epoch road trip

7/27/2019 Epoch Road Trip

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Road Trip Credits

Written By: Dale Elvy Art By: Doug Royson

Edited By: Andrew Smith

PLAYTESTERS

Glenn Bellam, Marcus Bone, Igor Divjak, Andrew Millar, Andrew Smith.

Road Trip Copyright Dale Elvy, 2012. Art: Copyright Doug Royson, 2012.

EPOCH Copyright Dale Elvy, 2012.

All rights reserved. Reproduction without the without the prior written permission of the publisher is expressly forbidden, except for the

purposes of review.

What is EPOCH?

EPOCH is a roleplaying game of character-driven survival horror. EPOCH identifies the

main challenges to running a genuinely tense and suspenseful horror game and sets out

strategies and techniques to overcome them. This is supported by a simple, card-based

system:

In EPOCH players generate their own characters at the table, using a range of randomly

dealt elements which establish relationships, traits and strengths and weaknesses. They

gradually turn a character outline into a sketch, and a sketch into a portrait during play

through a structured opening scene, flashbacks, secrets and complications.

An EPOCH scenario is divided into a number of Tension Phases. At the end of each

Tension Phase there is a potentially deadly or sanity-shattering challenge -either mental

or physical- which is survived by playing an outcome card during the Challenge Round

and narrating the effect on their character. If a player has no cards remaining, their

character is eliminated. Players begin the game with 4 Outcome Cards.

Each Challenge Round there is a secret vote for the most interesting character with the

winner recovering an outcome card, enhancing their chances of survival.

Surviving characters have a chance at securing a happy ending by scoring points on the

horror track, which is laid out face down by the GM at the beginning of the game.

TABLE OF CONTENTS

Road Trip 1 EPOCH Quick-Start Rules 21

Trailer 1 Introduction 21

Type 1 System Overview 21

Script Overview 1 Character Creation 21

Tension Phase and Challenge Round Overview 2 The Opening Scene 22

Characters 2 The Tension Phase 22

Introduction 3 The Challenge Round 22

Opening Scene 3 Running a Challenge Round 22

Tension Phase Detail 3 The Audience Ballot 23

Locations and People of Interest 12 Flashbacks 23

End Scenes and Horror Track 14 The Horror Track 23

Facilitation Notes 15 The End Scene 23

Run Sheet 18 EPOCH Overview 24

Horror Tack Cards 19 EPOCH Quick-Start Cards 25

Maps 20



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Trailer

The open road stretches out before you; a half-heard

whisper of freedom in the wind. Its time to escape

the grind and stress of everyday life. You deserve a

break after all, and where better then a picturesque

mountain cabin with the people closest to you, farfrom all those modern pressures. As they say,

sometimes it's about the journey, not the destination.

EPOCH is a game of character-driven survival horror.

The goal is to deliver a tense and scary experience in a

single game session. EPOCH players are active

participants in the creation of the game atmosphere

and have complete control over the creation and

ultimate fate of their characters.

Type

Road Trip is a Sand-Box scenario. There are no fixed

locations, although the first 4 tension phases contain

a series of events and suggested settings. The final

two tension phases are entirely open to the

characters actions. The characters begin the scenario

travelling together, so the opening scene for each

character takes place in the same location. Adjust

subsequent Tension Phases to suit the actions of thecharacters.

Script Overview

One hundred and twenty ago Christopher Fairchild

was cursed by a woman he had swindled. She swore

that he and his bloodline would forever be as abased

as beasts, and be consumed with hunger, no matter

how much he devoured. On the next night Fairchild

became a Beast and fell on his neighbours, killing and

devouring many of them. He was soon driven away

from the towns and cities and hunted across the lands

until, exhausted and wretched, he sought refuge in a

cave high in the icy peaks of a mighty mountain range.

There he froze, and his body became little more than

a fleshy husk, trapped in the ice.

Flash forward one hundred and twenty years.

Brothers Jake and Michael Lachlan have never walked

the straight path. Growing up in a broken home, thebrothers were always in trouble, first with teachers,

then with the law. Their interest in motorcycles saw

them join the Apocalypse Riders motorcycle gang as

soon as they were able, then branch out to establish

their own chapter. Jake, the elder of the two, was a

natural leader, while younger brother Michael thrived

on danger and rapidly developed a reputation for

being an enforcer.

For nearly a decade the brothers worked together,running small amounts of drugs over a series of rocky

mountain passes, selling small quantities in alpine

towns to fund their lifestyle and then moving on

before the police got too suspicious. They made their

headquarters in a run-down hotel near the tiny alpine

settlement of Millars Crossing. Jake was careful to

ensure the gang didnt cause too much trouble with

the locals, and that they spent a good amount of

money during the summer months when there were

few tourists passing through.

Everything was going fine until Crystal Jones entered

the brothers lives. The daughter of the owner of a

large ski resort and manager of a tavern in Millars

Crossing, Crystal fell in with the biker gang and soon

became involved with Jake. Her presence was a

catalyst for trouble between the brothers as Michael

struggled to cope with feelings of jealousy. This

eventually culminated in Michael going on a drunken

rampage and assaulting the local police officer when

he tried to intervene, leaving him in a coma.

Enraged that Michael had violated the rules of the

gang, Jake stripped him of his membership. In

response, Michael and half a dozen of the members

who were most loyal to him formed a breakaway

gang, the Renegade Riders, and established a new

base in a disused hut on the slopes of Big White.

Since the schism there has been an uneasy trucebetween the two gangs. Most of the bikers assume

that the brothers will eventually resolve their



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differences and reunite. In the interim Jake and his

gang have kept a low profile, fearing retribution from

the authorities. Michael and his gang have been living

large, drinking heavily and causing trouble. Two of

their number have already been arrested for

Michaels assault on the local police officer.

Three days ago, while relieving himself outside the hutafter a particularly heavy drinking session, Michael

discovered a small cave. Within, he found the

mummified remains of Christopher Fairchild. Thinking

this a great mascot for his new gang, Michael dragged

the frozen corpse to the hut and nailed it over the

door. In doing so he inadvertently came into contact

with the dried blood of Fairchild. The curse passed

with the blood and Michael became a Beast the next

night, attacking his gang as they lay in a drunken

stupor, and devouring several of them. Those who

survived became subject to the curse.

Since that night, the Renegade Riders have hunted as

a pack, killing wild animals and people who make their

homes in isolated areas. Tonight, however, one of

Michaels pack encountered several members of the

Apocalypse Riders buying a consignment of chemicals

for the manufacture of methamphetamine in a small

clearing near the road. Overcome with bloodlust, the

Beast attacked and slew several of the terrified bikers.

The sole survivor tried to flee, but collided fatally with

an oncoming car.

The characters, planning a relaxing vacation in the

mountains, first encounter the grisly aftermath of the

accident and then discover the scene of the massacre.

Learning of the killings, and the presence of strangers

in the area, distraught members of the Renegade

Riders seek them out for vengeance. A momentary

reprieve allows the characters to enjoy the beautiful

scenery before a badly injured hunter leads the Beasts

to their door.

Source of the Horror: In this scenario the initial source

of the horror is the terrible inhuman beasts, who are

consumed with an overpowering hunger and gorge

themselves on the flesh of their victims. However, the

true source of the horror is the curse which is passed

through the exchange of genetic material when a

Beast injures, but does not kill their victim. This leads

the unfortunate victim to undergo the excruciating

transition to a beast the next night and become

subject to the terrible, driving, hunger.

Tension Phase and Challenge Round Overview

Tension Phase 1: The Winding Road

The characters encounter a fatal road accident then

stumble upon the scene of a massacre. Challenge:

Mental [No Hero/Zero Cards allowed]

Tension Phase 2: Thicker than Water

The characters are confronted by several distraught

bikers who accuse them of being responsible for the

massacre. Challenge: Physical or Mental

Tension Phase 3: Quality Time

After a peaceful day the characters witness the Beasts

attack a hunter who begs for their aid. Challenge:

Mental or Physical

Tension Phase 4: The Hunting Party

The characters are hunted by a trio of Beasts.

