Our Games At DrivethruRPG

For a while, most of our games were not on DrivethruRPG.com. It was a complicated situation, but basically we were not comfortable making our titles exclusively available through them after their handling of a few issues which made some of our customers very uncomfortable. We want to sell through DrivethruRPG, but we want our customers to have the option to purchase elsewhere if they want.

DrivethruRPG has a policy requiring a six month waiting period between requesting to become a non-exclusive seller, and actually becoming a non-exclusive seller. We made that request six months ago, now we’re non-exclusive with them.

So, I want to show off some of our titles. For most of these games, we offer digital and print versions. If you buy a print copy, you can get the digital as well, no extra cost.

Maschine Zeit is a game about ghost stories in space stations, like Alien, Pandorum, and Event Horizon. It’s $10 digital, $14.71 print.

Amaranthine is an action/romance game, that’s like if Highlander met a romance novel. It’s $10 digital, $16.33 for print.

Farewell to Fear is a fantasy game about solving problems with enlightened reasoning. It’s a game about revolutions, and not being stuck in the past. It’s $10 digital, $19.58 hardcover.

Flatpack: Fix the Future is an optimistic post-apocalyptic game. It’s like Fallout with the sensibility of Ikea. It’s all about building a new world. It’s $7 digital.

Apotheosis Drive X is a mecha game powered by FATE. It’s a little Gundam, a little Evangelion, and a whole lot of fun. It’s $10 digital.

You can get all these games for $33, which is a pretty huge savings.

That’s not even all our titles; that’s just most of our bigger ones. You can find a ton of our stuff at our publisher page.

And as always, you can buy our games directly through us at our Payhip site, where we get a fuller cut.

Stage Of The Game

Hey all,

I just wanted to alert everyone to a new site we’ve got, Stage Of The Game. It’s another games site, but less the stuff we make, more just talking about video games, video game culture, and play. It’s less analogue gaming, but of course that influences everything we do.

So if you’re into digital worlds, it’s worth checking out.

Bullets and Bibles

Alright, this is something a little bit different, specifically aimed at creative writers rather than gamers. (Don’t worry, I’ll be doing a post on this technique for people running games instead of writing books.)

Nano is coming. For thousands of you out there, there’s less than a month left before you’re going to give it your all to type a novel in November. (This stuff can help you any time of the year, of course and for any book.)

Recently, I came across the idea of bullet journaling. The site’s kinda pretentious, and frankly, this is all stuff I’ve done most of my life, but between the main site, pintrest and some other sites there’s plenty on encouragement to use these techniques to do things your own way. Anyway, the basic idea is that you’re using bullet points and list making, index them, and categorised some stuff to keep track of your life/diet/whatever. What I didn’t see was anyone suggesting how to use this stuff with writing. Which is silly, because lists and check boxes and lists seem a natural extension of the planner’s very nature. (If you’re a pantser, this stuff can still be useful, you just list AFTER you’ve written to keep things clear instead of before as I might.)

Anyway. Take a fresh journal like this one here.

Note 1

Indexes are cool, you number each page, it makes it easier to refer back to. For now, and to get started, you want pages for scenes, stat logs for the whole novel, character logs, location logs, and story ideas.

Scenes: For this project, I have my scenes plotted out. (I used something like the snowflake method.) When I need to unpack and flesh out a scene before I can write it, I drop it into one of these logs and just sketch out things I want to try writing.

Stat Log: This is an overview. The size of the novel I’m shooting for, how many scenes I plotted out, and how how big those scenes should be. (I have words per day too, because why not?)

Character Logs: I keep track of characters either I have planned, or characters as they popped up in a writing session.

Location logs: Same as the character logs, but with places.

Story ideas: A title, and idea, or whatever.


