Post-Apocalypse Campaign
What are the key features (thematically speaking), you would want to see in a PA campaign? Isolation, desperation, man versus man, etc. What draws you to that setting?
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Neobarbs fighting over the architectual and literal bones of Western Industrialised society The lack of centralised authority Spam as a valuable commodity The shock of leaving a controlled enviroment (aka Fallouts "Vault") and going into an unknown and unmapped wilderness. Really big insects Psionics |
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ROAD WARRIOR... 'nuf said.
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I can't give a simple answer because there are so many ways to play a post-apocalptic campaign and different styles appeal for different reasons. Something gonzo like Gamma World can be more about the infinite resiliance of life than the tragedy of self-destruction.
I do think that to draw me, a post-apocalyptic game has to mix the familiar and the dangerous in some way that makes internal sense. I also think that, unlike a lot of the best post-apocalyptic fiction, there has to be a sense of hope or it won't work as a game. That's a bit vague. Oh well. I'm going to bed. |
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A sense of desolate isolation. Sitting on a ridgeline and seeing nothing but wilderness as far as the eye can see.
Depending on the time after the apocalypse, a sense of what's been lost. Wandering along streets made of broken asphalt, with plants pushing through the cracks. Crumpled skyscrapers soaring into the sky, windows filled with broken glass. If it's nuclear, clearing the edge of a crater in the middle of a city, the ground dropping away, with a sheet of glass in the center. Muskets. Muskets can be manufactured at very low tech levels. Same with powder and shot. Unless the apocalypse threw us back into scattered groups of stone-age tribes, muskets should be around. People trying to rebuild. Some society would arise. Roving bands of maniacs riding bikes and cars a la mad max wouldn't be sustainable for long. Just a partial list. If it's cinematic, I agree with the mutants and giant insects and animals and stuff. |
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I've run a postapocalyptic campaign, at least by certain definitions: It took place in the world of Atlas Shrugged, starting ten years after the first scene in the novel, which portrayed the total economic and political collapse of American society.
I didn't go for any wild pseudoscientific stuff like mutants. The exotic scientific phenomena were all based on things in the novel itself: A structural metal with half the cost and three times the strength of steel, a power source that was a perpetual motion machine of the second kind, and a circular area of Iowa that had been totally demolished by a sonic disintegration attack. The struggle wasn't to survive but to rebuild economically, by building a new bridge over the Mississippi to make possible the laying of eastbound track. On the other hand, there were a lot of lawless areas and North America had been balkanized (functioning political units were the United States—from California to Kansas—the Confederacy, Texas, West Virginia, the New England Confederacy, Quebec, the Yukon, the gangster-run city-state of Chicago, and the kingdom of Hawaii). The main theme emerged as the role of violence in the creation and preservation of a free society. I always wanted to run an Aftermath campaign. But I never actually tried anything during a Mad Max type of wasteland or an Andre Norton radioactive postholocaust desert. Building campaigns interest me more than campaigns about struggling to survive, or the war of all against all. Bill Stoddard |
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Buildings, bridges and Monuments are great visual representations. Who can forget seeing the Statue of Liberty at the end of Planet of the Apes? More interesting still is how is that feeling similar to seeing some of the Ruins of Ancient Rome, Greece, Egypt or other historically great civilization? The little things that make our life easier do well also. Anything electric and niche works as a nice curio, but dont forget some of the other odd, self indulgent tech we have like reclining chairs. (What society is so lazy it invents a special chair to increase its comfort during laziness?) Other trivialities that I think could make neat cameos in PostApoc Magic 8-Ball Rubiks Cube Sleep Bindfolds Back Scratchers Loufa(sp?) sponges Disco Mirror balls Nymdok p.s. One of my earliest exposures to Far history PostApoc: http://en.wikipedia.org/wiki/By_the_Waters_of_Babylon |
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Places that need a lot of high tech support, pipelines, etc. like Phoenix are likely to be in trouble. Places like Little Rock or Omaha, right on a big river, are going to have some significant advantages because it will be easier to get low tech access to fresh water, power, etc. That will keep the city going long enough, one hopes, for people to rebuild. Mark |
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Bill Stoddard |
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1. The apocalypse must be plausible. If the world nearly ends but did not, who survived and why should make some sense when the backstory is understood. PCs may not know all the details, but it's important that the parts of the world that survived are well chosen by the GM.
