
Take turns answering:
ཧ Who is the last rebel? Give them pronouns and describe their appearance. (e.g.
kickass princess, interstellar sailor, droid engineer, sentient teddy bear)
ཧ The last rebel’s ship comes with two problems. What are they? (e.g. requires
constant refueling, no ship weapons, limited cargo space for food, overheats
easily)
ཧ What are the effects of destabilised spacetime? (e.g. bubbles where time
doesn’t exist, destructive spacetime storm, micro-blackholes)
ཧ What is the last rebel’s plan to save the universe, and why does it involve an
arduous journey? (e.g. use the neutraliser on the experimental weapon, collect
six primordial gems, harvest dark matter from a blackhole with a bomb)
The Journey
The game is played over turns, with each turn constituting a part of the last rebel’s
journey.
For each turn, a player takes the role of the last rebel. The players to the right and
left take the roles of narrator and ally respectively.
At the start of the turn, the narrator and the ally each play a card:
ཧ The narrator’s card is played face-down, and determines the threat.
ཧ The ally’s card is played face-up, and determines who the ally is this turn.

Play out the scenario in which the last
rebel and their ally confront the threat.
At the climax, or at a point where it is
appropriate to the narrative, the last rebel
plays a card to resolve the scene:
ཧ If the last rebel’s card is greater than
the threat, then they are triumphant.
ཧ If the last rebel’s card does not beat
the threat, then they barely escape.
Lower the value of the hope counter
by one.
ཧ If the last rebel’s suit matches the
ally’s, the ally joins the last rebel as a
companion1. Put the ally’s card face-up
on the companion track next to the
deck.
The turn ends after the scene’s resolution, and the roles are passed clockwise for
the new turn.
Saving the Galaxy

When the journey comes to its natural conclusion, or when the last rebel has lost
all hope, count the number of cards on the companion track. This is the salvation
score. Then reveal one card from the deck, and an extra card for every of the
following question answered with a “yes”:
ཧ Did the last rebel accomplish what they set out to do?
ཧ Is there any hope left?
ཧ Is the remaining hope four or higher?
ཧ Is the last rebel’s ship in a good state?
The value of the lowest card drawn is the despair score.
ཧ If salvation is greater than despair, then the galaxy is saved.
ཧ If salvation is equal to despair, then the last rebel sacrifices themselves to save
the galaxy.
ཧ If salvation is less than despair, spacetime further destabilises and consumes
the universe.
Narrate what happens according to the result. Then, each player narrates a part of
the epilogue. What will happen to the beings in the galaxy, especially those whom
the last rebel met on the journey? The game ends when no one has anything more
to add to the epilogue.
1 Face-up companions can be used instead of the last rebel’s hand. Once used, they
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are flipped face-down, and they sacrifice themselves for the last rebel’s cause.

♢/♡ ♠/♣
A1 Refugee - A survivor from the wars and Nomad - They travel around space
disasters. with no fixed homes.
2 Trader - Always looking to make a Scientist - They want to unravel the

profit. mysteries of the universe.
3 Asteroid Miner - Extracting valuable Barkeep - Even in space, people need a

minerals from asteroids is a tough job. place to gather and destress.
4 Pirate - They have a scary reputation, Salvager - They search for broken
but many of them are romantics inside. ships and scavenge them for parts.
5 Ex-imperial soldier - Are they still loyal Bounty hunter - You don't want a
to the Imperium? bounty on your head, because they will
find you.
6 Space paladin - They have cool laser Space cultist - The counterpart of the
swords. space paladin. Maybe they are just
misunderstood.
7 Cute droid - They roll around and make Articulate android - Capable of
cute beeping noises. speech and complex feelings.
8 Cyborg - Part flesh and part machine. Bloodsport star - Why are people
More than the sum of their parts. always obsessed with bloodsport in the
future?
9 Crystal aliens - They are rock solid and Sentient plant life - They constantly
mesmerising at the same time. seek sunlight.
10 Mushroom person - They spread Bee-folk - Part of a hivemind that

spores that make everyone relaxed and serves to protect the queen and
happy. pollinate plants.
J2 Alien predator - Thick carapace Space gymnosomata - It is often said
and sharp mandibles. Are they as that these angelic creatures bring good
threatening as they look? luck to spacefarers.
Q Living planet - The planet has a mind of An old god - One of those tentacle
their own. gods. They are apathetic to other
lifeforms.
K Emperor's clone - When the Imperium Space wyrm - A majestic creature who
fell apart, one of the clone pods has lived for millennia. They normally
malfunctioned. They have the emperor's stay in wormholes.
genes but none of their memories.
1 When played against a number card, an ace is treated as 1. However, an ace beats any
court card (J/Q/K).
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2 When played, J, Q and K are treated as 11, 12 and 13 respectively.

Premiere Partie
#SixMoves Les Miserables Edition
Author: Logan Timmins
With thanks to @Mothlands on Twitter who came up with #SixMoves.
Jean Valjean
Strong Moves
ཧ Arrive in the nick of time to help someone
ཧ Use your incredible strength
ཧ Disappear without a trace
Neutral Moves
ཧ Show mercy
ཧ Give and receive forgiveness
ཧ Remember your blessings
Weak Moves
ཧ Put yourself at risk to help someone else
ཧ Take on a huge responsibility without preparing beforehand
ཧ Revert to your old ways for a time
Inspector Javert
Strong Moves
ཧ Enforce the letter of the law and have people listen to you
ཧ Enter enemy territory in disguise
ཧ Gather formidable allies
Neutral Moves
ཧ Show mercy
ཧ Randomly run into your quarry, but only recognise them after the fact
ཧ Act with your head or your heart, but not both
Weak Moves
ཧ Freeze while you struggle with a moral dilemma
ཧ Owe someone a favour to get out of trouble
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ཧ Admit you might have been wrong

Cosette
You have an open mind and a tender heart; you feel emotions quickly and deeply.
This allows you to make strong bonds with others. Choose a fellow character to
create a link with. You may only have one link at a time. Whenever the two of you
spend quality time together, choose one of the following effects:
ཧ Heal 3 Harm between the two of you
ཧ One of you may remove a Condition
In addition, whenever you roll to Keep Your Cool and your linked friend is with you,
gain +1 to the roll.
Marius Pontmercy
You are young and eager to prove yourself in many facets of your life. During
character creation, write 3 things you want to prove. When you have proven
yourself, cross out that goal and mark XP. When you have crossed off all 3, write 3
new ones.
Examples:
ཧ I want to write beautiful songs to prove my love to Cosette.
ཧ I want to fight in the revolution to prove my conviction to my friends.
ཧ I want to repay my debts to prove my strength to my fellow men.
Eponine
You are resourceful and brave. You know your home area very well, allowing you to
travel quickly and find places others search for. You can always find your way back
to a place you’ve been before, no matter the obstacles, though it won’t always be
safe. In addition, when looking for a specific place within your home area, you will
always find it if you spend half a day looking (if you wish to find it faster, you must
roll).
The Bishop
You always see the best in people and want to give them a second chance. When
you try to help someone onto a better path, roll +Compassion.
On a 10+ your kind words get through to them and radically change their life
for the better.
On a 7–9 they hear you, but struggle between what is easy and what is right
for a long time.
On a miss, they scoff at your words and forget them the next day.