Challenge: Mental or Physical [The most seriously

injured character must play a physical outcome]

Tension Phase 5: The Beast Within

The characters may go wherever they wish, but they

carry the curse of the beast with them, and the Beast

strikes the next night. Challenge: Mental or Physical

Tension Phase 6: Ravenous

The characters may go wherever they wish, but they

carry the curse of the beast with them, and the Beast

strikes the next night. Challenge: Mental or Physical.

Characters

Friends: This close group of friends used to travel to

an isolated cabin to spend time together every year.However, in recent years, their lives have moved in

different directions, so they have had trouble making

the time. This year they have made a special effort to

get away together, to catch up. They are travelling in

two vehicles (during the opening scene clarify what

sort of vehicles these are, and who they belong to).

Family: A road trip to the cabin is an ideal way to start

a new family tradition, bond the family together and

get some quality time. Free from the distractions ofthe modern world, both the trip and the isolated

cabin should allow the family to just focus on being



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together. They are travelling in a large four wheel

drive or recreational vehicle (during the opening

scene ask the players to clarify some details about the

vehicle).

Colleagues: The West Investments stock brokerage

firm has had a particularly good year, and to

celebrate, the top performing brokers and portfoliomanagers from across the firm are being treated to a

weekend away in the CEOs cabin. A mini-van with

GPS has been hired for the purpose.

Introduction

Build the following points into an introductory

narration:

The road. The characters have been travellingtogether for some time. The road is gradually

beginning to climb into foothills and there is

little other traffic. The characters expect to

reach their destination; a remote cabin near

the settlement of Millars Crossing, by

nightfall.

The mountains. The White Mountains are arange of impressive height, popular in the

winter months as a skiing destination. Snow

is still visible on the upper peaks.

The weather. Its a perfect, hot, summersday and the forecast for the coming days is for

more of the same.

Opening Scene

The opening scene is combined for all of the

characters, as they are all travelling together, however

each character short have a short vignette, as the

camera focuses on just them alone.

The scene is a petrol station, which has a large display

of snacks, drinks, sunglasses, books, maps and other

general items likely to be of use to a passing motorist.

The characters should introduce their characters in

these surroundings, specifically:

Where are they? (shopping, at the pumps, inthe car or camper, emerging from the

bathroom etc.)

What are they wearing?

What are they doing?

A suggested minor conflict could be another motorist;

or perhaps a group of teenage boys making

disparaging comments about the characters clothes or

vehicle, or a trainee cashier making several errors in

ringing up the characters charges, leading to an

inflated price that he initially believes is correct.

Descriptive terms: faded, dilapidated, dusty, isolated,remote.

Tension Phase Detail

Tension Phase 1: The Winding Road

The opening Tension Phase begins with the characters

travelling on a winding mountain road in the midst of

a mountain range. The road has been cut into the

side of the mountain, and there are trees on either

side, above and below the road. Beyond a simple

guard rail the characters are treated to a breathtaking

vista of thickly forested mountain peaks in the

distance. The weather is fine and bright sun streams

through the trees, the thick canopy overhead

transforming the road into a dappled patchwork of

light.

As they drive along the winding road, the characters

should take the opportunity to interact to help

establish their characters. Below are some events

which occur as they drive. These should act to spur

further interaction:

1. A group of three bikers with gang patches roarpast the characters, overtaking them at speed

on a blind corner. The roar of their choppers

startles the characters. One of the bikers

wears a German militarystyle helmet.

2. They pass (or stop at) a rest area on the sideof the road, which affords a magnificent view

of the surrounding mountains and valleys.

3. A hatchback piled high with campingequipment passes in the other direction. Two

children in the back make faces at the

characters as they pass.

4. A deer falls awkwardly onto the road ahead,causing the characters to brake hard to avoid

a collision. As the characters watch the deer

limps off the other side of the road,descending the slope. There is blood visibly

dripping from a wound to the deers leg.



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Should the characters exit the vehicle they

note the deer navigating the nearly sheer

slope beside the road, they may also notice a

complete lack of other wildlife.

As the day progresses the characters approach their

destination. They are treated to a stunning sunset.

Just on dusk, when they are less than an hour from

their destination, the characters encounter a road

accident. A car has slammed into a tree and is now on

fire, and partially blocks the road. The twisted

remains of a motorcycle can be seen beneath the

wheels. There are no people immediately visible.

Exploring the accident, it swiftly becomes evident that

there is a charred corpse surrounded by flames in the

front seat. A second corpse, that of a biker, is

beneath the car, twisted amidst the remains of the car

axle and ruined motorcycle. One denim clad leg, still

wearing a black boot, protrudes from beneath the car.

It has been severed from the rest of the body through

the force of the impact and lies in a pool of congealed

blood.

Examining the marks on the road, illuminated by the

flickering light of the flames, will give an indication of

what happened. The bike seems to have emerged

from the forest somewhere near where the crashed

car now rests. There are dark traces revealing that it

accelerated rapidly and travelled on the wrong side of

the road. There are heavy black marks of braking 100

yards from the cars wreckage, and fragments of both

car and bike, as well as the dark stain of blood where

the motorcycle initially impacted the car. The impact

seems to have sent the car off the road and into a

tree, where it caught fire from a rupture to the fuel

tank.

The characters may seek to help the victims of the

accident, but they are far beyond any help the

characters can offer. Those involved in the crash died

at least twenty minutes before the characters arrived.

The Build-Up: A short distance from the wreck, in the

shadow of the trees, lies a severed head wearing a

German military-style motorcycle helmet. The face is

milky white, all the blood having been drained away,

but can still be recognised as one of the goateed

bikers who passed the characters earlier that day. The

characters may initially believe the head belongs to

the biker who crashed into the car, but this is not the

case.

In a small clearing, visible from the road, two

motorcycles are parked against the trees. A pickup

truck is also visible. There are no lights on, and no

movement. A deathly stillness hangs over theclearing; there is no sound of wildlife anywhere within

the area. The characters should spy the clearing as

they investigate the crashed vehicle.

The Climax: Investigating the scene of carnage forms

the climax of this tension phase. In the clearing, the

characters will discover the following:

1. The clearing is stained with blood which hasleeched into the forest floor.

2. The remains of several men. These are almostunrecognisable chunks of meat, with clothing

still attached. The flesh has been chewed,

gnawed and even partially regurgitated in

places. The largest remains are rib cages, hips

and heads. Very little of the victims is

recognisable, but several of the bodies appear

to have been wearing bike leathers, and in

places gang patches are still visible.

3. The remaining bodies have been gouged withclaws and bitten with large jagged teeth. The

pattern of teeth marks resembles the serrated

bite of a shark, and in some places triangular

teeth can still be found embedded in the

flesh, although this is difficult to determine

without detailed examination.

4. Careful searching will reveal half a dozenspent shell casings and even a few handguns,

with severed hands still gripping triggers.

Some of the trees to the south of the clearing

have bullets lodged in them (although these

are difficult to spot in the dark).

5. The canvas cover has been torn off the backof the pickup truck, and hangs limply nearby.

The bed of the truck is filled with a dozen

large bags each containing hundreds of small

white pills (these are contact NT, a flu

medication and precursor for the production

of methamphetamine).



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What Happened Here?

The pickup truck belongs to a local importer

connected with organised crime. He smuggles large

quantities of contact NT, mass produced in Asia, and

on sells these to a variety of customers who

manufacture methamphetamine. The clearing is a

regular meeting place for sales of these

consignments for the biker gang.

The bikers who passed the characters earlier,

arrived and were about to conclude their business

when they were attacked by three of the beasts.

They desperately tried to fight their way to freedom,

but only one of the gang members managed to get

to his bike, while the beasts fed on his friends.

Terrified he accelerated at speed right into the

path of an oncoming car. Their hunger momentarily

sated the beasts left.

The Challenge Round: The horror of the discoveries,

compounded by the sense that the animals

responsible may still be in the area, is unnerving

enough to provoke a mental challenge.