2. The former greatness of man and how far society has fallen needs to be shown. Technology should be less available, but it doesn't have to all be in ruins. The creepiness of Will Smith going to closed video stores and other venues in the film I Am Legend is more disturbing than the biker gang dystopias of Mad Max and Water World. 3. A sense of isolation is important (that's in point 2 as well). The PCs are trying to survive in a world where they have few friends, if any. Civilization isn't there to lift people up and there are very few safe havens, so the PCs feel like the world is hostile. 4. Humanity fighting humanity. People are people and if a post-apocalyptic setting was a true utopia, it would be boring. Of course, a false utopia where most people don't fight could be interesting. . . 5. Man against nature. Nature could be changed by man's stupidity and become more hostile, or man could, having lost his technology, have difficulty since he is so far from nature and must readjust. I'd also prefer a post-apocalpytic society with hope for rebuilding. That may be unrealistic, but a game where the PCs have a very limited shot to win isn't particularly fun to run or play in. Again, the log cabin or empire question is a matter of scale on that question. Rebuilding a small area is more gritty and realistic while the empire seems more high fantasy or cinematic. |
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I think a post-apoc game is ripe for a focused location game, where the players are going out from a central "home" location to find resources. You can have a consistent cast of NPCs that the players can care about and have a stake in the survival of. I'd take advantage of that opportunity, if I was running it. |
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Another big consideration is time - How long has it been since the apocalypse?
The most obvious choices I see are 1) Not that long ago, all characters are fully familiar with life before, and the new society is just beginning to develop. 2) Twenty years or so before - players can choose adult characters who have grown up since the apocalypse or characters who grew up before the apocalypse, but are not yet too old to adventure. 3) Fifty years or so ago - all player characters, and most of their parents, have grown up since the apocalypse, but a few elderly tribe members still remember life before. 4) A century or more ago. No one remembers life before, but objects from that era are still available, and a few still function. 5) A thousand years or more ago. At this point your game is barely a post-apocalyptic game because, baring improbable technology, very few remnants of the time before will still exist. Instead you've got a historical setting with odd bits of plastic. |
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If it's more than a few hundred years in the future, I'd have problems with SoD if we were still relying on leftover tech instead of rapidly rebuilding society, unless everyone got knocked back to the stone age, somehow.
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GURPS Y2K has some interetsing ideas for a post-apocalyptic game and how the apo came a along, be it war, plague or a world wide computer failure.
Also, note that the apocalypse doesn't have to happen to our modern world, a post-apocalyptic game in a fantasy or science-fiction world could also be interesting, even historical settings offer possibilities (the Dark Age of Europe after the Fall of Rome for example). |
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What caused the apocalypse and how can we keep it from happening again?
If you want meta-plot, that is. |
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Or, to spin it up a notch, what caused the apocalypse and how can we make it happen again?