A Wood Heart
Author: James Chip
At the centre of the forest is A Wood Heart. It has always been there; it is what gave
the forest life.The spirits go to the Heart to tell their stories and to share their secrets.
As long as there is A Wood Heart, the forest will stand, and as long as there is a forest,
the spirits will have a home.
A Wood Heart is a storytelling and map drawing game for two to four players. You
play the different spirits that go to the Wood Heart to tell their stories.
You will need a tarot deck, a six sided dice, a large piece of paper and some pencils
and erasers.
How to play
First, draw The Forest.
The Forest
Draw the outline of the forest and the river that runs through it on the piece of
paper. Draw the Wood Heart in the centre of the forest; then, have each player
draw one of the following forest features— if there are two players, then each player
draws two instead.
ཧ The oldest tree.
ཧ A flower that only grows here.
ཧ A bird, endemic only here.
ཧ A glade where the animals graze.
ཧ A cave that provides shelter.
ཧ A pond that shelters fish.
Next, draw each of the following human structures outside the forest:
ཧ A small settlement.
ཧ A log mill.
Let a Spirit Talk
Starting with the player who most recently was among trees, go around the table,
taking turns to Let a Spirit Talk. Keep going around the table in this way until
either The Game Ends or you tire of play.
To find out which of the forest spirits speaks, roll a d6.
1. The roots of the plants.
2. The babbling of the river.
3. The songs of the birds.
4. The creak of the trees.
5. The call of the animals.
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6. The scurrying of the insects.

If you roll a spirit which has left the forest then The Forest Shrinks; otherwise draw
a card and use its image and suit to find out what the spirit tells the Wood Heart. If
a card seems difficult, problematic or unsuitable, then tell a story about the spirit or
the forest instead.
Swords: Humans have driven this spirit from the forest. Why has this spirit had to
leave this place? Cross this spirit from the list.
Pentacles: The humans have taken something from this spirit. What did they take,
and how does the spirit sound different because of it? The Forest
Shrinks.
Wands: This spirit has taken something that the humans built, and it is now a
part of the forest again. Which of the human structures on the map has
the spirit captured, and how? Turn that human structure on the map into
a forest feature. If there are no human structures remaining then the
humans have been driven away from the forest and The Game Ends.
Cups: Some of the humans seem to care for the forest, and one of them has
helped this spirit or tried to heal the damage done to the forest. What
have the humans done to help? If there is a spirit that has left the forest,
you may roll a d6; on an even number, the spirit may return to the forest.
Major The humans have further incurred into the forest. What have the humans
Arcana: built, and how does it affect this spirit? Add a human structure to the
map.
The Forest Shrinks

Something that was once a feature of the forest is gone forever. Which forest
feature do the humans destroy, and what is left in its place?
Re-draw the outline of the forest so that the forest feature is now outside of the
forest; then, erase that forest feature.
If the Wood Heart is erased from the map then the forest is destroyed and The
Game Ends.
The Game Ends

The game ends when either the Wood Heart has been erased from the map, or
when there are no more human structures on the map.
Take a moment to think about what the landscape is like now, and how it is different
from when the humans first came. Going around the table, have each player
describe an aspect of the landscape that is forever changed.
Finally, each tells a story about what one of the spirits, present or otherwise, is
doing now that the forest is forever changed.

RoLLing in the AisLes
How to Run Comedic RPG Adventures
Author: Dave Seidman Joria
So, you want to run humorous adventures? Here are a few things to keep in mind.
Nobody Dies Today!

If a player is not engaged in serious combat, we generally advise that nothing
a player does is lethal. A character wants to throw a teammate out a two-story
window? Let ‘em! Don’t roll for damage—just let them fall to the ground, give them
some narrative penalty (like a slight limp) and let the teammate plot their revenge.
Likewise, if your group wants to mug some old ladies so they can infiltrate the
retirement home, assure them that the grannies will suffer no irreparable physical
harm.
Note: That does not mean that there are no consequences—if you mug two old
ladies, there’s no guarantee that they won’t call the cops, serve you a subpoena, or
grab their cricket bats and hunt you down!
Defy Expectations
A shortcut to comedy is to take what people are expecting and do the opposite. For
this reason, comedy is hard in a vacuum; it’s best framed as a parody of something
else. Instead of running a straight comedy game, run a hybrid game: a comedic
heist, a comedic monster hunt, a comedic escort mission, etc.
At some point, you may need to introduce an important NPC. Take mental note of
your brain’s first reaction, i.e. what you expect, and write that down. Then, see how
many you can subvert it.
Example: The PCs are monster hunters tracking down an evil vampire
to his lair.
Expectation: The vampire is a tall, pale, glamorous, well-groomed
youth.
Subversion: A short, unkempt, older slob. He’s found sitting under a
tanning bed, turning his skin into a shade of lobster-red.
Your brain, and likely your players’ brains as well, were expecting the
vampire Lestat in puffy sleeves. Instead, they get a sun-burned Danny
Devito in a Speedo.

This works with important objects too, like doomsday devices.
Expectation: A doomsday device should look imposing, ominous,

cutting edge.
Subversion: The doomsday device that’s a piece of junk, held together
with duct-tape and cardboard. Or, it’s built into an ice-cream truck, so
it’s sticky from the melted popsicles and plays “It’s a Small World” as it
counts down to your demise.
Expectations - Letting the Dice Guide You

If you’re playing an RPG with dice or a similar randomizer, sometimes players
will attempt something and fail. This can be the perfect opportunity to defy their
expectations!
The player is saying, “I want X to happen,” and the dice are literally telling you, “You
got the opposite of X.” So, give them the total opposite!
Example: Josie the bard wants to bribe a group of goblins into helping
her with a con job. She offers them money and rolls very low.
Why did she fail? It COULD be for an obvious reason, like:
• She doesn’t have enough money, or
• The grudge they bear her is too great.
However, why not go to the extreme? The GM decides:
The goblins aren’t interested in money, because they’ve turned
communist, and will not be swayed by your capitalistic arguments.
Now your setting includes a group of politically active goblins, named
the Redcaps, who are constantly misquoting Marx and trying to seize
the means of production.
For this to work, don’t be afraid to ask the player to elaborate on what they see as
an idolized situation so you can flip it. Let them guide you.