Having a goal and seeing it there in ink is cool. I’ll add major milestones as I hit them, good quotes, doodles. Things to make this page feel special. (See the header’s all fancy? That makes it cool to come back to. Doodling helps. I’m sure there’s a science reason why too.)

character log

I’ve seen about a million ‘character profiles’ and ‘character sheets’ both as a writer and a gamer. Many writer character profiles boast hundreds of questions to ‘really get to know your character.’ To me, that puts you in danger of over writing and over planning. It can give you a lot of ‘I look in the mirror at my brown eyes’ details, but might miss or distract from the stuff you really need to put your character into a scene. So here’s what I’m suggestion, write less. You’ll sift down to what works for you, but here’s what I’m using.

For Major Characters

Name: Duh. A tag line/occupation/easy identifier. If you’re tracking a few story lines, you might color code this or indicate that here in the tag line. (‘Into a werewolf’ helps remind me of that main story line for Diana, for example.)

She/He/They Want: This is that thing that keeps pushing them forward. The thing they don’t have or are determined to keep at all costs. This is the thing that the character would chase even if they weren’t involved in your storylines.

She/He/They Fear(s): Duh. This is not like ‘spiders’ but a fear that might propel the character to make bad choices. “I’m a rational person, and rationally know I should NEVER go into business with this guy, but my fear of spiders is so crippling that I will make this deal because spiders.” Only, you want something a little more sensible than that. What makes your character make bad choices?

She/He/They Loves: This could go either way, it might motivate the character to greater goodness, it might drive them to make bad choices too, depending on how self destructive their love is. “I will honour mom at all costs” could probably go pretty good. “I don’t care what he dun, I’ll love him for all time and will get him out of prison” is less so. Again, this is about conflict how that might complicate the character’s choices and decisions.

In His/Her Pocket: This is a little touchy-feely. I personally really like to ground my character traits in something physical item. You could do this the other way too, by deciding what’s in the pocket first, and define what it means as you’re writing later. (Are you a pantser who wants to track what you’re doing after? This technique is fun at keep your words flowing without limiting your flow.) You could skip this and replace it with a physical mannerism, a vocal quirk, or whatever you need to come back to over and over as you write. Ideally though, you’re keeping this very very short. If you need to expand on a character, give her her own bullet point page and unpack her. If you do give her her own page to unpack, make sure you add that page number here in the log.

For Lesser Characters

You might only need a name, a motivation, and a fear.

You could also use this stuff for groups or organisation to keep track of a groups general motivations instead of specific people. What does the cheerleader team really want? What frightens Conglomco Inc.?

scenes need a lot of pages, so I'm threading these.

Here I’m on my second page of unpacking planned scenes. To help me keep track of where other pages of scenes are, I note the last page I wrote down scenes are, and the next page scenes will be (once I need one.) This is called threading, that way I can go from one to the next. When I have multiple pages of character logs or location logs, I’ll do the same thing. This is a bullet journal thing I liked.


Location logs help me keep track of places I go back to as I’m writing. Basically, if you find your characters show up at a place twice, I throw it in the log when I’m finished writing. (Reusing locations is a good idea. It adds realism to your setting, saves you word count on descriptions. Verisimilitude or something.) Again, I keep these short and useful to me. I don’t write out the whole description of the place because… I mean. I want to practice my long hand, but not THAT much! This is just to kick start your brain, not to bog you down.

Name: Duh. A tag line just like with character logs.

Resonance: what’s the feeling this place is supposed to evoke? The BEST way to do this, by the way, is to decided on the places light motif, the theme song that would play every time characters are at that location if this were an opera instead of a novel. (Or to  lesser extent, a tv show.) But moods and feels also work.

Scenes: This is not a list of scenes you’re using the place. Rather, this is more a hint to you of what kinds of scenes you should drop into that location when you want specific things to happen. So. for example, any scene where I want characters to break down what they’ve scene or to segue between powerful experiences, I’m going to drop that scene in Sara’s apartment unless I have a good reason not to. If you’re doing loose outlining like I do, it’ll help you decide where to ground a place.