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Some things that if I would include were I writing a campaign up: 1) Barter/trade rules...what good is paper money gonna do? This would require tinkering with the wealth rules a lot, but I think would be worth it in the end if you can get it functional. 2) Some expanded scourging guidelines, say something like a margin of success chart. You rolled 1 under your skill, you didn't find that semi-new carburetor you were looking for but...you did find one, it needs work. You rolled 5 under your skill...the carburetor is still in the box, lucky you! Maybe techniques for scourging specific things, or in specific places. 3) Set down guidelines for making things: this one ALWAYS comes up no matter what game I run/play in. Somebody always wants to build something, the rules presented in 3ed Low-tech work well enough. 4) Conflict: whether its the nuclear winter you are trying to outlast or mutant space wolves from Saturn. When playing in a post-apocalyptic setting you should feel you are just barely surviving (at least at first ^_^), barely making due, barely able to keep enough food in your belly if not your knapsack. 5) Lastly, if your the GM, listen to what you players want, give them a survey, or just ask them. One man's PA could be alien overlords, anther's zombies, and a third Hell on Earth, The Rapture, and Hallelujah! Praise Jesus. Heck one could ask for all three, know what scares/excites your players, know what they each want and try to tailor it to them. Nothing sucks worse than a Apocalyptic future than just doesn't do it for you. Hope it helped you some, Ghostdancer *in this context meaning what ever world-ending life shattering incident that had happened. |
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Gamma World has mutants, blasters, mutagenic radiation, and super-science fiction bubbled cities. There isn't much of a theme of "there is no hope, everyone is going to die." You get to play with cool tech, but it's often dangerous and it's not easily replaced. You can build up civilization or just wander around trying to find that Black Ray Pistol you know is out there somewhere. T2K is more realistic. You can use cool military tech, but you have to worry about radiation and marauders and keeping your ammo supply up. You get less Gun Bunny issues than a modern game - your corporal can't have a totally tricked out custom-made handgun with tactical whatevers and a grip made out of some special material he just read about in Handgunner magazine, because he can't get it and he can't have an unlimited supply of match-grade ammo. You get less mutants, but your concerns can vary the same way - just try to get home or try to set up a base and work local issues. In both I like the scarcity of resources - you don't have the issue of PCs getting lethal high-tech weaponry with unlimited access to ammo (if they've got the money and connections). You can use a cool technical item, even a damaged one, like "treasure." But it'll all run out unless the GM gives you replacements, so it's worth conserving until you need it. It can be loads of fun running a guy with a .357 magnum pistol and broadsword and a shield made out of a stop sign and some wood, facing off with equally motley-armed fellows. I think I dislike the "hopelessness and fear" aspect you see in some games...I enjoy the occasional zombie apocalypse, but it's got to be a one-shot or short-term game. I just can't get into civilization crumbling, people dying horribly everywhere, there's-nowhere-to-run gaming for more than a few sessions. After that, really, I just want to shoot mutants with my Mark VII Blaster Rifle or collect brass for my 5.56mm rounds after shooting it up with a band of marauders, not deal with the dying of humanity. |
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These two comments suggest two important themes:
— I should add that pure-strain survivalist, cabin-building gaming – in the vein of, say Twilight 2000 – is a rare and acquired taste. Most gamers really don't want to count cans, make tons of rolls for searching ruins and building shacks, and avoid violence because there aren't enough bullets or bandages. The majority view of post-apocalypse gaming has mutants, psis, weird tech, zombies, etc. It comes closer to something like the Resident Evil movies. In my case, for instance, I couldn't imagine a fun post-apocalypse game without zombies. Oh . . . and dog skull. |
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On the other hand, this is where the gold is in weird apocalypses! Dig back through the rubble and find out who made the Death Ray, zombie plague, or whatever. That brings the PCs into conflict with the surviving remnants of those who did the deed – and most players love conflict more than anything else. It also extends the hope that the PCs can find a cure for the plague, huge underground city with food to which they can lead the survivors, whatever. |
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Zombies don't preclude established civilization. Humanity could fight them back and entrench, and build an uneasy civilization outside which zombies are dialed back to the threat level of storms, enemy invaders, or man-eating lions: lethally bad, but not automatically society-destroying. Check out Unhallowed Metropolis, for instance. One thing I find weird is the assumption that a zombie apocalypse is more grim and less likely to let society rebuild than, say, a nuclear one. I see it as quite the opposite. |
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The IHZDL is pretty popular in some regions. ;) |