Forget Your Expectations & Let the Players Guide You
Don’t forget that you have players at the table, who may be much funnier than
you. Don’t be afraid to shelve your current plan and agree with the players if their
idea is funnier (or, as we call in improv, “Yes, And”). This isn’t just with their serious
suggestions “in character”; pay attention to the chatter, as an off-the-cuff comment
might contain pure gold.
Example: Josie the Bard tracks down the underground boxing ring in
town, run by the local mob. They use the Old Dairy Farm as a front.
GM: You walk past the cows, and you’re stopped at the barn door by
a surly bouncer, disguised as a milkmaid. The Bouncer says, “The Boss
ain’t ‘appy wit’ you, Josie.”
Player: Oh God, the boss is one of the cows, isn’t he?
GM: Ha! No, he’s actuall- [Pause]. YES. YES, HE’S DISGUISED AS A COW.
One of the cows behind you stands up and the Boss, wearing a fine
black-and-white suede coat, gold chains and a cow mask, looms over
you.
Less Is More - The Noodle Incident Trick

Horror and humor share a common trait: sometimes, it’s best to leave something
blank, and let the audience’s brains fill in the gaps. Whatever you come up with
will probably not be as scary/funny as the unconscious mind assumes this will be.
This has been named by TV Tropes as “The Noodle Incident”, named after a similarly
vague incident from Calvin and Hobbes comics.
Example: The Dairy Boys mobster doesn’t want to harm the PCs, but wants
to humiliate them slightly.
GM: The Mobster says with a cruel smile, “Alright, we’ll let you go… but first,
we’re gonna give you something we like to call, ‘The Farm Boy Welcome.’”
You return back to the group, exhausted and smelling of cottage cheese.
It can work double duty as horror and humor if it is an impending doom waiting for
the heroes should they fail, like “A Trip to the Petting Zoo.” If the players are flexible,
they’ll jump in and play along with the horror without giving any explanations.

Invert Status
A shortcut to funny is changing status. If a lowly vagrant slips on a banana peel,
it’s not funny. But if the Queen of England slips, knocking down the Pope and head
butting the President in the nose, that’s funny—because it’s someone of high status
being brought to a lower level. So, if the boss needs someone in the group to do a
demeaning task, like cleaning the manticore’s cage, don’t ask for volunteers—give
it to the stodgiest, most respectable person in the group (this is usually a vampire
or elf). Likewise, if someone of low status is made high, the results are equally fun:
maybe a magical artifact turns the plain-talking jock into the smartest member of
the group, or the runt of the group temporarily turns into a super strong beefcake.
Fish Out of Water

Take track of what a PC is good at and nudge them out of their comfort zone. (Note:
nudge the characters; always stay within a player’s comfort zone.) Set up the quest
in a way that it requires characters to do something they are not skilled at or is only
tangentially related to their expertise.
Are they a righteous cleric or priest? Have them blend into a crowd at a risqué
nightclub.
Are they a bookworm wizard or scholar? Force them to do story hour at a children’s
library. Are they uncivil or blunt? Ask them to work retail or customer service.
Straight Man / Comic Man

Having trouble making a villain that’s original? Then do the opposite: make them
drier than toast, with every cliché imaginable. Another comedy convention is the
Straight Man / Comic Man dynamic; one character (the Straight Man) is far too
serious, and the other (The Comic Man) cracks the jokes and drives the Straight
Man crazy. If your players are sarcastic, you can play the super-serious Straight
Man, and let them come up with the comedy. Make sure to give the players space
to talk and let them watch the cliché villain grow increasingly frustrated by the
heroes’ lack of respect; in comedy, this is called the “Slow Burn”; for a great example
of this, look up any Marx Brothers’ films.
Animals
When in doubt, animals are funny, especially if they have odd names. Here’re some
goodies: Chickens, monkeys, goats, weasels, lemurs, macaques, chinchillas, bees,
bunnies, llamas, kangaroos, platypi, honey badgers, beavers, capybaras, mooses,
emus, corgis, kookaburras, albatrosses1, pandas, swallows, dead parrots, cuttlefish,
penguins, iguanas, Lipizzaners (it’s a breed of horse), chameleons, gnus aka
wildebeests (funny with either name), blue-footed boobies, and tufted titmouse (a
bird).
Reminder: There’s a reason polymorph is the funniest spell in D&D (see Invert
Status).
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1 Warning! May lead to endless allusions to Monty Python and serious derailing.

Writing A Comedic Plot
Humorous stories are built on one of two basic foundations: the Short Form Sketch,
and Long Form Comedy.
The Short Form Sketch
A silly premise is established and compounded, and the protagonists are pushed
near their breaking point.
Examples: Monty Python and the Holy Grail sketch The Knights Who Say ‘Ni, Who’s
On First from Abbot and Costello; Most Saturday Night Live sketches including More
Cowbell, Coneheads, Celebrity Jeopardy.
Long Form Comedy
Same set-up and plot structure as a non-comedic story (adventure, mystery,
horror), with the illusion of high stakes. At the story’s climax, the threat, mystery, or
object of desire turns out to be something ridiculous or contrary to expectations.
Examples: Gift of the Magi by O. Henry (or anything else he wrote); the ghost story
The Viper is Coming; the Song Escape (The Pina Colada Song) by Rupert Holmes.
Can’t Spell ‘Funny’ Without ‘Fun’

This should seem obvious, but if people aren’t in the mood for fun, it won’t be funny.
Don’t forget your table’s safety tools. If you bomb, don’t take it personally, and
better luck next time!

Punk rock Loot tabLe
Author: Sam Gundaker
Item Description Inspires
This hand printed zine has seen better days. Its

black and white cut-out lettering is faded but it
still loudly proclaims the schedule of a three- Reminds you that
piece band that look pissed even in their blurry, even in times of great
halftoned likenesses. Someone went through upheaval and division,
a lot of trouble to produce this, and probably the determined can find
Ragged zine
many copies of it. Inside is a somewhat a way to organize and
surprising array of content—more show build community, with or
announcements, but also ads for handmade without the permission of
fashion, satirical cartoons, and articulate the “mainstream.”
musings about current (for the time) politics,
always followed by a rousing call to action.
This vest is heavy with frayed patches and

studs, and has a mysterious stain on one side.
The patches make it obvious that this once
belonged to at least one activist. Slogans Revitalizes your will
proclaiming freedom from capitalism, sexism, to fight, especially if
Denim vest racism, and police violence are boldly and there are injustices and
deliberately visible. The back is painted with a oppression running
large clenched fist in red, cracking paint. The amok.
fabric has been worn incredibly soft, the rough
denim beaten and starting to go threadbare
some places.