If the characters find the accident horrific enough and

do not investigate the clearing at all, then that alone is

sufficient for a mental challenge.

Descriptive terms: severed, gnawed, chewed,

mangled, massacre, carnage, slaughter.

Tension Phase 2: Thicker than Water

In the aftermath of the accident, the characters are

likely to want to summon help, or notify the

authorities. Mobile coverage in the mountains is

sporadic at best; this should be an early opportunity

to highlight this element of the scenario. Coverage

can be secured if the character climbs high enough, or

enters an area with clear line-of-sight to a repeater

station. Characters that have been in the mountains

before (or consult a map) are likely to know that the

small settlement thirty minutes drive away has both

land lines and mobile coverage, as well as a small

police station.

Characters knowing of this limitation in advance may

also narrate that they have other means of

summoning help (such as satellite-based locator

beacons). Alternatively, perhaps they are willing to

brave the wooded hillside in the darkness to get a

mobile signal. In either case, the arrival of the

emergency services should be summarised as a

montage of flashing lights, police statements and

people taking photographs of the scene. The NPC

authorities are not a major feature of this scenario, so

this interaction should be glossed over as much as

possible.

The police simply arent willing to speculate to the

public as to what took place, but clearly believe the

victims were killed by an animal. If the scenario is set

in a place where there are no large wild carnivores,

the police dig up reports of a lion which escaped from

a travelling circus in the area several months ago.

In either event the characters are likely to proceed on;either to seek help, or to travel directly to their cabin.

They should have ample opportunity to interact,

express their reactions and trigger flashbacks as they

travel the winding road in the darkness.

Approaching the settlement, the characters see that

the bright and welcoming lights of the local bar

against the darkness. There are a handful of other

lights, from nearby houses, but most buildings are in

darkness. There are no street lights. A more detaileddescription of the town is available in the Locations

section.

The local police office is closed and locked. The only

place that seems to be open is the tavern. Inside, half

a dozen locals look up from their drinks to eye the

characters curiously. Most of those present are over

forty and live in the town all-season round.

The tavern seems to be at odds with its clientele. It is

a large building with every modern convenience; a

huge bar, bright neon beer logos hanging on the walls,

and a large mechanical bull sitting idle in one corner.

During the winter the taverns is packed most nights

with young skiers, but in the summer only the locals

visit the bar for a meal and quiet drink.

The Build-Up: Outside the characters hear the sound

of two motorcycles arriving. Moments later, two gang

members wearing patches enter the bar and scan the

faces of those present. Lewis, the shorter man, has

short black hair and wears a battered leather jacket.



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The second man, Wade, is taller with shoulder length

blonde hair and wears a leather vest with a patch. As

soon as the pair spy the characters, they move to

confront them. Both men are visibly upset.

If the characters have not stopped at the town, they

will see the headlights of two bikes behind them.

These will roar alongside and angrily gesture for thecharacters to stop. If the characters dont stop, they

will follow them to their destination and the following

encounter will take place on the roadside.

Specifically how events play out depends on the

actions of the characters, but the suggested events

are as follows:

The bikers will accuse the characters of beingresponsible for the deaths of the men in the

clearing. This will be exacerbated should the

characters have any blood on them.

Lewis is particularly upset, and will get in theface of anyone who challenges him. His

brother was one of the victims, and he is not

thinking rationally. Wade is also upset, but

doesnt actually think the characters are

responsible. He will, however, back up Lewis.

Crystal will tell Lewis and Wade to get lost,and remind them that they arent supposed tomake any trouble in here. Once she realises

that Lewis brother has been killed, she will go

quiet and carefully reach for the sawn-off

shotgun under the bar.

Other bar patrons will get out of the way,although watch on with interest. They may

helpfully inform the characters that there are

no local police as the sole officer in the area

has been incapacitated.

The Climax: The climax of the scene comes as the

confrontation becomes a violent outburst. Lewis will

attack the characters with a tire iron. Wade will not

immediately attack, but if Lewis is attacked in turn by

the characters, he will join in. Otherwise he will pull

Lewis off the characters once theyve had enough.

The Challenge Round: Adult male characters, or any

who involve themselves in the brawl, must play a

physical outcome card.

Other characters have a choice of playing a physical or

mental outcome to represent accidental contact or

shock at the sudden violence. Lewis and Wade wont

deliberately attack women or children, but if they

involve themselves in the fight, the bikers lash out

without bias.

Descriptive terms: angry, irate, distraught, accusing,aggressive, furious.

Tension Phase 3: Quality Time

In the aftermath of the confrontation the characters

should be left bloodied and possibly traumatised by

the unprovoked violence. Lewis and Wade are

defeated: the characters either subdue them in the

melee, and can choose what to do with them, or,

Crystal produces the sawn-off shotgun from under the

bar and orders them to leave, or Wade drags Lewis

away and they roar off into the night. The specific

details depend on the characters actions, but in either

event, the characters have survived, and seen off the

challenge.

Crystal will immediately offer any injured characters

first aid. She works as a mountain rescue skier during

the winter and is a proficient medic. The bar has a

well maintained first aid kit, and she quickly and

efficiently treats any injuries. The following

information can be conveyed in the immediate

aftermath of the fight by any of the locals or Crystal:

The local police officer has been injuredrecently in a fight with bikers and is in

hospital.

It is very unusual for the bikers to maketrouble in the tavern and the town, but

recently there has been trouble as one gang,

known as the Apocalypse Riders has split into

two factions due to a rift between two

brothers.

The cause of this rift is Crystal. The Apocalypse Riders have a club house in an

old hotel out of town.

In recent weeks there has been evidence of alarge carnivore in the area, although nobody

has seen it.



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If the characters are seriously injured and insist on

more rigorous medical attention, it may be necessary

for them to wait for paramedics and a doctor from the

nearest town. This should also be treated largely off-

screen with the spotlight focusing on the actions and

interactions of less injured characters.

At some point, the characters should continue theirjourney on to their cabin. In either event this should

be a slightly surreal experience; the tranquillity and

calm of the wilderness around them is at odds with

the recent carnage and violence they have witnessed.

If the characters have proceeded on shortly after the

encounter at the tavern it should be close to

midnight. If they have waited for medical assistance

from further afield, it is soon after dawn.

The cabin should be just as they remember it. A smallprivate road off the highway terminates in a wide

track, which leads to four small, simple cabins, built

far enough away from each other to ensure privacy.

None of the cabins are currently occupied.

The actual layout of the characters cabin should be

narrated in conjunction with the players this is, after

all, a place their characters have been before. It is

important to emphasise that the cabin is a simple

structure, intended to act as a getaway from the paceof modern life. It has a rainwater tank, a composting

toilet, a log burner for heating, but no telephone line

or generator for power unless the characters

specifically describe this. The characters might

describe;

1. How is it furnished?2. How many rooms?3. What reminders of their characters past visits

are in evidence?

The weather is fine and the day passes without

incident. The characters should have plenty of time to

engage in some of the activities they came here for.

The players should set the pace as much as possible

during this tension phase, with ample opportunities

for flashbacks.

The Build Up: As it gets dark, the build up begins. At

dusk, there is a migration of much of the birdlife that

has been present during the day. Characters outside

may notice birds taking flight in the forest all around.

Those who linger outdoors may also hear the distant

pop of gunshots; three in relatively short succession,

which sound like they are a mile or two distant. The

characters may conclude that it is not unusual for

hunting parties to traverse the nearby ranges.

Inside, the characters should go on with their evening

activities. You should start working to increase thetension through a number of ominous scenes, and

false alarms. Did the characters remember to bring in

enough firewood? The sound of pinecones dropping

on the roof during a sudden wind gust might

momentarily sound like somebody walking up there.

Perhaps a racoon, squirrel or possum has sought

refuge in a cupboard and knocks items off shelves

before suddenly bursting into the room and trying to

escape.