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And the funny thing is, I associate Zombies with "run to the woods and build a cabin and worry about leaving tracks to your lair" and nukes with "rebuild civilization on the ashes, no point in hiding out with your guns in the cabin." Seems to be quite the opposite of your associations. |
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As for "survival porn," a big problem with most of it is that it moves the focus off skills and onto material preparation. The latter relies more on player cleverness than on PC cleverness: the non-survivalist player of a skilled survivor gets hosed for a poor approach to suitable gear while the survivalist player of nobody special can parlay his encyclopedic knowledge of gear into an excessive edge. This is the not-so-subtle reason why lots of post-apocalypse games have mutant powers and zombie-killin' fu, and why quite a few post-apocalypse films talk the talk about starvation and exposure, yet you never see anybody die from either – just from "not being the main character, who is a badass." |
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As for "a chance to be clever" and "hand-to-mouth survival," I'm not sure those are particularly endemic to PA gaming. You can be clever and use skills in any game, and the survival aspect could be played out in any setting. I think PA grants the players a level of freedom and abandon -- there are likely no laws, jails, cellphones, maps, etc. It's just a sandbox waiting to be explored, er, conquered. |
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In a PA campaign, one interesting fix would be to identify a list of skills very relevant to survival and say that every N points in those skills gives access to one item from a limited list of survival gear that the GM knows will be insanely valuable. Another would be to allow those with such skills the option of buying a level of Gizmos with a "Survival gear only" limitation for every N points in skills, so that they can simply whip out the right thing when needed because ". . . of course an expert at Survival (Radioactive Wasteland) has a spare dosimeter!" Neither is hard realism, but as the problem being addressed is caused by hard realism, I'm not sure that's a bad thing. As an aside here, I'll point out that while some people like to think of PA as a hard-realism genre, it surely ain't that. It's complete speculation. For every gamer who sees it as realistic, there are 10 who can't completely dispel the thoughts of mutants, zombies, and Humungus, and therefore regard it as a special form of skiffy or even fantasy (especially if there are any swords in evidence at all!). I think the silly Gizmos might fit better than one might think, even despite the fact that they weaken the power of scarcity. Quote:
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I know that as a GM, at times I have to handwave away the ability for the players to contact their patrons, bosses, or COs, because I want *them* to make the dramatic decisions (even though it seems as though the situation might warrant a "lets hold off and confirm our orders" kind of approach). To me, that's one of the gaming problems "solved" by a setting with some measure of anarchy. |
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He writes of the importance of
"These elements aren't keys to quality ... a game can be crummy with them and excellent without them. They are, though, a useful window into the appeal of RPGs as games, into the conventions of RPGs as a fictional medium, and into the considerations that make the design of a game world a beast distinct from other kinds of world design."To my mind, postapocalyptic is one of the most useful of settings to a GM, because it so easily offers all five of those elements, and because it allows so much variety in them. The postapocalyptic world has many elements of our own, so it has cliche. Immediately after the apocalypse the world is chaotic and lawless, generations after it's either low-population with large stretches of wilderness or so high-population density that nobody can possibly police it properly, and so it has combat and anarchy. That leaves only enigma. Immediately after the apocalypse, the mystery can be how regions immediately outside the PCs' one have changed; generations after, the mystery can be both that, and how the apocalypse happened - or even that it happened at all. Think of the final scene of Planet of the Apes. With or without magic/supertech, whatever the kind of apocalypse, the postapocalyptic setting very easily offers all five elements, and allows great variety in their presentation. Of course as Ross said that doesn't mean the campaign will be any good, but... :) |
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What Kromm and Bookman said.... re: choice of skills vs nifty things.
You have me thinking of "Dies the Fire" by SM Stirling, especially the first couple of chapters, where there is 'some' nifty toys, but it can come down to skills and decision making. Stirling does have a strong 'work together' as opposed to 'rugged individualist' subtext going on, but. Not to mention hordes of plague carrying refugees, and crazed cannibals (ersatz zombies). |
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In the games I run, they usually start out as half-naked scavengers, and build up to Mad Max, more or less. I have them start out in an isolated valley or cryogenics experiment so they don't even know what caused the apocalypse. I offer "building" sorts of things, where they can establish their own order, but usually they're not interested. They just want to smack over "bad guys" and go "woohoo!" as they ride their truck.