This pink flyer boasts a black and white,
photocopied collage of several punk women of
diverse appearance. One has her hair covered Inspires the desire to
and boasts an enormous nose ring, one is be your most authentic
larger and round-faced, with glasses and a self and strengthens
rigid mohawk cut a few inches from the scalp, your resolve to stop
and another woman with a darker complexion performing for others.
holding up her clenched right fist. The slogans You are who you are and
Riot grrrl “not here for you” , “shut the fuck up”, and there’s only power in
flyer “shoot sex offenders” taking up most of the that. Additionally, there
available space. What free space remains is is a high likelihood of
taken up by trans and queer identity symbols inspiring camaraderie
intertwined with the symbol for female, like in people of similar
links in a chain, as well as a drawing of a cute backgrounds while
cartoon girl flipping the bird. On the back, holding on to this
someone has scrawled the phone number to a memento.
pizza place that has been surrounded in small
hearts.
You get the sense
that something tragic
happened to the last
The material on this is so thin you suspect it person who owned it. At
may be made out of an old tshirt. It is clean, the same time, you can
Black neck
though carries the acrid smell of some kind of also glean a strong sense
gaiter/face
smoke. On the bottom, almost invisible until you of right and wrong from
mask
put it on, is a small, hand-embroidered cat in it, as though its previous
green thread. owner had a particularly
powerful sense of justice.
It inspires you to take
charge and take action.
You’re reminded that
people have always
relied on sardonic or
deliberately lighthearted
Yeah, it’s actually printed out on paper for takes to cope with the
some reason. Who would do that? It’s a picture harsh realities of the
of a cat making a weird expression that looks world. For at least the
Sardonic
as though it is absolutely delighted about next time you need to,
meme
something. The words beneath it read “me you’ll be able to come
when the government decides to see me as a up with an absolutely
human for .2 seconds.” smashing joke or one-
liner that will get a
pronounced reaction
from anyone who hears
it.

The next time you
have to interface
with technology at a
challenging level, the
This small, unassuming device has a piece of thumbdrive inspires
masking tape stuck to it and a hastily penned you to take a creative
drawing of a cartoon explosion. You’re not sure approach that will yield
USB what data is contained within but the emblem surprisingly beneficial
thumbstick and easily-concealed nature of this item give results. Alternatively, if
you the sense that someone had big plans for your curiosity gets the
this. You wonder what would happen if you better of you, you can
stuck it into a computer. stick it into an important
system and be relatively
certain that something
very bad will happen to
its files.
Weirdly, the seeds
make you hopeful for
A grocery-store packet of vegetable seeds. The the future. You wonder
A packet of
packet is creased and worn as though it had if maybe someone
seeds
been in a pocket or bag for a long time. was planning to grow
a guerrilla garden
somewhere.
You wonder what
happened to them—
both the model and
the photographer. It’s
clear that someone had
This printed photo is creased and crumpled,
been carrying this as a
its edges limp. It was clearly a candid shot, the
valuable memento, to
subject in the middle of what looks like a loud,
remind them of better
earnest laugh. They’re dressed for swimming,
Portrait of times, or a reason to
their bare skin covered in a patchwork of
a tattooed keep fighting, or perhaps
tattoos. Some are fresh and colorful, others are
lover simply as proof that
faded. You’ve never seen this person before
there was light in their
but you can tell by the way the photographer
life. While there is an
framed the simple moment that they were
undeniable air of sadness
deeply loved.
around this lost photo,
it serves to remind you
that there is good in this
world, you just have to
look for it.

Two // One
A one player micro larp about dressing up and piloting a weapon
rivaling the power of the gods
Author: Vivian Johnson
You are a Mech pilot. Maybe this is something you have always known, dreaming to
tower above the rest of us in your castle of pneumatics and firepower. Or perhaps
you were called to it by some unseen force, linking your mind with the anodized
flesh of the colossus. Whatever the reason that brought you to this moment, you
are here now, and must face what’s ahead.
What is your mech?

ཧ Scrap mechs are created from the discarded parts of those before you // Go to
a thrift shop, find clothes that look fun. Don’t worry about them matching.
ཧ Engineered mechs are created by a skilled artisan, a more experienced pilot, or
designed by some otherworldly person // Have someone else create your outfit.
If you want them to stay, feel free to have them stay. If not don’t worry about it.
They aren’t the ones embodying an avatar of death.
Upon entering the mech, take some time to acclimate yourself to any new
sensations or feelings. Is the Machine Human interface wrapped around your skull
comfortable for you? Can you feel the strength of your legs below you as you shake
the earth with every step?
Is this what you were made for?
Do you feel powerful?
Is that power utterly terrifying?
Step up to a mirror, your full form apparent now. Strike a pose for each item. Take
photo(s) in each pose you have struck, a montage of your triumphs or failures.
When finished, choose your favorite from each category, the details of the event
depending on the choice you have made. If no picture appeals to you, you may just
not be a pilot. It’s definitely not a job for everyone.
ཧ What are you fighting? Is it …
ཧ Beastly // Chest out, sexy, feral
ཧ Mechanical // Flexing, imposing, strong
ཧ Divine // Tall, serene, beautiful

ཧ What damage does it do to you? Does it…
ཧ Tear you apart // Reveal more of yourself
ཧ Destroy what you hold dear // Prone, looking into the distance
ཧ Leave you shaken // Absurd, or relaxed
ཧ What happens to you? Do you…
ཧ Suffer a major defeat // Vulnerable, alone
ཧ Bring the creature down with you // Messy, disheveled
ཧ Send it back to where it came from // Triumphant, booming

The Maven Guide
Bringing you the inside scoop on shops and restaurants that can be dropped into
your homebrew game.
Author: Alda Yuan
Liar’s Den (2 out of 5 stars)
Bottom Line Watering hole for underground types, needs mopping
From the Outside A squat, low building with strangely festive blue and gold
ceramic roof tiles. Some of the tiles are cracked and broken, and vines grow out
of an area of exposed wood. There are no windows in the stone facade, which is
pieced together from boulders big and small to create the impression of a yawning
cave mouth. Perhaps it had another life as a themed restaurant before its current
iteration, as it has the look of a kitschy roadside attraction.
On the Inside A dive bar in every sense of the word. The lighting is bad and the
odor is worse. The chairs and tables are mismatched and a bar with a sticky counter
sits in the middle of the room. The walls and the floor are wooden, scuffed and
darkened with age. A careful observer would see that there are various symbols (an
angry beetle, three interlocking triangles, something that looks like a watermelon)
scratched into the floor or into the surfaces of the tables to mark the territory of
individuals and groups.
Specialities We can’t in good conscience recommend any of the food. Or most of
the alcohol except for the araq, which is surprisingly pleasant on the tongue. But
Sampson can make a mean mixed drink.
Notables
ཧ Jeong Jeong and Rico Two bouncers stand out front, in the shadows cast by
the top of the false cave mouth. They’re polar opposites, one tall and broad with
russet, reddish brown skin and a welcoming smile, the other short and slight
with grey, pallid coloring and a jumpy, suspicious manner
ཧ Sampson Short with a dark braided beard and a gruff demeanor, except when
talking about one of his new mixed drinks
Secret/adventure hook There is a back room, accessible through a secret
entrance in the rear of the building where politicians and those with more money
than sense come to hire security or assassins.
The Sword and the Stone (4 out of 5 stars)