Story log

Alright. So my journal is going to be a multi project journal, so keeping track of other stories I want to right makes sense. However, even if you intent to make this a one project book, you still want this page.  Because here’s a thing that happens, you’re writing your story/novel and a million other story ideas jump into your head. You’re like ‘omg let me write this other thing and this thing and this thing and’ … if you give into that impulse, you’ll never ever finish anything. So instead, just write it down. Jot down a title or the core idea or a tag line. Anything. Just get it down on paper and let it go. You can ALWAYS come back later and pick it up. If you leave it to bake, it’ll get better or you’ll figure it wasn’t that great to begin with. I promise. Plus, pages full of story ideas are always nice (and satisfying) to have laying around as you’re flipping through your journal. It makes you feel more ‘legit’ if you have story ideas baking at all times. Trust me on that.

So that’s it. Bullets to journal your novel. Give it a try, take pictures, have a good time with it. This is meant to be fun even as it helps you organise and keep your writing going. Ganbatte!

ITAK: Lovecraftesque

So. I make no secrets out of my feelings about Lovecraft and derivative works. I like the idea of invasive or existential horror. I think Lovecraft was a crap writer and a crap person. I think there are plenty of writers who do that style of horror a million times better and without being a gross racist about it. I think the World Fantasy award should stop giving his head out as an award, and frankly, most products with this name on it make me cringe and RUN for the hills. BUT. Sometimes I’m wrong. And my opinion isn’t the only one that matters. Becky (and Josh) are good people, and that’s why I want to tell you about Lovecraftesque, and more importantly, why go in that direction when there is SO much crap attached? I really think you ought to read this and look at the Kickstarter. The Kickstarter is here, take a look! Come for the unique story mechanics, stay for the brownie recipe! 

Can you describe for me the perfect moment of play? If all the stars are aligned and the players are perfect and everything is working, what is the platonic ideal of this game? 

B: For me, it’s at the climax of the game, when everyone has revealed all their clues to the story, and they are woven together into a compelling finale. When the game is firing on all cylinders, the group will watch open-jawed as all their contributions are effortlessly combined. A never-before-seen horror is unveiled, and everyone sees their own stamp on it, though they never once discussed it.

J: I agree, the perfect moment is when the final scene is a perfect solution to all the clues improvised by the players. So perfect you could believe it was a pre-written adventure. I love no-prep games because they are so easy to pick up and play but I also love the feeling of depth and consistency you get in a prepared session. The perfect moment of Lovecraftesque is making a no-prep session feel like it was prepared all along.

How do your systems serve that perfect moment and bring players to it? What’s your favourite mechanic to get there?

J: The crucial rule is called “leaping to conclusions”. In every scene someone contributes a clue, and afterwards everyone writes down their current theory about the true horror, based on the clues so far. Even though the group never talk about it (and so never break the atmosphere of the game), this mechanic means that nobody is contributing just any old thing. It’s like there’s an invisible GM directing the story.

B: As Josh says the ‘leaping to conclusions’ mechanic is my favourite bit of the game for two reasons. Firstly what I love in mystery games is wildly speculating about what is ‘really’ going on. This mechanic carves out a space and give me a tool to really indulge in that! Secondly I am a great believer in giving people good story scaffolding on which to build their improvised material. This mechanic gets the players creating their own scaffolding piece by piece so that everyone has a equal chance at narrating a killer final scene.

J: In fact my favourite bit of the game is comparing notes on everyone’s theories at the end. I always want to see the alternative Final Horror scenes we could have had!

What is baked into the system to push back against the ablest attitudes present in most Lovecraft-y material? How do you handle ‘madness’?

B: In Lovecraftian stories and games there are recurrent themes around mental illness which often amount to a crude stereotype of people “going mad” – a concept we consider both unrealistic and dehumanising. Our game seeks to cut out that stereotype, without losing the central idea that the terrors encountered in these stories are traumatising and that a rational response to those terrors is to act in a way that might seem, at best, eccentric.