I've played in a game where there was some building, with my character leading groups from immediate postapocalyptic chaos to some order, and fighting against other people's nastier attempts to establish order. I enjoyed that a lot - but as I said, most players don't seem to be very interested in that. |
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Struggle to survive. On the individual level, the search for food, water, and other resources, and protection from nature (heat, storms, mutant zombies, whatever). On a society-wide level, people are attempting to rebuild civilization with limited resources and little or no preexisting culture, legal system, etc.
Juxtaposition of different technology levels. Scavenging and jury-rigging. Postmodernism; a PA society is free (perhaps even required) to reuse and reinterpret modern technology and culture in ways that we would not. Stop signs as shields. Corporate logos as design motifs. Desolation and isolation are important elements, but shouldn't be omnipresent. Likewise, Man vs. Man has a lot of story potential, but people who are struggling to survive generally don't have a lot of time to fight. |
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A common theme of post apocalypse fiction seems to be a man (or women, usually a man) overcoming things that may limit his will or freedom. The idea that without the petty constraints of society men can be men, free to live by their strength and cunning. Often villains are dictators trying to unify the land under their rule. Like the villian from the mail man.
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Bill Stoddard |
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Aftermath was originally produced by Fantasy Games Unlimited.
http://www.pen-paper.net/rpgdb.php?o...ok&bookid=2973 Aftermath has been digitized and is sold by one of e-23's competitors. It is presently on sale as part of their GM's Day (well, week) sale for about one-third of their normal asking price. I GM more than I play, because I'm much better as a GM than as a player. In my experience, GMs care a lot more about things such as the Turner thesis than players because for the GM part of the fun is building the world. GURPS players seem somewhat more interested in ideas than other players but the key to a good game for most players in my experience is their ability to exert their dominance. That's very Turnerian, but unless you've got builder players they'll just be throwing ninja stars at the mutants/zombies/cannibals/other tribes on the frontier and not engaging in community-building, the part of the Turner thesis that won him his place as one of the great historians. For a fifty-page setting, I would want an apocalypse to have: a. brief to moderate length metaplot for the GM that explains how and why the apocalypse happens and explains the new world demography (if a toolkit, provide a metaplot as example and briefly cover other metaplot options) b. a few clearly defined locations with maps (could be generic if you're going for a toolkit book) for PCs to adventure in c. a great deal of guidance on how to run the setting, along the lines of the excellent discussion of superheroes in GURPS Supers 4e (if it's a toolkit, more generic is fine) d. the new economy: how to handle scrounging for goods and how trade would work in this new setting. Also, some gear that would be common e. GM and player advice of the player vs. PC survival skill conundrum in a post-apocalypse game f. New perks and advantages and suggested perks and advantages appropriate for the genre The real question is whether to go for a campaign setting specifically or do a toolkit book. Either of those would be valuable to GMs; good settings are hard to find. Toolkits tend to be more useful to DIY GMs, so that may be more saleable. |
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a practical guide to sifting through refuse,wreckage and existing environment for useful tools, clothes and foodstuffs. Nymdok |
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Speaking from personal experience what makes a good PA setting are hope and a sense of discontinuity. First of all there has to be hope. The notion that everything is irretrivably broken and that the only thing to do is mark time until you die is an absolute turn off in fiction and that is doubly true in gaming. Characters have to have a reason to keep going, it may be that they will screw up and wipe themselves out, but they must have the opertunity to survive and even possibly prosper after a fashion.