Bottom Line Fine weapons shop for your arming and blade sharpening needs
From the Outside The shop sits at the base of a three storey building. Black
smoke always pours out an opening on the east side of the building and soot stains
the stone wall of the exterior. An enormous boulder sits out front, right up against

the building with a sword buried nearly up to the hilt. Tempting as it might be, do
not attempt to pull this sword out, as Boran has admitted this is little more than a
prop.
On the Inside The walls of the shop are lined with racks showing off Boran’s
wares. A well used whetstone sits in the back left corner beneath a sign indicating
that it is free to use. A stand sits in the middle of the room, showing off his more
delicate and creative work. In particular, there is a line of miniature suits of armor,
perfect for animal familiars.
Notables
ཧ Boran Oddly thin given his profession, with long black hair tied back with a
metal ring. Boran lost his right arm during his own adventuring days and has a
prosthetic that allows him to attach a hammer, tongs, and other blacksmithing
tools. Friendly and professional, he gets a special glint in his eye whenever
someone offers him a good story and might be willing to offer discounts for
anyone who can make him laugh.
Secret/adventure hook Boran inherited the shop and so some of the items in his
shop precede his time. In particular, there is a metallic staff in a rack which hasn’t
been touched by a customer in years. It’s actually an item of power. The seven blue
gems embedded just underneath the surface of the metal start to glow if the right
person approaches it.
Ishana’s Remedies (3 out of 5 stars)

Bottom Line A bit chaotic but a passable source for your healthcare needs
From the Outside This is less of a building and more of a ramshackle hut. The
lattice windows are mismatched and in odd locations. The roof is tilted to one side
and a flue indicating the presence of a bed-stove heating system sticks out the
west side of the building. The door is propped open with a brick, and the sound of
breaking glass often emanates from the interior.
On the Inside The shop is incredibly cramped, with shelves arranged in a
haphazard way that serves to further shrink the space. Knick knacks, bundles of
herbs, and irregularly shaped glass bottles clutter the shelves. Anyone who isn’t
careful might bump into one and cause items to slough off. Tiny shards of glass
glint in the corners. The reason for this is obvious, as Ishana can often be found with
broom and dustpan in hand, attempting to clean up after her own messes.
Notables
ཧ Ishana Short with dark hair that probably hasn’t seen a comb in quite some
time. Ishana wears large goggles to protect her eyes from the dangers of her
various scientific experiments. Scatterbrained but gregarious, she isn’t always
sure what to charge for her wares or honestly, what she’s even selling.
Secret/adventure hook Ishana’s shop is a front for her information-gathering
duties. Perhaps she belongs to the same secret order as one of the players.
Perhaps she’s a spy for a rebel group. Either way, she is more than she seems. She is
32
genuinely clumsy though. That part isn’t an act.

Artefact Affinity
Author: Nathan Blades
A GMless game for 3-4 players, a world-building game told through the history of a
single object.
You will need:

ཧ A deck of Tarot cards (Major Arcana only)
ཧ A prop for the artefact (optional)
Artefact Affinity starts with someone taking an unusual item into an occult antique
shop to be appraised and scryed by the shop’s proprietor. Going around the table,
have someone decide:
ཧ Who is this person with the artefact
ཧ What the artefact is (how it’s mundane, how it’s not)
ཧ What mysterious or existential question does the customer want answered
from the scrying?
Shuffle the deck and decide on the number of

cards to draw for the game; between 3 and 10 is a
good range. Draw either directly from the deck, or
make a ‘spread’ of cards to flip. Give it drama and
gravitas.
To start, reveal the first card. Answer the matching
question about the history of the object from
the list on the next page. Discuss it together, and
write down what you all agree to be the ‘truth’ of
the situation. Discuss as though you’re historians,
as though you’re characters in the moment
being explored… whatever feels right. The scenes
explored don’t need to be in chronological order.
When you answer the final card, return to the
antique shop and the appraisal. How did the
artefact’s history inform the proprietor’s answer
to the customer? You may realise this answer
before all cards are revealed. That’s fine - return
the antique shop early, and close out the session.

Tarot Card Questions
❂ The Fool (0): Where was this object made? OR When did this object break
beyond repair?
❂ The Magician (1): Who used this object in an ambitious plan?
❂ The High Priestess (2): What dangerous secret is hidden in this object?
❂ The Empress (3): Who places great emotional significance in this object?
❂ The Emperor (4): What’s the important rule to know when using this object?
❂ The Hierophant (5): What’s an old tradition or ritual that uses this object?
❂ The Lovers (6): What two people were fated to bond over this object?
❂ The Chariot (7): This object was taken on a long journey. What terrible thing
happened en-route?
❂ Justice (8): For what elaborate crime was this object evidence for?
❂ The Hermit (9): Why was this object hidden for a long time?
❂ Wheel of Fortune (10): What was wagered alongside or against this object?
❂ Strength (11): Who carefully repaired or maintained this object when it was
broken?
❂ The Hanged One (12): Someone gave up this object in exchange for
something truly important. Why did they agree to do it?
❂ Death (13): Someone hastily abandoned the life they had, taking little but
this object. What were they leaving behind?
❂ The Devil (14): Someone was sorely tempted to use this object for something
selfish. Who suggested it to them?
❂ The Tower (15): Which corrupt person’s downfall was caused by this object?
❂ Temperance (16): How was this object used to bring peace and happiness to
someone?
❂ The Moon (17): A fake replica of this object was made. Why is there a
duplicate?
❂ The Star (18): This object was present when a new community was forged.
Whose community is this?
❂ The Sun (19): What publication did intriguing reporting about this object?
❂ Judgement (20): What sudden disaster left only this object behind?
❂ The World (21): The object returned to someone who thought they might
never see it again. How were they reunited?

Author: Julian K
Die20!
I use a special set of dice. Gamescience phosphorescents. Good fucking dice.
But yesterday, Gamescience’s owner sent out a rambling e-mail about Flag Day,
working in choice tidbits like “socialist [sic] trying to destroy [America]” and turning
away refugees being necessary like “disciplining your child”. At least previous
owner / rambler Lou Zocchi worked to kick Nazis out of early Gen Cons. Now I’m
staring at my dice and thinking of this intolerant dickshit who talks about telling
desperate “children” (fucking really?) to go back to where they came from.
With more and more manufacturers producing from countries where ethical
worker treatment is purely optional, dice enter the problematic orbit of late-stage
capitalism. Fuck, I can’t enjoy my fancy dice anymore, so I’m not going to let you.
We’re still using a literal neolithic invention here. They’re made of plastic instead
of bone, but we seemingly haven’t gotten any better at game technology. A d20
has a lot more sides, yes. But no matter how many we add, we’ll never reach the
apeirohedron, the impossible die. So what’s next?