We provide guidance on how to respectfully handle these themes. We analyse the different ways in which the horror might cause someone to act strangely – some of which are mental health-related, and some only appear that way to a naive observer. We ask players to portray the character first, and any symptoms they might be exhibiting second.

J: The game includes a step where the players are asked to consider whether they want any elements banned from their game, and we prompt them to specifically consider banning the idea of people just simplistically “going mad” (amongst other things). We hope this will encourage discussion of these issues amongst the players, so people don’t stumble into during play. We also encourage people to use John Stavropoulos’ x-card system. We hope this will make the game more accessible to people who have previously felt excluded by the tropes of the genre.

We’ve also tried to build the game so that there aren’t any subtle cues that inadvertantly encourage ableism. We have kept ableist language out of the book as far as we can. And we have not included a “sanity” system, leaving players free to choose how they portray mental illness, if they choose to portray it at all.

B: One of the principles we both design, play and GM by is that – ‘my fun is not more important than your safety’, we have woven that throughout the game.

Why Lovecraft? I see that you leave room for people to make their own horrors at the table, and you clearly see that Lovecraft has some… baggage. Why go there anyway? (Sorry. I know that’s a kinda tough one, but.)

B: This is one of those difficult cases where I know I like something which is problematic. I do love the stories of HPL, despite the racism, sexism and mental health issues. What I love most about his stories is that instead of gore or shocks he uses language and atmosphere to build up tension, layer by painstaking layer. We read Graham Walmsley’s excellent Stealing Cthulhu which deconstructs this pattern and decided we wanted to write a Lovecraftian game which emulated that tension and rhythm. Most other Cthulhu games focus on a group of investigators and HPL’s bestiary which is cool (I love a good Mi-Go story as much as the next person) but Lovecraftesque has a different focus.

J: Lovecraft had some really very messed up ideas, which contaminate much of his work, but his stories have retained their popularity because there’s a kernel of genius at their heart. The “good bits” that we wanted to keep are the bleak, alien universe that renders human concerns obsolete, the slow-building, brooding rhythm of the stories that Becky mentions, and the fatalism – this is a universe where the bad guys don’t just win, they barely notice the protagonist’s efforts.

What do you eat while writing about outsider horrors? What should we be eating while playing? Recipes welcome!

J: I don’t know that I have a special eldritch horror meal, but Becky says my pea & bacon pasta is good, so let’s go with that. You fry chopped smoked bacon and garlic, then blitz half of it with some cooked peas, oil and parmesan. Mix that with the remaining chunks of bacon and whole peas, and combine with pasta. It’s a salty yet wholesome(ish) dish that takes very little time to prepare and has absolutely no concealed terrors.

B: I feel I should say deep fried squid or something equally tentacular but the truth is I have a sweet tooth for gaming and this recipe I adapted from the Pink Whisk (here:http://www.thepinkwhisk.co.uk/2010/07/black-forest-berry-brownies.html) for Black Forest Brownies is just amazing! I add a handful of dried sour cherries to the batter before cooking to make it extra fudgy, sharp and sweet all at once.

What character or historical figure do you most want to see reflected in a session of your game?

B: I think for me it’s all the characters that are typically excluded from Lovecraftian tales. Women, people of colour, LGBT peoples, basically anyone who isn’t a mid/upper class white dude. Lovecraft’s stories were artificially deprived of an enormous range of perspectives because of his tremendous bigotry.

One of my favourite historical figures is the artist Frida Kahlo. Her paintings are gorgeous and so beautifully surreal and her approach to life after the trauma of her bus accident was compelling and rich. There are few games I wouldn’t want to see her reflected in!

J: Or, imagine Mary Seacole uncovering a horror feeding off the Crimean War wounded. I mean, to do that you probably have to imagine Mary Seacole meeting a terrible end at the said horror’s hands, which is sort of awkward. But someone so clever and resourceful would be an inspiring protagonist.