Just before midnight there is a sudden hammering on

the door, followed by a heavy thump. Outside is a

hunter, he wears a bright orange vest over dark green

shirt and pants. One arm has been severely injured,

and hangs loosely. Only strips of flesh seem to be

keeping the limb attached. There is blood

everywhere. The hunter is pale, wide-eyed and

drenched in sweat. He only has time to say Theyre

coming! before a beast attacks. The beasts will

deliberately delay their attack until at least one of the

characters tries to come to the aid of the hunter; they

want the fear their sudden appearance causes to

startle and disturb their next prey.

The Climax: The beast springs from the darkness, lean,

pale and sinuous. It is the size of a large man,

although its forearms are much longer, terminating in

paws with finger length-talons. It wears the tattered

remains of jeans. Tufts of wiry hair or fur sprout from

the skin, which gleams with an unhealthy sheen. The

face is vaguely human, with dark, beady orbs for eyes

which glint green under artificial light and an

elongated snout with a dog-like nose. The mouth is

truly the worst part; a maw with dozens of triangular

shark-like teeth, which extends and flexes unnaturally

as the creature dives forward to gorge on the injured

man. In an instant the shredded arm is swallowed

and much of the flesh stripped from the mans

shoulder as he screams and begs for help.



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The Challenge Round: The sight of the beast

consuming its prey is sufficiently disturbing to warrant

a mental challenge. Any character that wants to try

and save the man may also elect to play a physical

outcome as the beast attacks, devouring flesh rapidly.

In this case (assuming the character is not eliminated

during the challenge round), the character is able to

save the hunters life, and either close the door, or

drive the creature off.

Descriptive terms: screaming, pleading, crying,

begging, gnawing, feasting, consuming.

Tension Phase 4: Hunting Party

How this tension phase plays out is entirely up to the

characters. There are 3 beasts prowling in the forest

outside the cabin. They are hungry (they are always

hungry), but not ravenous as they have recently fed

on a hunting party. They plan to attack the characters

at some point, but will wait and see if the characters

split up, or move away from sources of light (which

hurts their eyes).

If the hunter, Larry Ponder, has been saved, and

received sufficient medical attention to bring him to

his senses, he can tell the characters the following:

1. He and four other men, all experiencedhunters, were hired by the Police yesterday to

hunt down a lion that had attacked some

people near the road.

2. They found tracks that led them to believethere was more than one animal.

3. They followed the tracks to a run-down shackwith motorcycles parked outside. They were

attacked soon after by the beasts.

4. The beasts were terrifying, fast and hungryand consumed the other hunters. Larry only

managed to escape because they were busy

feeding, but they were soon on his trail.

5. Several of the beasts were shot with high-powered rifles, and this seemed to have little

effect.

Whether Larry begs for help to alleviate his

excruciating agony, or simply lapses into a coma is up

to the GM. As an NPC, Larrys plight should serve to

heighten the drama of the characters, but not be the

centre of attention. If the characters elect to remain

barricaded inside the cabin, Larry will have a further

role to play in the challenge round.

The bulk of this tension phase is the reactions of the

characters to the presence of the beasts and their

discussion about what they plan to do about it.

The Build-Up: If the characters sit tight, the beasts will

bide their time. At some point during the night they

will break into the characters vehicle and eat anything

remotely edible (and a few things that arent these

are messily regurgitated inside the vehicle). The noise

of the creatures forcing doors of their hinges, or

peeling back metal with their talons should be an

unnerving and persistent reminder of the characters

predicament. They may also leap onto the cabins

roof, or pound on the door.

If the characters venture outside, initially there is no

sign of the beasts, only a thick trail of Larrys blood

leading up to the cabin. The race to the vehicles

should be frantic, with the simple act of locating a key,

unlocking the vehicle and starting it all proving much

more challenging then normal.

The Climax: The climax for this scenario comes when

the beasts attack the characters. If the characters

make a break for it, the survivors manage to escape,

and can drive away, or run off into the night.

If the characters choose to remain barricaded in the

house, then the creatures will force their way in just

before dawn, smashing through doors and knocking

aside furniture before feasting on the characters.

Moments later they are gone, fleeing as the thin grey

light of dawn replaces the inky blackness of night.

Surviving characters are alone as dawn breaks.

If the characters save Larry Ponder, then they will

witness his transformation during the night. He stops

whimpering in pain, and begins to retch. Black veins

stand out against his skin, and he sweats profusely as

his eyes change until they are entirely black.

Suddenly, growths sprout all over his body, and new

muscles and sinew elongate his form. Larrys face

distends and rows of triangular teeth sprout into a

newly widened mouth. A new beast is born.



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The beast will then attack ravenously

provoking either a physical or mental

challenge from all characters. As soon

as he has fed, he flees into the night.

Challenge Round: The Beasts dont

attack everyone, rather, the single out

the characters they perceive as theweakest. This is reflected through

card play. Any character who has

previously suffered a physical injury

must play a physical outcome card, as

they are targeted by the beasts, who

smell their wounds.

However, the beasts arent especially

fussy and will leap on any character

who is a hero or target any charactersubject to a zero card.

Other characters can choose to play

either physical or mental cards.

Be sure to take a careful note of which

characters suffer a physical injury in

response to this challenge, and narrate

this as the claws or (more likely) bite

of the beasts, as this will be significant

for the next challenge round.

Characters that are eliminated in this

challenge are consumed by a hungry beast. Beasts

favour the internal organs and fleshy parts of the

body, so it is likely that other parts will be strewn

around in a wide vicinity.

Descriptive terms: stalking, leaping, lunging, tearing,

gnawing, feasting.

Tension Phase 5: The Beast Within

The characters who survived the attack of the night

before are now free to act as they please. The specific

circumstances of this tension phase will depend on

the action of the characters. A number of possible

options for how the phase might play out are

provided:

If the characters choose to flee the area: The

characters are not compelled to investigate the

situation any further, or involve themselves directly in

the feud between brothers. The focus of this game is

how the characters interact with the horror, not with

NPCs, and they cannot easily escape it although they

may not realise this yet.

If the characters witnessed Larrys transformation,

then they should have an inkling that if the source of

the horror is not rooted out, the number of beasts is

likely to grow and spread. If the characters did not

witness this, then they will soon have further

evidence of the power of the curse, and may even

choose to return.

In this case, the characters may leave the mountains

in haste. On the road they see two pickup trucks,

apparently empty, parked by the side of the road with

doors open. Their occupants were early victims of the

beasts the previous night (as their blood spattered

interiors reveal if the characters stop).



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Depending on their speed, the characters should

reach the petrol station which featured in the opening

scenes that afternoon or evening. If they are seeking

help from the emergency services, this might be a

good setting for the encounter (having perhaps called

them via mobile phone as soon as reliable coverage

was restored). Equally there might be several police

cars parked at the petrol station by happenstance,

fuelling their cars before travelling to meet with the

hunting party. Otherwise, once past the petrol

station, they should reach a mid-sized town or city by

dusk.

If they speak to the local police, their stories will be

taken seriously. The police believe there is a lion on

the loose, and will assume that injuries or reported

fatalities are a result of encounters with the lion.

They will assume any other accounts of monsters, or

multiple creatures, as hysteria induced by shock, but

dutifully record the details to humour the characters.

The characters will be gently questioned, particularly

about the people who fell victim and the last known

attack location, offered counselling or medical

treatment, and assured that a team of police

marksmen, supported by helicopters and dog teams is

being assembled to hunt down the lion.

Characters who have suffered serious injuries may be

hospitalised. Those suffering serious mental trauma

may be diagnosed as suffering PTSD and sedated at

the same hospital, for their own protection.

If the characters choose to remain in the area: Medical

assistance can be obtained from Crystal in the tavern.

Once Crystal learns what happened to the characters,

she calls Jake. He and the Apocalypse Riders show up

at the tavern soon after, armed and ready for a fight.They will readily accept the characters story (Man,

we gotta put those fuckin werewolves down!), and

suggest seeking out the den of the beasts before

nightfall.

Guns are fairly plentiful in the town. Most residents

have access to rifles or shotguns, and the Police

station can be broken into and yields a surprisingly

large stash of handguns, shotguns and semi-automatic

weapons (with plenty of ammunition), as well asradios and other, emergency equipment.