You can make luxury dice, because nothing’s too simple for capitalism to ruin. Stone
dice. Gem dice (stone dice, only shinier). Metal dice (ditto). Bone dice. Wait, we’re
back to fucking bones again, like the Stone Age? Pack it up, folks. We’re done.
There’s even a company making dice from wooly mammoth tusks, only $2,176.00
for a fucking set. Global warming is making permafrost not so perma, and so poor
people are digging up dead mammoths. Put them in a museum? Fuck that, ivory’s
back, baby!… and the black market loves it. How do we tell mammoth tusks from
endangered elephant tusks? The answer is: criminal markets don’t give a shit. But
whether or not the mammoth is real, demand creates a market which elephant
tusks can fill, so ethics either way. But speaking of shit, you can buy moose poop
dice! Happy coprophiliacs can pay 215 real dollars for the world’s shittiest dice
because a manufacturer needs that SEO juice. Fuck, I just fell for it too, so let’s keep
the company anonymous.
They get away with murder, cease investigations, and ruin your life. Yes, cops, but
also dice. Why do let dice have this power? The “world’s most popular role-playing
game” loves murdering your characters, and dice are the accessories. I haven’t
forgotten the teenage tears when Alyce Barrington got skullbusted by a critical
36
ogre clubbing. Sure, you can develop systems that use dice in better ways, but D&D

is a behemoth that will run them over and produce a fourscore of knockoffs while
doing so, bringing all the plastic tchotchke with it. Sure, random number generators
exist and could be used for amazing things, but who cares? Who needs another “I
rolled a natural 20!” story? Nobody.
Speaking of randomizing, cards can contain much more information than a die.
Look at a Magic: the Gathering card—I won’t, I’m a recovering addict, and that’s
another article—which can contain far richer data than any die. Who needs tables
when you can develop a deck or a program that is a table? You could make
programs that branch off that and create something so magical and complex that
our neolithic ancestors would shit themselves. And then somebody would make
dice out of it. Paleo Shit Dice. Only $867.00! (I rolled that price randomly because I
suspect dice makers do, too.)
Everybody knows about or can look up Dread and Ten Candles, but there’s much
more to be done in RPGs. Look at Lifts, a game that grades success by how many
exercises you can do. How about a game where success is determined by charitable
giving? It’s literally pay-to-win, but it’d be more ethically defensible than the
tusk trade. Let These Mermaids Touch Your Dick Maybe has you slapping a dildo.
Miserable Secrets uses matching memorization. Weather the Cuckoo Likes had
Burroughs-style cut-ups. All of these are instantly memorable. You’re not going to
forget about a game where you slap a dildo. It may not be the best game, but it’ll
get you that SEO juice.
I like the dice matching mechanics from my upcoming game Majokko Mystery
Club, but will people remember it? People definitely remember that my other
game, MELWAFF, uses a tarot deck (even though it’s not the first or last). So it’s not
just about mammoth bones, the ethics of manufacturing, or avoiding what your
grand8287parent did. It’s finding new and exciting ways to express ourselves. What if
I took those glow-in-the-dark dice and mixed them with regular dice in a bag, and
players had to choose between picking a die they could see or a potentially better
die they can’t see? Might not be practical, but fuck practical.
Do new things. Let dice die.

GIFTS OF GODS
Author: Steve Dee. Based on Rules by Gareth Willcock
You will need: some paper, a writing implement for each player, a coin.
Play in a public area, where there are lots of things to see and do. Get a piece of
paper and together, write down any of the things that you can see around you.
Be as abstract as you like. Stop once you have as many things on your list as three
times the number of players.
Now go around the table twice, each player taking turns to pick two of the things
on the list. They play the god of those things. Describe how you manifest this. Give
yourself a name and a form.
All the things that were not claimed as powers are things outside the gods control
during the story, and make good antagonists and complicators.
Tell a story of how the world began and how it came to have form and shape, how
it was peopled, and how the gods fought and loved and died. You can either have a
designated player to guide scenes, or pass this guide role around the table.
Each God can always succeed in what they do, and cannot be beaten if it is a thing
over which they have dominion. If two gods are fighting and neither has a clear
advantage, flip a coin for the winner.
For the story to end, however, each God must fail at least twice. When they do, they
lose command over their power, either as the reason they fail or as a consequence.
Instead, it is given to the mortal world. Perhaps it keeps them safe or makes them
strong. It might also lead to tragedy. It depends on the gift. Tell this story as well.
Then, cross that power off the list.
A scene doesn’t have to involve a loss. Set your own pace.
When all Gods have failed twice and lost their powers, the game comes to an
end. They are not helpless to prevent this end, but they have no command of the
universal forces. Perhaps things end poorly. They often do, for gods.
Look back at your list. At the end of the story, the things that remain are not given
to the mortals. They can only get them through supernatural intervention, perhaps
from the new gods that have replaced you. Describe that world of those mortals,
where they have your gifts readily at hand, but not the others. Wonder if you did
right by them.
Look around you at all the things we have. Think about what we lack.
find more games like this at www.tinstargames.com

Songs and Poems for
Yon Adventures
Author & Composer: Sen.H.H.S
Music or poems can brighten a scene with vividness that further immerses the
players in the world at the table. Used at the right moment, they can drive the story
to new heights. To kick this series off, in this issue, we present two broadside ballads
that can act as inspiration or accompaniment to an adventure.
The Feywild Lullaby

Hush little baby don’t you cry
Least the fairies hear your lies
Come in the morning at sunrise
Your mother shall find what is left behind
Come hither children don’t you hide

From the shadow the forest spies
When the bell tolls for suppertime
Your father’s call shall be met with a sigh
Fear your loss O parents wide

Trust not the stranger nor passer-by
For the fey may take our guise
And all they shall give end in tears and strife
Avoid the charm of the dewy-eyed

Let the heart not be taken awry
Warn your maidens and lads alike
Or else the woods gain a groom and bride
Line your houses with yew and lye

Bay, sage, thistle, thorns and thyme
Sew your bedding with star anise
And watch for the smell of sap and spice
Sing this sorrow my lullaby

Through the seasons of evertime
Heed the warnings and sacrifice
And risk not the stories of feywild kind

This cautionary ballad passed down through the ages warned villagers of the fey’s
enchanting yet dangerous nature. Some even say the song itself, in its entirety, was
crafted as a warding spell against the fey. Over the ages, however, verses were
forgotten, reducing its effect.
Nevertheless, the nursery lullaby can appear in modern settings, where there is that
one mysterious singer who knows the lyrics in full for some reason.
Song of Broken Hearts

Stars alight as dusk settles down
Upon walls of white of castle stone.
Briar roses in bloom surround
Secret garden where you wait alone.
Willows sway and harp strings play.
Can you hear my song and the words I say?
Nights of whispers and mask of lace
I catch you glance past panes of red.
Curtains flutter as guards give chase
You took my heart before you fled.
Candle light cast shadows slight.
Where have you gone my phantom knight?
Gust of gulls and wave-washed shores
Down below sheer cliffs where the maidens stand
Out beyond to horizon’s floor
I wait with wand of oak in hand.
Ivy creep and roots reach deep.
When shall my beloved return to me?