Final note: I still hate Lovecraft, but, you should check this out for yourself. Does it undo the damage? Does it tickle the void in your emptiness? 

Ritual for the Dead, a Liminal Space Mini Game

Okay. As mentioned before, this is super beta, and therefore there WILL be mistakes. Don’t worry about them, tho, k? If you take a look, tell me more about how it made you feel, if you want to use it, if you’re going to use it anyway?

The basic game I built the ritual off here was introduced to me by a math teacher here. Apparently, a popular game show here in Japan used a similar system for a while with numbers instead of pictures. Since playing it with a math class, I have been DYING to find a good place to use the general idea in a game. While deciding what to do with helping ghosts pass over to the great whatever, I was like ‘yeah, this here. This right here.’ 

So here’s the basic rules from the setting shard Murders and Ghosts. 

Rituals for the Dead

All shards have unique aspects to them with specific mechanics attached. If you’d like you can use these mechanics in any share you like, mix and match these specific rules as you like. The game material provided is not a canon but a tool kit.

In the setting shard Murders and Ghosts, ghosts and spirits are largely assumed to be real by people in the know and assumed to be fake by the majority of people. In your narrative space, spirits and ghosts may be synonyms, or they may mean two specific and different types of entities that exist on the other side.

For the purposes of explanation, the other side is a realm of existence largely attached to our own. It is permeable and at least for murders in this setting, one can hear and see across the line at times. Usually, communication appears to be one-way, from the other side to our side, but, our world greatly influenced the landscape of the other side. There may be places where there is no separation. It maybe me possible to travel there without dying, but, no one is sure of the details. Seeing into the other side can be harrowing or inspirational to a person, but no one sees across and remains is moved by it.

Ghosts as Director Characters

As the director, you will probably need to keep track of ghosts as regular characters since your players aught to be interacting with them frequently. Character sheets for characters in Liminal Space are pretty tiny, so you could simply write up a ghost as you would any other character. But, ghosts can and should behave a little bit differently than human beings, and so you’ll write them up a little bit differently.

Attachment: A Special Truth

Ghosts are ghosts because their still tied to our world. The truth is that it binds them on the other side and prevents them from going wherever most people go when they die. This attachment gets a rating just like any other truth, from basic to mythical. This describes how potent they are. A basic ghost is a bare whisper of a person. A soulless echo of a strong memory but with no real consciousness behind it. A mythical ghost may be indistinguishable from gods on the other side, and it is perfectly valid to describe them as gods. You cannot exorcise such a thing, and perhaps, they cannot pass over. They are simply too invested in what they do for good or ill.

Attachment replaces all three drives for a ghost. A ghost’s character type is Liminal from attachment basic thru rare. After that, they’re character type is mythical.

Any ghost with a rare or stronger attachment should also have a defining trick. Make up your own or use one for the sample list.

Playtesters alert!
A list of ghost tricks will probably happen with the next iteration of the rules text!


As far as Murders and Ghosts go, exorcism is a pretty awful thing to do to a ghost. No one is sure what happens to a ghost when you exorcise it, but it sounds so painful and ends with such incredible, suffocating silence that it’s pretty easy to assume it’s a bad end. Ghosts who are ‘forced out’ of locations sometimes show up elsewhere, changed and much more dangerous than before. Other times, they’re just gone.

As a result, murders don’t perform exorcism on ghosts. Most of them wouldn’t actually know how to anyway, that’s a very specific collection of skills.

Passing Over

Instead, murders leave ghosts be, for the most part. Ghosts, the theory goes, tend to work their own shit out, and eventually, pass over on their own. It takes an incredible amount of mental or spiritual energy to stick around, so, hey maybe they’re doing it for a good reason.