If the characters have made the link to the beasts

vulnerability to silver, the small local antique store has

a number of solid silver pieces, including a solid silver

dagger.

Characters may wish to melt down silver to treat their

bullets or create silver buckshot. The kiln at the back

of the pottery shop across the road provides a goodplace for a montage style summary of this action,

although this action should have an associated time-

penalty for the characters involved.

If the characters decide to prepare an ambush,

barricade themselves, or otherwise ready themselves

to fight the beasts, they have the day to prepare.

If the characters choose to seek out the Beasts: If the

characters decide to hunt down the beasts during

daylight, they are easy enough to track, but it will take

several hours unless the characters are proficient

trackers, or spoke to Larry and know about the hut

where the hunting party was attacked.

If they relay this information to Jake and the

Apocalypse Riders, they will learn that this is the

clubhouse of the rival gang and be led straight there

during the hours of daylight.

The Renegade Riders make their headquarters in a

rundown shack, nestled in a small clearing a quarter

of a mile from the main road. Six large motorbikes sit

outside the shack (one belongs to Michael, three to

those who are now Beasts and two to Renegade

Riders who were consumed by Michael). Scattered

around the clearing are the remains of the hunting

party, a now familiar collection of human remains and

a few broken and twisted rifles.

Nailed to the front of the shack, above the door, is the

grisly mascot of the Renegade Riders, a mummified

corpse, blackened and almost unrecognisable as that

of a person. These are the mortal remains of

Christopher Fairchild, and the source of the curse

which has infected the Renegade Riders.

Climax: The source of the climax is likely to be one, or

more, of the characters who have been infected with

curse. This manifests soon after nightfall and the

characters transform into Beasts and ravenously

attack the other characters without mercy.



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The Nature of the Beast

The blood of Christopher Fairchild contains a highly

infectious strain of a dysmorphic genetic mutation. This

manifests through the body of an infected party

spontaneously producing additional growths. These are

both external, and internal, and while intensely painful,

have the effect of altering the physiology and structure

of the body. The side-effects of these changes include

increased strength, heightened senses and a toughening

of the skin.

To produce these growths the metabolism of the

infected person is massively increased, leading to an

overpowering hunger, and need to consume massive

amounts of nutrition and protein. Changes to the

digestive system and mouth include the growth of

additional muscles, making the beast more flexible and

adaptable at consumption, as well as the spontaneous

growth of roughly sixty teeth in a similar size and

configuration as a great white shark. These teeth are

easily shed, and regrow constantly.

Only exposure to concentrated doses of Vitamin D (such

as that found in the rays of the sun) can cause the

mutation to become dormant. When this occurs the

excess exterior genetic material sloughs off the infected

person, and they seem to be no longer infected.

However, as soon as the Vitamin D levels reduce (in

periods of prolonged darkness) the dysmorphic genetic

mutation manifests once more.

A further side-effect of this mutation is the sudden

development of an acute allergy to silver and silver

compounds. Inhalation or the introduction of silver to

the bloodstream results in anaphylaxis and death almost

instantaneously.

Should any genetic material from an infected person

enter the bloodstream of another person, they will begin

to suffer the effects of this mutation.

In this case the attack should be foreshadowed, as the

cursed characters initially feel a remarkable feeling of

wellbeing. Their wounds seem to heal and any pain

disappears. Then the transformation begins, and they

are wracked with agony, veins filling with black as

growths sprout all over their body.

It is possible that the characters may also have to fightthe other beasts. The three members of the

Renegade Riders, if not already dealt with, will be

roaming the night in search of new victims. If the

characters barricade themselves, the beasts will try

and get in to attack them, and if they cant, they will

impatiently wait for a victim to emerge.

If the characters have prepared silver weapons, these

are remarkably successful at killing the Beasts,

although, the Beasts will attempt to savage thecharacters before they are killed (possibly coinciding

with the transformation of a character into a beast).

If the characters have elected to confront the

Renegade Riders, the three gang members who

attacked them last night can be found within the

cabin. Michael is not at the cabin; he sleeps alone in

the cave where he found the corpse of Christopher

Fairchild, which is thirty meters away and concealed

by thick undergrowth.

The interior of the cabin is an abattoir; decaying meat

and the remains of at least two men are strewn

around the inside of the cabin. The three men inside

appear to be normal humans, although their clothes

are ripped and covered in gore. The only trace of the

curse is the pitch black colouring of their eyes (both

pupil and iris). They conceal this under sunglasses.

During daylight hours the men are vulnerable to

ordinary weapons, however, if any are alive at dusk

they will heal even the most grievous damage as they

transform. The men are insane, their minds broken by

the horror that has befallen them, and they operate

almost entirely on instinct now. If they have any

warning of an attack during daylight hours, they will

defend themselves with the small collection of hand-

guns and shotguns stashed inside the cavern (a

gunfight may lead to a physical challenge).

The Challenge Round: As darkness falls characters

which have been exposed to the curse, transform and

attack the other characters. Those who become

Beasts must play a mental outcome to grapple with

the horror of the experience. If they cannot play a

card in response to this challenge, they lose all

remembrance of their former lives and become slaves

to the all-consuming hunger of the beast.



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Other characters must play a physical outcome card

as they are partially devoured. Take note of those

characters who suffer an injury as a result of this

challenge, as these characters will now also suffer the

curse.

Characters that are eliminated in this challenge are

consumed by a hungry beast. Beasts favour theinternal organs and fleshy parts of the body, so it is

likely that other parts will be strewn around in a wide

vicinity.

Descriptive terms: ravenous, starving, staring,

scenting, tearing, transforming.

Tension Phase 6: Ravenous

The specific circumstances of this tension phase

depend on the actions of the characters, and what has

transpired in the previous tension phase. However,

the nature of the threat facing the characters should,

by now, now be very evident.

If the characters have left the area, then the principle

source of the threat is the characters who have been

exposed to the curse though suffering an injury to

the Beasts. Although there is no physical

manifestation of the curse immediately or during the

hours of daylight, the character may start to

experience a foreshadowing of what is to come.

Animals are nervous around the character, and panic

if approached. The character starts to feel a hunger

building deep inside, leading to an insatiable appetite

for high protein foods. As it gets dark, their senses

become more acute and they are intensely aware of

the presence of any people around them.

If the characters have remained in the area, and killed

the Renegade Riders, then in addition to the threat

posed by other characters there is one final beast to

contend with: Michael Lachlan. Michael will stalk

Crystal by night, clearly fascinated with her, but

unwilling to attack. He will exhibit a similar reticence

to attack his brother Jake as some vestige of his

personality momentarily overrides the hunger of the

Beast.

If the characters have not killed the other Renegade

Riders, then, in addition to the threat posed by other

characters as above, there is one final all-out assault

by the Beasts to contend with.

The Build Up: As day fades into night the tension

should build as the characters anticipate an attack in

much the same way as during the previous tension

phase. If the characters have no inkling that those

who have been injured are likely to transform into aBeast, then the tension for all characters should

amplify as the cursed characters start acting strangely,

their hunger getting more and more intense, their

reflexes and senses growing ever more heightened,

and their ability to think and reason becoming

increasingly diminished.

The Climax: As darkness falls, characters which have

been exposed to the curse transform and attack the

other characters.

The Challenge Round: Those who become Beasts must

play a mental outcome to grapple with the horror of

the experience. If they cannot play a card in response

to this challenge they lose all remembrance of their

former lives and become slaves to the all-consuming

hunger of the beast.

Other characters must play a physical outcome card

as they are partially devoured. Take note of thosecharacters who suffer an injury as a result of this

challenge, as these characters will now also suffer the

curse.

Characters that are eliminated in this challenge are

consumed by a hungry beast. Beasts favour the

internal organs and fleshy parts of the body, so it is

likely that other parts will be strewn around in a wide

vicinity.

Descriptive terms: ravenous, starving, staring,

scenting, tearing, transforming.