Secondly there has to be a sense of seperation from history. The Apocalypse should draw a line under the preceding civilisation, it shouldn't make recovery impossible but it should break civilisation badly enough that it won't come back upon exactly the same lines even if people wish it to. If you can get these things the rest is negotiable. Personaly I prefer building campaigns with a bit of distance from the actual apocalyptic events (50-200 years post whoops). I am also not fond of the atomic horror style of mutants at their best they are a species of pop-up target, something to shoot at for the sake of it, and at worst they are a crude way of disguising the fact that the writer was unable or unwilling to create a compelling background. The two things that I would like to see in a book on the subject would be a rough timeline of how long various artifacts could usefuly be expected to be viable for and some more sugestions for improvised technical fixes in the vein of the 'Dirty Tech' sidebars in HT. |
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Bill Stoddard |
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If it's a campaign setting, write it up like any of the dozens of existing examples. If it's a genre book, then I expect to see stuff about the genre: common themes and ways of exploring them, common tropes and ways of exploiting (or twisting, or avoiding) them, rules suggestions (or even expansions) for typical PA activities (finding safe water, or rendering it safe; scrounging valuable or useful objects, getting radiation sickness, that sort of thing). Some discussion of society, logistics, and fixing/using/maintaining pre-apoc technology would be useful; how many times have people asked here how long it would take to reach TL X given sufficient knowledge but limited resources, or how large a community have to be to maintain a certain level of technology? How have real bandits/raiders operated historically, and how could they function in a PA setting? Equipment isn't a primary concern (it would be mostly covered by -Tech books, or be setting-dependent) but it might be useful to have some sample items that could be made with ancient techniques and modern (leftover) materials, or that could be made by applying modern scientific understanding to available materials. |
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Having played both Aftermath and Morrow Project mostly during the 80's. I always enjoyed the PA genre some of my favorite gaming experiences are from these games. I think its the challenge that the world as you knew it is no longer there and that you now have to step up and to provide for your self.
The first Aftermath game I played in we were playing slightly glorified versions of ourselves running around Biloxi MS trying to figure out what happened and why we survived. Lots of fun. |
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I hereby put my hand to volunteer to playtest safisher's GURPS Postapocalyptic Mayhem. With him GMing us online in irc, of course.
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Ghostdancer |
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Honestly, what with Characters, Campaigns, Magic, Powers, Space, Martial Arts, High Tech, Ultra Tech... we have enough rules, worldbooks would be a nice change. Gotta start somewhere with 4e worldbooks, why not start with a postapocalyptic one? :) |
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That said, I certainly dont see any harm in a Post Apocalyptic world book, unless it's writing delays Horror, LowTech, Vehicles etc..... Nymdok |
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Homemade guns and powder Scrounging lists based on places: a vehicle (2 years or less, 3-10 years, etc.) Modern artifact construction with hand tools (from Low-Tech) Food and supply cache lifespan Growth of vegetation in cities, collapsing of structures, etc. based on years after the fall. Things like that. |
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Yeah! Like rebuilding train tracks and canals and such. What sort of goods would be traded and over what sort of trade route? There are salt mines under the Great Lakes. Such things as salt and other food/chemicals needed would have to be traded. Once the Home Depots and Acme Markets run out chemicals for fertilizers would be needed as well. |
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I'm not sure at-large stats for large communities would be all the useful. |
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I know this is a sideline...but I would really like to see some rules for weather, that sounds dumb, but a hard rain in the middle of nowhere creates a interesting survival situation. Also what about Nuclear Winter? Ice Ages? Just useful tidbits could flavor a whole campaign. And for the record, I think this book would be immensely popular, PA is one of those sub-genres that everyone likes IMHO Ghostdancer |
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Themes I like in PA settings:
-The 'I told you so' element. -The grittyness of a whole world going 'Lord of the Flies'. -The rediscovery by softies of what it takes to survive. -The 'Connecticut Yankee' possibilities, both technical and social (Think Lucifer's Hammer). |
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As for my ideas about what makes a good post-apocalyptic campaign, I would say that having some puzzle to piece together (whether it be the location and acquisition of resources or the gradual re-structuring of society or something else) is important, and a sense of hope that you can accomplish significant portions of your task. Having played PA campaigns set in the 1940s, 1990s, 2000s, and mid 21st and 22nd centuries, I would say that the best ones had those two elements. There were hopeful (you are not fighting innumerable or invincible foes) campaigns without a puzzle that just seemed like we were spinning our wheels and there were campaigns with puzzles but no hope (foes that enjoyed tech so high that they were in essence invincible and/or problems/situations that were so impossible to overcome and/or dangerous that you had to suspend even the slightest notion of realism to think you could succeed) that literally made people just quit playing. Quote:
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http://www.vbs.tv/full_screen.php?s=...5DC&sc=1363196 |
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