Sometimes tho, you run into a ghost that’s really destroying itself or the people it left behind. Sometimes being spa ghost for a long time tweaks you and turns you into something pretty monstrous, Sometimes a ghost is just suffering and begs but doesn’t know how to get out on their own. And some rare times, someone should never have been a ghost in the first place and the whole thing is torture. In those cases, murders try to help the ghost Pass over. It’s a feeling, and instinct they get when a ghost is ready to go. For the murderer it’s harrowing and sometimes painful. Selfish murders will flee from the responsibility, but that hurts too. So. Damned if you do or don’t.

Where do ghosts go when they pass over? No one knows. Most murders experience a temporary feeling of peace after they help a ghost over. But not all. Some feel quite the opposite. This may say more about the murderer than the ghost.

The Passing Over Ritual

At any logical point, a player can try to uncover the truth to see if a ghost is ready to pass over. This always requires an accomplishment equal to the ghosts attachment. Sometimes the answer is no, and that’s largely up to the director, but she should take all player input into account.

If the answer is yes, the game begins. The characters are flooded with a wash of sensory inputs, the soul of the entity flooding their minds with all it is and has ever been. It is painful, frightening, or overwhelming every time.

At this point the director should lay out ten cards or pictures. Spooky or weird, Jungian or even just playing cards if they like. Each card means something, but the director doesn’t say want. Then, she must pick three cards and write them down in her notes secretly. Images go in a specific order, one representing the ghosts life before, the moment of their death, and their experiences on the other side.

Once that’s done and kept secret, the players work together to place the right three cards in the right spots within a certain number of rounds. It works like this:

Of the ten cards, players put one in Life, one in Death, and one in Afterlife. The director compares it with her layout.

  • For every correct card in the correct space, she tells the players hit.
  • For every correct card in the incorrect space, she tells the players close.
  • For every incorrect card, she tells the players miss.

The director does not point out which cards are misses or hits or close. They may need some scrap paper to keep track. The pictures and their order stay with the ghost, and so if the players fail to help it pass over this time, they have a head start next time.

Players have a certain number of turns to try before the attempt fails. To start, they have six turns minus the strength of the ghosts attachment. For every rare or stronger truth they have uncover about the ghost so far in play, they get an additional turn up to a maximum of five.

If the players can get three hits in the time allowed, the ghost passes over. They are washed with s brief sense of peace most of the time, and they know it’s over.

Any time a character experiences an uncover the truth action that triggers the start of passing over, they can take a lingering truth Burdened equal to the ghosts attachment, if they do, they collect a story token even if the director doesn’t have enough in her pool.

BONUS CONTENT! Want to see some cool stuff? How about a set of ‘passing over cards’ you can use yourself? Or the beta draft of the layout for this section with a few pictures and so on? Well. GET’EM!

Featured Image  “Spooky” by Alison Benbow, used under CC BY 2.0/

Murders and Ghosts Character Beta

imageI’m chipping away at the play testing document alpha draft of Liminal Space and a setting piece you play people who can interact with the dead because they’ve killed someone. More or less. It’s for telling sad pretty scary ghost stories.

I made some pre gens because why not, right?  So these are super early, and things like the character tricks will totally change by the time I release the whole thing for playtesting. But in the meantime here’s a taste of who you might become.

Here it is a handy dandy PDF to look at. 


Gentle Ladies Knitting Circle

imageContent Warning: None

Page Count: 17

Bother the apocalypse. Bother demons. Bother failure. Bother many things.

The Gentle Ladies’ Tea & Monstrosity Destroying & Quilting Circle Auxiliary is a Machine Age Production. It is a game about destroying nuisances before they ruin tea. Because no matter how wicked the end of times, there’s no excuse for incivility. This is not post-apocalyptic, it is proper-apocalyptic.

You will have need of dice. Four sided, six, eight, ten, twelve, and twenty. As is traditional. Remember extras for guests! Set your center piece on the credenza and gather your dice in its stead. You will have need of some notions. Buttons, thimbles, or perhaps a helping of macaroons. One shouldn’t face the forces of evil without a taste of sweetness, after all. Pencils are also quite useful!