Locations and People of Interest

Setting: This scenario is intended to take place in an

isolated mountain range known as the White

Mountains. However, you could easily set this

scenario anywhere with similar terrain.

Big White: The main peak of the White Mountainrange is 12,316 feet tall. The upper slopes are

covered in snow all year round. The lower slopes are



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thickly forested and rocky, and are a popular site for

hiking and climbing.

Devils Peak: Part of the White Mountains range, a

smaller mountain at 7,608 feet but considered ideal

for skiing. It boasts an extensive ski-field which is

closed during the summer months.

Divjak Cone: Part of the White Mountains range, a

heavily forested and sheer mountain at 7,308 feet

which affords amazing views and is popular with

climbers.

Millars Crossing: A small settlement with a

few shops and a few hundred permanent

residents. In the winter months the

population of the town swells to several

thousand. Key locations in the town include:

The Barrel: a large building with every

modern convenience; a huge bar, bright neon beer

logos hanging on the walls, and a large mechanical

bull sitting idle in one corner. During the winter the

taverns is packed most nights with young skiers, but in

the summer only the locals visit the bar for a meal and

quiet drink.

Tiny Treasures: A dusty antique and souvenir shop

which sells a wide variety of mountain related

souvenirs as well as housing the extensive

personal antique collection of the elderly

owner, Shelly Croft, who has a particular

affinity for silver candlesticks.

Mountain Store: A store which sells everything

from canned good to mobile phones. The

proprietor, Clifford Windsor, proudly boasts he

can have almost anything delivered to the store within

a week. The store currently has several shotguns and

rifles in stock.

Windsor Winter Apparel: A large store which sells skis,

snowboards and a wide range of related equipment

and clothing. This store is run by Cliffords sister

Mary, but is closed during the summer months.

White Mountains Police and Rescue Station: A small

office which is closed and locked. It contains a cabinet

with a surprisingly large range of weapons and a fullset of battery powered radios and GPS locators and

medical supplies. During winter many rescues are

coordinated form here, but during summer only a

single police officer is stationed here (he is currently

miles away in hospital). Crystal has a key to the

station.

Bellams Gallery: A small pottery gallery run by elderly

artist Bellam Smith. The gallery has a large workshop

and operational kiln in back.

Apocalypse Riders: A motorcycle gang with roughly

thirty members. They ride large, expensive

motorcycles and live in a large

former hotel on the main

road. The Apocalypse Riders

are led by Jake Lachlan and

usually try and maintain good

relations with residents of

Millars Crossing. Three oftheir number die on the first

night of the scenario, tow are eaten by Beasts while

one collides with a car. They can be identified by their

distinctive patches, usually worn on the back of

leather jackets.

Renegade Riders: A small off-shoot of the Apocalypse

Riders. The 7 original members took over a small

mountain shack on Big White. They are led by

Michael Lachlan. Michaeland the three surviving

members are suffering from

the effects of the curse. Two

others were killed by

Michael during his first night

as a Beast, while a further

two are in police custody

following the assault on the

local police officer. They sport the same patch as the

Apocalypse Riders, only with the top banner

Apocalypse replaced with Renegade.

Crystal Jones: A slim, pretty woman in her mid

twenties. Crystal is the daughter of Chase Jones who

owns the ski resort on Devils Peak. Although their

relationship is strained, Crystal manages the Barrel,

one of the family businesses on the mountain. In

winter she manages a dozen staff, but in summer she

is often the only staff member present. Crystal lives in

a small chalet in Millars Crossing and recently broke

up with Jake Lachlan.



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Jake Lachlan: A tall man with rugged good-looks, short

cropped hair and permanent stubble. Jake is naturally

charismatic and often defuses conflict with a few well

placed words. He has been running a successful

criminal enterprise manufacturing and selling

methamphetamine, although he is careful to maintain

good relations with the nearby towns, and tires to

avoid undue attention. Although he has been

investigated several times, the police have never

managed to bring a major case against either Jake or

the Apocalypse Riders.

Michael Lachlan: A tall, muscular man with long,

greasy black hair and a permanent smirk. Michael is a

born risk taker, and has been an enforcer for the

Apocalypse Riders for many years. After the fight with

his brother, Michael founded the Renegade Riders,

although the off-shoot gang has failed to keep the

same low profile as the Apocalypse Riders. Michael is

suffering from the curse, so if see by daylight seems

pale and sweaty, hiding his eyes between thick black

sunglasses. Michael shuns the other Renegade Riders

after he initially killed two of their number and

cursed three others during his first night as a Beast.

He now sleeps in the cave where he found the

mummified body of Christopher Fairchild.

Terrance, Rick and Ryan: The Renegade Riders, all

suffering from the curse. All bear large scars visible

in daylight where they were attacked by Michael

when he was a Beast. They live almost entirely by

instincts now, having lost their minds. By day they

lurk in the run-down hut which was the home of the

Renegade Riders.

Lewis and Wade: Members of the Apocalypse Riders.

Lewis is short with black hair and wears a battered

leather jacket. Wade is taller, wears a leather vest

with a patch and has shoulder length blonde hair.

End Scenes and Horror Track

To achieve Total Victory the characters must destroy

all of the Beasts including characters who have been

infected. This is only likely to occur if the characters

learn of the nature of the Beasts, their vulnerability to

silver, and are able to exploit this knowledge and risk

their lives in the process. Failing this, here aresuggestions for other end scenes:

Defeat: If the characters either do not tell the

authorities about the Beasts, or cannot furnish

sufficient details about the nature of the Beasts to be

believed when the police hunting teams do not

return, the authorities do not act swiftly enough to

quell the rapid increase in Beast numbers. Before

long, cities are overrun and the military is in desperate

retreat as hordes of beasts threaten to overwhelm the

country. The characters meet a grisly end in their

homes or as they try and flee amongst a sea of other

refugees.

Optionally, the Renegade Riders from the mountains

may continue to hunt the characters, travelling by day

on motorbike to track their quarry across the country

and attacking by night as Beasts.

Hollow Victory: A Hollow Victory might manifest inseveral ways:

If the characters tell the authorities of the Beasts and

can reveal enough information to assist with their

efforts (e.g. the beasts are also people, they only

attack at night and some of those attacked also

become Beasts) then the authorities conduct a

thorough sweep of the mountains, destroying the

Beasts.

However, unless the characters are personally

involved, the authorities miss one of the Beasts

either Michael Lachaln is able to escape, or one of the

characters who has been subject to the curse is not

detected. In either case the characters narrate their

happy endings, perhaps believing they have safely

escaped the horror. The post script occurs the

following night (or several nights later) when the

Beast manifests or arrives unexpectedly.

Horror Track Cards and Values:

Gaining the support of Jake Lachlan and theApocalypse Riders [1 point]. The characters

may seek the support of the Apocalypse Riders

after they learn of the Beasts. Crystal is likely

to act as an intermediary. Jake is particularly

likely to help if he learns that Michael is one of

the Beasts.

Befriending Crystal [2 points]. Crystal is likelyto offer help to the characters should she see

any of them are upset or injured, and is



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generally friendly and eager to chat with

people passing through.

Learning of the Renegade Riders [1 point].Crystal or any member of the Apocalypse

Riders can tell the characters of the rival gang.

Alerting the authorities to the nature of theBeasts [4 points]. This can be achieved by

calling the authorities after the characters

have witnessed the Beasts from a place where

there is good coverage, or travelling to the

nearest town to report in person.

Ranged Weapons [2 points]. Assuming thecharacters do not already have them, the

police station has a large supply of weapons

which can be looted. Most NPCs in this

scenario also have access to a firearm of some

sort.

Obtaining a source of Silver [3 points]. Theantique shop in town is a ready source of

silver, equally the characters may decide they

already possess silver jewellery or other items.

Determining the Beasts are also people [2points]. It is likely that the fact that the beasts

are humanoid and wear the remains of clothes

will lead to this conclusion. Equally identifying

the Renegade Riders as the Beasts should

confirm this fact.