Empty casket with lily wreath
Lowered to the notes of mourning chants.
Behind my veil and misty breath
My streak of tears marks our last romance.
Winter call through hollowed halls.
Why must we be parted by the fall?
Tender sorrow in songs of love
Never mend the wounds of a broken heart.
Time flies yonder like gentle doves
Never meant to live their lives apart.
Flowers and moss on silver cross
May your love be blessed to know no loss.
A song of four tragic tales of love seems out of place at a wedding, which was the
intent when the song was created. Apparently, the bardic friend of a young noble
wrote it in an attempt to confirm whether the noble’s lover had truly had a change of
heart, or if it was a forced, arranged marriage. As the years go on, the song is typically
viewed as either a blessing or a curse on the newlyweds when played at receptions.
The four stories within the song might refer to specific historical moments or
landmarks in your world. Incorporating what those are into your adventure can make
the song’s existence in the setting more believable.

The Summoning
Part 1: The Familiar
Author: NynphaieL
You have been summoned. You heard a call that resonated deeply within you, and
you have decided to answer. Someone is inviting you, and you are going.
What is this?
In this short solo game, you will tell the story of a familiar that has been summoned,
and you will walk the path ahead of you until you reach your summoner.
The Summoning consists of two games: in the first game, you tell the story of the
familiar. In the second game, you tell the story of the summoner. Both of these
games can be played as standalone games. If you have both games, you and
someone else can play them together. You will find further instructions on how to
play both of these games together in the second part of The Summoning.
How do you play?

Before you start playing, get paper, a pen, and a six-sided die. You will write your
story as you discover it by answering questions.
There are two types of questions in the game: those with prompt tables, and those
which are open questions. When you need to answer a question with a table, roll
your die, and use the result as a prompt for your answer. Of course, don’t feel
constrained by these options: you can always choose an answer that is not on the
table. After all, this is your story.
Your journey begins

Can you hear it? The call resonates in your insides, raw and primal. Even if you
wanted to ignore it, you wouldn’t be able to do so. The decision is already taken:
you are going, into the Unknown.
What were you doing when you heard the calling?
1. I was in a deep slumber
2. I did not exist; I came to be with this call
3. I was alone, drifting
4. I was pursuing a quest of my own
5. I was chasing my enemies
6. I was searching for help
Other:

How did the call make you feel?
Where do you come from?

1. Hell
2. Heaven
3. The Unseelie Court of the Fae
4. The Underworld
5. The primal forces of this world
6. Another time
Other:
Who are you?
What form do you take in this plane?

1. A cat
2. A canine
3. A bird
4. A fungus
5. A spirit
6. An object
Other:
What supernatural feature makes you distinct?
What do you expect to gain from answering the call?

1. An ally
2. An unwilling servant
3. A friend
4. An item to help you on your own quest
5. Knowledge
6. An adventure
Other:

Will you tell this purpose to your summoner?
What are you willing to offer in exchange?

1. Power
2. Knowledge
3. Friendship
4. Protection
5. A portal to another place
6. Your life
Other:
If something else is required from you,

are you willing to bargain?
What challenges do you find in your

journey?
1. You are beset by your enemies
2. You lose your way
3. You are tempted off your path
4. You are ambushed
5. You are filled with doubt
6. Another traveller requires your help
Other:
How do you overcome these obstacles?
You have finally arrived at your

destination. What do you find?

Red Box Dawn : The
BaLLad of BargLe
Author: Andi Lennon
Despite being confined to quarters via hermetic seal, barred from the outside world
and its plague-ridden winds, in Anno 2020 the gateway to Role Playing Games has
never been wider, more gilded or more inviting. Traditional barriers to entry have
been supplanted by myriad resources that, for better or worse, render what was
once arcane into an easily grasped nettle that entices more and more acolytes with
every passing year.
I’m sure many of you remember the shroud of esoteric mystery that enveloped the
entire endeavour as countless attempts were put to paper in describing the act
and process of turning these tomes of lore and arcane tables into an actual gaming
experience. It was the sort of thing that could only be grasped by immersing
yourself in the actual act of play. A leap of faith was required as you dove into
a limitless sea that revealed its secrets slowly through a succession of eureka
moments that punctuated your journey, as pieces fell into place, cogwheels locked
and the wide vistas of possibility revealed themselves.
By contrast, today there are any number of dedicated YouTube Channels that
enable initiates to witness the act of playing in a way that will inform and
perhaps constrict their nascent endeavours. Forums and FAQs abound in the wild
proliferation of memetic symbiosis and reproduction that is the internet, and
programs such as Roll20 or Fantasy Grounds et al enable remote play and access
to an enormous community that has the capacity to tutor, mentor and welcome the
mewling novice into the billowing folds of its ample bosom.
Woe betide then the brave argonauts who were first tasked with explaining this
amorphous phenomenon armed with only the printed page and a grognardic
lexicon at their disposal. This Sisyphean process underwent continual evolutions as
the concept of roleplaying took its first faltering steps out of twin cities’ basements
and blinking into the limelight of wider consciousness.
In the murky timeline of antiquity, Moldvay built on Holmes who built on Gygax
who built on Arneson who built on Wesley, each iteration refining both the
mechanical and conceptual frameworks of the games, as well as the ‘more art than
science’ process of indoctrination via expository blurb.
It was, however, in 1983, from the pen of Frank Mentzer that upon these foundations
the format was first perfected with a brevity, a breadcrumb trail and an emotional
impact that still resonates wildly some 40 years later.

I was nine years old in 1987 when I received what is still the finest Christmas gift
that ever steered a lad’s trajectory. I had been bestowed with ten whole dollars
with which I could finally (finally!) acquire and invite it into my home, my head. The
iconic Red Box bulged under my arm during the car ride home as I busily failed
utterly to comprehend what I was letting myself in for.
From out of that unassuming cardboard crypt emerged a lifetime of engagement as
well as a particular trauma that as the years passed and recollections were shared, I
realised had seemingly afflicted an entire generation.
Cannily drawing upon the solo-play pioneered by St. Andre’s Tunnels & Trolls
system and later ferried to prominence by a certain Zagor of Firetop Mountain,
the Player’s Guide component of this set ushered us in gently with its introduction
of player agency being funnelled down to a selection of binary narrative choices
accompanied by some rudimentary stat tracking and amateur cartography.
Via this Thesean string, players were invited into, rather than out of, the labyrinth
in a manner that was both easily digestible and utterly enthralling to the fertile
pre-teen lobes of the brain. Its slim volume contained a tragedy in three acts that
taught us invaluable lessons about weight, consequence and permanence within
this brave new world.
The fact that it did so by drawing upon only the mustiest of archetypal tropes
perhaps only lent further heft to its resonance with a target audience that was still
yet to decode the recurring symbols and semiotics of popular culture, myth and
legend, that would later serve to bookend and stifle our imaginative sweep as we
resorted to a default shorthand engendered by the familiarity that ubiquity brings.
Those of you who trod this path surely know where I’m going with this by now.
Aleena was my first crush. Lost, floundering and wounded in that first-of-many
mazes with monsters, an angelic beacon appeared that beckoned, promising
salvation with an intoxicating blend of stern pragmatic experience, and peak
Elmore-rendered doe-eyed wistful beauty.
Her appearance was our first real encounter with a companion, a sage-like
benefactor, and to the more cynical adult revisionist: a weapons-grade pre-teen
dream etched provocatively to push emerging hormonal buttons all in one.
Oh how we pondered the many and varied adventures we would undertake
together. The dank recesses of the underworld we would plumb, the fell beasts we
would subdue and the plunder we would haul in encumbrance-defying feats back
to our cosy nest for two. With our sword arm taut and her healing hands cradling
her menacing mace, our backs would press together to fend off the encroaching
darkness in a litany of tales that would surely inspire bardic soliloquy throughout
the known world.