Oh my dear! I’m so glad you could finally join us. I know Margret can be a touch, shall we say, picky about who gets these invitations, but now that you’ve risen to her approval, welcome! I thought as we’ve gotten together to craft, stitch, and destroy the blackest souls of destruction, it would only be proper as a hostess to give you every comfort. Make yourself at home, there’s tea. You’ll need honey, as we’ve no sugar cubes. Radiation does silly things to the sugar cubes, sadly.

As well as the game itself, we’ve included print files. This way, you can print and staple your own copy. Print the cover. Then each alternating page is a front/back combo. So, pages 2-3 are front/back, 4/5, 6/7, 8/9.

This game is a companion piece to Fuck Armageddon. I don’t think I need to explain how they relate. Right? Right?

Buy This Game


Amaranthine: Romance, Vendetta, Eternity

imageContent: Sexuality. Strong Language. Cinematic Violence.

I remember the Void; the other side, and all the horrible ‘life’ there. But that’s brief, only after I’ve died and the memory never lingers long. I prefer the happy memories. My sucesses and my accomplishments, which are many. I am exceptional in every way and I use my body, every life time, as a vessal for my brilliance and my cunning. I draw on the skills from one hundred life times of success. The only thing I can’t control is other people. And so it is, an army of well trained warriors holds not a candle to me, but one person can bring me to my knees. After all, it isn’t about win or lose in cards or life. It’s about what you’re willing to put on the line while you play.

What you’ll find inside:

Game rules that focus on conflict escalation and sacrifice, the real stuggle for immortals.
A game that works well in a four hour block of time, or can be played over weeks, months, or years.
Game action that involves improvised flashbacks to past lives, in order to influence current events.
A game which supports stories of action, romance, politics, mystery, intrigue, and combat.

Buy This Game

Maschine Zeit

Content Warning: Strong Language. Images of body horror.image

The ghosts hate intruders

You are an intruder

They hate you

The year is 2110. In 2105, over a tenth of the world’s population died when a number of space stations orbiting Earth went dead. The radiation that killed them had an unexpected side effect: The victims now haunt the halls, possessing machinery and threatening anyone that dares travel inside.

Maschine Zeit is a science fiction/horror RPG from Machine Age Productions. The game’s mechanics focus on movie logic, encouraging dramatic behavior and offering players control over most of the narrative. The game emulates the conventions of such genre works as Alien, Pandorum, Event Horizon and Dead Space. The setting information is all presented in-character, in the form of blogs, newspapers and other pieces of biased text, leaving the truth to fill in at the table. The system uses a d100, and can be learned or taught in minutes, but offers strategic players a shockingly vicious resource gambling mechanism.

Buy This Game

F@@@ Armageddon – Punkapocalyptic Roleplaying

Content Warning: Immense vulgarityHigh quality art!

Page Count: 19

Fuck the apocalypse. Fuck demons. Fuck failure. Fuck everything.

Fuck Armageddon is a game about destroying threats before they destroy you. Because the world doesn’t get to end until you say it does. This isn’t post-apocalyptic; it’s punk-apocalyptic.

This game, if you haven’t noticed, is very profane.

The game’s simple. It uses d4s, d6s, d8s, d10s, d12s, and d20s.
It requires no GM.
It requires no prep.
It’s basically a game about smashing in the heads of monsters. Because.
We think Punk-Apocalyptic sounds cool.
The art is mostly hand-drawn by a guy that can’t draw. This is meant as a feature, not a bug.
Preview included is the “NO SHIT REMIX” version of the game, which is completely censored. You’ll get that version if you buy it, as well as the uncensored version. If you want to print the game, may we suggest the regular version? The censored version will probably eat an ink cartridge all by itself.

Of course, if you’d rather fight off Armageddon in crinoline and lace, consider the companion game Gentle Ladies Tea & Monstrosity Destroying & Quilting Circle Auxiliary. 

Buy This Game