Determining the Beasts are allergic to Silver [4points]. This might be suspected given the

similarities between the Beasts and

werewolves who share this weakness. Equally

the characters may inadvertently discover this

during a struggle with one of the beasts.

Killing all the Beasts [8 points]. To achieve thisgoal the characters will have to kill all of the

Renegade Riders, including Michael Lachlan,

and anyone else who has been exposed to the

curse, including characters.

Facilitation Notes

This scenario is about isolation. Although the

characters begin the game as a tight-knit group

travelling for pleasure, they become increasingly

isolated. The first stage of isolation is geographic as

the characters leave behind the comforts of themodern world, and become increasingly self

sufficient. The second stage of isolation manifests as

the characters are cut off and hunted through the

night by terrible, ravenous, Beasts who attack without

mercy. The final, and most profound stage of

isolation, occurs as some of the characters fall victim

to the curse and realise that they are threat to the

others.

In order for the impact of the loss at each stage ofisolation to be felt by the audience, the story of each

of the characters, and their relationship with each

other, must be well developed during the game so

that the final, terrible realisation of the nature of the

curse is truly harrowing.

This scenario takes place over several days and nights,

so the GM, like a film director, must decide the best

place to change scenes in order to keep things as

interesting as possible while also advancing thetimeline. Ideally there will be a natural lull in the

interplay between characters, which will allow you to

frame a new scene at a later time, but in order to

encourage the characters to transition scenes to

encompass the passing of time you might also want to

ask questions like okay, so how does everyone else

spend the evening? or what else do the characters

do before lunch? Pace the scenario to fit the time

constraints of your game, but remember the early

tension phases need the most time, to allow for

character development.

The first tension phase should be an opportunity for

an extended introduction to the characters and a

chance to establish their relationships with each

other. Be sure to ask a lot of questions to help

establish the mood of the scene; how fast are they

driving? Who is sitting in front? Whats playing on

the car stereo? Ask each character how they respond

to each of the encounters on the road, prior to the

accident. Leave the characters plenty of time to talk.

Awkward silences might well be another feature of

their journey and you shouldnt shy away from

allowing the players to experience this.

The initial climax of the first tension phase should

suddenly and shockingly change the character

dynamic. This may serve to bind the characters

together against the visceral evidence of the horror,or drive them further apart, spurring disagreement

about what to do, or whether to linger. Although



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there is no specific threat in the woods during Tension

Phase 1, this exploration should be made as tense as

possible, playing up the unnatural quiet and terribly

mutilated body parts.

The rest of the scene should be either concluded after

the meaningful information has been conveyed, with

the next scene being the arrival at the town, or dealtwith as a narrative montage of the emergency

services arriving, people giving statements etc. before

moving straight to the arrival at the town. Shift the

focus away from a blow-by-blow detail and back to

the characters together in the next scene.

In the second tension phase its important to spend

some time describing the town, specifically what

shops and buildings are present, even though many

are closed, as the characters are likely to return to thetown at least once, and may end up barricading

themselves inside to try and escape the Beasts.

Assuming the characters enter the tavern, Crystal

should be a sympathetic and friendly NPC whose

medical expertise and knowledge of the local area,

and the biker gangs, should make her a useful

resource.

The subsequent confrontation with the Lewis and

Wade of the Apocalypse Riders should seem both

unprovoked and unreasonable to the characters it is

both of these things, as it is driven by the raw grief of

Lewis. As GM it is important to separate the depiction

of the NPCs from your own responses as much as

possible to ensure the players can tell the difference

between the irate bikers and your facilitation of the

scene.

If the characters took weapons, motorbikes or

anything else from the massacre site, their guilt will

be sealed in the mind of Wade and Lewis. The way

this encounter plays out should ultimately reflect the

level of aggression displayed by the characters so if

the characters are conciliatory then the challenge is a

simple fist-fight (with any serious injuries likely being

accidental rather than deliberate), whereas if the

characters are hostile, or produce weapons of their

own, the encounter rapidly escalates in kind.

The lack of any Police presence following the brawl

should emphasise the isolation of the location.

Crystals double barrelled sawn off shotgun is enough

to secure the situation, although if the characters

insist on calling the police, and are willing to wait for

several hours, this can again be played as a short

montage of the characters giving statements before

cutting to their arrival at the cabin well after dark.

Optionally Crystal can call the police and arrange

them to call on the characters the following day to

take statements. This also allows the characters the

chance to learn from the police about the rival

motorcycle gangs, and the dispatch of the hunting

party to catch the rogue lion.

The third Tension Phase represents a lull in the horror

and an opportunity to do the things their characters

made the trip for. The pace should once again be

largely directed by the characters, with the tranquil,

idyllic surroundings seeming at odds with the events

of the day before. If the characters have been to the

cabin before, encourage them to narrate specific

places in and around the cabin where they spend their

time. As day turns into night it is important to check

on what each of the characters is doing, and their

nightly routine, to get a last chance to define the

characters before the action escalates.

At the climax of the third Tension Phase the

characters get their first look at the Beasts. Its

important to convey the monstrous appearance of the

creatures, while emphasising their graceful and

purposeful stalking of the characters. It is especially

important to convey the terrible appetite of the

creatures. Like sharks, they gnaw, tear and bite with

terrible strength tearing through flesh and muscle

with ease, and often leaving their own saliva and

teeth buried in the victim. They are hunger

personified, and characters who suffer injuries at theirhave large sections of their flesh, or perhaps even

whole limbs consumed before their eyes.

If the characters save Larry Ponder, the GM can

remind them of his terrible suffering, emphasising his

agony at moments when the characters may be

planning or talking calmly. For saving Ponder the

characters are rewarded by potentially learning of the

creatures lair, and also by witnessing his

transformation into a beast; so they have an inkling ofwhat might be in store for them in the future.



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17

The fourth Challenge Round is pivotal. It is essential

that at least once character survive the challenge

round, and suffer the curse by playing a physical

outcome. You may want to take a more active hand

in suggesting outcomes for the characters to ensure

this result. This way the story can move in any

direction for the final tension phases, as the source of

the next challenge is the cured character(s).

From the fifth Tension Phase the characters are free

to choose any course of action. It is important to note

that the story of Crystal, Michael and Jake and their

rivalry leading to the split between the bikers is a

background element only. If the characters choose to

explore this further, seek out the bikers as allies, or

unravel Michaels fate, then it should move into the

foreground. However, the characters are under no

compulsion to learn any of these details. They may

simply ignore the bikers altogether and leave the

area.

If the characters do leave immediately then it will be

necessary to improvise the specific details of the fifth

and sixth tension phases. The cabin is so remote that

the characters will need to spend most of the next day

travelling to reach another location, meaning that the

fifth challenge round should take place soon after

they arrive.

Depending on the circumstances of the characters,

and the time remaining you may decide to eliminate

the sixth tension phase entirely. However, if you have

the time, and feel that the knowledge of the

impending transformation of characters subject to the

curse is likely to cause more great drama, then let

the game run on to the final conclusion, improvising

scenes as necessary.

The Beasts also have a movie-science explanation as

outlined in The Nature of the Beast. This has been

added for two reasons; first if the characters are

scientists or researchers (or think to consult some)

they should be able to determine an explanation for

the manifestation of the Beasts (perhaps explained as

the basis for the legend of the werewolf). Secondly,

this analysis should reveal that by simply taking a

Vitamin D supplement the extreme dysmorphic

effects of the genetic mutation can be permanently

suppressed. Deducing this should prompt the award

of a genius card worth 8 points, as it effectively

removes the need to exterminate all of the Beasts.

This should mean that even infected surviving

characters can have a happy ending.



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18

Permission

granted to

reproduce

this page

for

personal

use

Befriending

Crystal

2 Points

Tension Phase 1Day 1

Characters travel the road,

climbing into mountains. They

are passed by 3 bikers, and

witness an injured deer.

Climax: Soon after sunset they

come across a fatal accident

then stumble upon the scene of

a massacre.

Challenge: Mental [No Hero/Zero]


The characters travel on, and

reach Millars Crossing. They

can seek help from Crystal at the

Barrel, a local tavern.