It is with heavy heart that I recall the hope that sprung fluttering in my belly that
day lasting all of three pages. Cowl-shrouded and missile flinging he emerged to
shatter my illusions. Bargle. The name still cloys like ashes on my tongue. As swiftly
as the dream unfurled, it was punctured by a trio of bolts that pierced not only the
beautiful Aleena’s frame, but also our sense of certainty, goodness and justice, both
in the game and the wider world at large.
Before the death of a grandparent, before the move to an upstate farm by a
beloved childhood pet, Bargle was there to leer at us with his stunted introduction
to the concept of death.
The hook was now baited, and we were left to nurse our aching breasts as all the
while we plotted our revenge. Our arc of justice would be swift and bend towards
the righteous. Our journey would be anchored and our eyes fixed on resolution.
Of course it wasn’t like that. The Red Box beget the Blue Box, beget the Green Box,
beget the hardbacks, beget the clones, the off-shoots, the indies, the hexes and
counters, the abstracts, the entire spectrum of an evolving, living thing as we rode
its scaly back throughout the years. Countless antagonists would emerge out of
the murk to provoke and imperil us. Countless companions and personas would flit
in and out of our parties, our consciousness and our notepads to help, hinder and
harangue us throughout our travails. But none would ascend into the pantheon of
our formative firmament with the speed and insistence of the poor, doomed Aleena,
and the black hearted Bargle.
Feel the lump in your throat even now and remember.
And you can stick that in your Lost Mine and smoke it.

Subject 3 Prone
Author: Georgie Bats
Content Warning: surreality, loss of control

For Bystanders
Your friend or housemate is playing a game. Here’s how you can play along: worry.
If you don’t want to play along, you don’t need to worry. If you don’t want them to
play the game in this room, say aloud “subject 3 has been relocated”, and they will
stop playing for now or find another space in which to play.
How to Play
Find a room in your house that will get some foot traffic. If you live alone, go to a
friend’s house.
Lie face-down on the floor with your arms at your sides. Place this zine, folded
open to this page, next to you. Press your weight into the floor beneath you. Once
the game starts, you cannot stand until it is over. Feel yourself becoming heavier,
heavier, heavier.
When others ask what you’re doing, do not respond other than pointing to the
“For Bystanders” section of this game, unless they use the code phrase “subject 3
has been relocated.” That is your cue to check in with them and find out if there is
another room you can play in.
If anyone tries to move you or pick you up, don’t budge. Be too heavy. Sink into
the floor, so slowly as to be imperceptible. Feel yourself sinking, sinking, sinking
through wood or concrete.
The game ends when you fall through to the basement.
Acknowledgements
This game is inspired by the short film This House Has People In It, directed by Alan
Resnick. It also takes influence from the game Chair by Adira Slattery.

in*die zine supports!
Here’s a list of projects we love and support right now. To get featured, do cool
community work and shout up about it to @in_die_zine on Twitter.
Brinkwood: The Blood of Tyrants is a castlepunk Forged in the Dark roleplaying

game about building a rebellion that will overthrow the blood-soaked vampires that
oppress and dominate your world. As well as being a kick-ass and extremely punk
game about overthrowing the powers that be, it’s also a San Jenaro CoOp. Not only
does that guarantee that creators will be fairly and equitably be recompensed for
their work, but backing this game will help new creators have their voices heard in
the industry. It’s on Kickstarter right now, it’s a great project and it totally deserves
your attention.
Maytaway Quarterly is a gaming magazine from Tinker Taylor Publications

written exclusively by Indigenous authors, critics, and game designers across the
globe. Issues include art, theory, criticism, and interviews about board games, card
games, sports, ttrpgs, and video games with the goal of highlighting the diversity
of voices and perspectives from Indigenous gaming communities around the world.
We love this project because featuring Indigenous voices is such important work –
and because we love games.
London Tabletop Industry Network is a networking group for those in the

boardgames and tabletop roleplaying space to collaborate, share knowledge and
support each other. While founded in London, the network now meets online and
encourages people from everywhere to attend. Join the discord now, and sign up to
attend the next meeting (last Friday of each month).
Get involved!!!!
If you liked this zine, you can get involved by contacting us @in_die_zine on Twitter
or by email at in.die.ttrpg.zine@gmail.com. We’re looking for writers, artists, layout
designers and editors. Come and join the crew!

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IN*DIE

IN*DIE - SEPTEMBER 2020 1

IN*DIE - SEPTEMBER 2020 2

IN*DIE - SEPTEMBER 2020 3

Challenges and Traits

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The Secret of NIMH (MGM, 1982) Redwall (Philomel / Hutchinson, 1986)

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IN*DIE - SEPTEMBER 2020 10

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IN*DIE - SEPTEMBER 2020 13

IN*DIE - SEPTEMBER 2020 14

Saving the Galaxy

IN*DIE - SEPTEMBER 2020

2 Trader - Always looking to make a Scientist - They want to unravel the

3 Asteroid Miner - Extracting valuable Barkeep - Even in space, people need a

10 Mushroom person - They spread Bee-folk - Part of a hivemind that

IN*DIE - SEPTEMBER 2020

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IN*DIE - SEPTEMBER 2020 18

IN*DIE - SEPTEMBER 2020

The Forest Shrinks

The Game Ends

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Nobody Dies Today!

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Expectation: A doomsday device should look imposing, ominous,

Expectations - Letting the Dice Guide You

IN*DIE - SEPTEMBER 2020 22

Less Is More - The Noodle Incident Trick

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Fish Out of Water

Straight Man / Comic Man

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Can’t Spell ‘Funny’ Without ‘Fun’

IN*DIE - SEPTEMBER 2020 25

Item Description Inspires

This hand printed zine has seen better days. Its

This vest is heavy with frayed patches and

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IN*DIE - SEPTEMBER 2020 28

What is your mech?

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The Sword and the Stone (4 out of 5 stars)

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Ishana’s Remedies (3 out of 5 stars)

IN*DIE - SEPTEMBER 2020

You will need:

Shuffle the deck and decide on the number of

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find more games like this at www.tinstargames.com

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The Feywild Lullaby