Climax: The characters are

confronted by bikers Lewis &

Wade who accuse them of being

responsible for the massacre.

Challenge: Mental or Physical

Tension Phase 3Day 2The characters reach their cabin

and spend that night and the

next day in any way they wish.

Let the characters set the pace.

Ranged

Weapons

2 Points

Learning of

the

Renegade

Riders

1 Point

Gaining the

support of

Jake Lachlan

and the

Apocalypse

Riders

1 Point

Alerting the

authorities

to the

nature of

the Beasts

4 Points

Obtaining

a source

of Silver

3 Points

Determining

the Beats

are also

people

2 Points

Determining

the Beasts

are

allergic to

Silver

3 Points

Killing All

the

Beasts

8 Points

Run Sheet

ROAD TRIP


The characters set the pace, and

may leave the area, or choose toremain and seek the help of

Crystal or the Apocalypse Riders

Climax: Injured characters carry

the curse of the beast with

them, and the Beast strikes the

next night.


Player:

Character: Cursed

Description:

Home/Job:

Past:


Character: Cursed

Description:

Home/Job:

Past:


The Beasts now turn theirattention to the characters. Will

they flee or try and hold out

until dawn?

Climax: The characters are

hunted by a trio of Beasts. The

most seriously injured character

must play a physical outcome.


Character: Cursed

Description:

Home/Job:

Past:

Climax: After dark the

characters witness the Beasts

attacking a hunter who begs for

their aid.


The characters set the pace, and

may leave the area, or choose to

remain - they need to deal with

the Beast Michael Lachlan.

Climax: Injured characters carry

the curse of the beast with

them, and the Beast strikes the

next night.

The Horror Track

Player:

Character: Cursed

Description:

Home/Job:

Past:

Character: Cursed

Description:

Home/Job:

Past:

Player: Player:

Player: Player:

Character: Cursed

Description:

Home/Job:

Past:

Crystal

Sympathetic,

Capable

Lewis

Short, upset

hostile

Wade

Tall,

threatening

Jake

Charismatic,

diplomatic

Michael

Cursed,

regretful

Opening Scene: The characters are travelling to a cabin

in the Mountains. The weather is fine. They are at a

petrol station, filling up what are they each doing?

Ballot Votes

1:

2:

3:

4:

5:

6:

Ballot Votes

1:

2:

3:

4:

5:

6:

Ballot Votes

1:

2:

3:

4:

5:

6:

Ballot Votes

1:

2:

3:

4:

5:

6:

Ballot Votes

1:

2:

3:

4:

5:

6:

Ballot Votes

1:

2:

3:

4:

5:

6:


NPCs



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19

The Horror Track for Road Trip

Road Trip Horror Track

Alerting the

authorities to the

nature of the Beasts

[4 Points]


Gaining the support

of Jake Lachlan and

the Apocalypse

Riders

[1 Point]


Obtaining a

source of Silver

[3 Points]


Determining theBeasts are also

people

[2 Points]


Determining theBeasts are allergic

to Silver

[4 Points]


Killing all theBeasts

[8 Points]

Permission granted to reproduce this page for personal use


Ranged

Weapons

[2 Points]


Befriending

Crystal

[2 Points]


Learning of the

Renegade Riders

[1 Point]



22/33

20Permission granted to reproduce this page for personal use

Road Trip Maps

WHITE MOUNTAINS

MILLARS CROSSING

Road

Road

Divjak Cone

7,308 ft

Big White

12,316 ft

Devils Peak

7,608 ft

Millars

Crossing

Apocalypse

Riders

Renegade

RidersCharacters

Cabin

Massacre

20 40 60

MILES

Key Locations

1. The Barrel

2. Tiny Treasures

3. Mountain Store

4. Windsor Winter Apparel

5. White Mountains Police and

Rescue Station6. Bellams Gallery

1

2

3

4

5

6

N

N



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21

EPOCH Quick-Start Rules

Introduction

These rules are intended to allow you start playing

EPOCH immediately. They set out how to create and

introduce characters, how to conduct a Challenge

Round, run an Audience Ballot, use the Horror Track

and conclude the game through end scenes. More

detail on all of these elements, as well as advice on

how to run Tension Phases and overcome the main

challenges of running a genuinely tense and

suspenseful horror game can be found in the full

version of EPOCH.

System Overview

Characters are created at the table. The creation

process begins by establishing a group which defines

the relationship of the characters to each other.

Characters then get dealt a relationship, trait and

Strength/Weakness card which they may use to flesh

out some details during the opening scene for each

character

An EPOCH scenario is divided into a number of

Tension Phases (usually six). In each phase, theplayers develop their characters by interacting with

each other and NPCs or investigating the source of the

horror. At the end of each Tension Phase the players

are confronted with a potentially deadly or sanity-

shattering challenge -either mental or physical- which

they must survive by playing an outcome card during

the Challenge Round. If they have no cards remaining

the character is killed or suffers a total mental

collapse. Players can also play a Hero/Zero card for

their character which may increase their interest to

the audience through a selfless or selfish act.

Once the challenge has been resolved the players and

GM vote for the most interesting character. That

player recovers one of the played outcome cards,

enhancing their characters chance of overall survival.

Players who do not win the Challenge Round get a

flashback token, which can be spent during

subsequent Tension Phases to narrate a flashback andincrease the interest value of their character.

Characters are generally assumed to have sufficient

competence and skill to overcome most activities that

are not part of the Challenge Round. Where

complicated activities are initiated players are

allocated a time-cost which will lessen their screen

time and thereby potentially reduce interest in the

character.

Survival is the primary objective of EPOCH, however it

may be possible for the characters to defeat or

weaken the source of the horror. Success allows the

surviving characters to narrate a happy ending of their

choice. Failure means that the GM can add a sting to

the tail of the scenario for the surviving characters.

To defeat the source of the horror, players uncover

scenario specific Horror Track cards during play.

These cards must be of sufficient value to secure

either total, or hollow, victory.

Character Creation

Determine whether the characters will be a Group of

Colleagues, Friends or Family, or Strangers and place

the appropriate card on the table (in the quick-start

rules only a limited selection of cards for the Friends

group are included).

Randomly deal each character a Relationship card

from the appropriate card deck. These are shown to

all players and may require decisions from the players

as to which other character shares the relationship.

Also ask each player to write a Secret their character

has that relates to the group and place it face down

under the group card before the end of the opening

scenes.

Each character is also randomly dealt one Trait card

and one Strength/Weakness card. These cards are

kept secret by the players unless revealed by the

character during the game.

Give the players a set of four outcome cards (3

physical/mental outcomes and 1 Hero/Zero Card).



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The Opening Scene

EPOCH begins with a series of scenes where we get to

meet the characters. There is one opening scene per

character. Each player helps frame the scene, sharing

some of the narrative duties with the GM. During

these scenes the GMs should focus on prompting the

player to provide more detail. The scene should beginwith an opening question, for example:

Its 8:00am on a Wednesday, where is your character?

What do they look like? What are they wearing? What are they doing?

After answering these initial questions, its important

for the players to add more detail to the characters. If

theyre at home, what is the house like? Is it clean ormessy? How expensive does it look? If theyre at

work, what sort of workplace is it? How many people

are employed? What is staff morale like?

After we have established some detail, the scene

needs a conflict or difficult situation to allow us to

learn more about the character. The purpose of the

scene is not the detail of the conflict, or the NPC, but

to explore the character further. You may wish for

the opening scene conflict to foreshadow a key

element of the scenario. Feel free to improvise your

own difficult scene; ideally it should be a minor, but

potentially aggravating twist. No outcome card is

played as part of the opening scene.

The Tension Phase

Each EPOCH scenario is broken into a number of

Tension Phases. Each Tension Phase represents a

concentrated period of action, investigation or

interaction in the game. For more information onhow to run Tension Phases see the full version of

EPOCH. At the end of each Tension Phase conduct a

Challenge Round.

The Challenge Round

The Challenge Round represents a test, mental or

epoch road trip

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