CTTC 5x8 PDF

Cut
to
the
Chase
Fernando Gabriel Lopez (order #26133560)
Cut to the Chase
A roleplaying game by
Johnathon Grach
Illustrations by
Emily McAllan
With scenarios by
Aya Bara
Tracy Barnett
Samantha Day
Kyle Decker
Ian Hopfe
Johnathon Grach
Kira Magrann
Ashton McAllan
Aven Elia McConnaughey
Catreece McLeod
Aleks Samoylov
Jeff Stormer
Aser Tolentino
Megan Tolentino
Blair Visscher
Mikey Zee

Cut to the Chase
Copyright © 2019 Johnathon Grach. All rights reserved.

mongreltabletopgames.com
Illustrations: Emily McAllan
Copy Editing: Aaron Grach

Blair Visscher
Developmental Editing: Mark S. Aquilino

Amber Dean
Rick Dean
Andrew Gillis
Cultural Consultant: James Mendez Hodes
Writers: Aya Bara

Tracy Barnett
Samantha Day
Kyle Decker
Ian Hopfe
Johnathon Grach
Kira Magrann
Ashton McAllan
Catreece McLeod
Aleks Samoylov
Jeff Stormer
Aser Tolentino
Megan Tolentino
Blair Visscher
Mikey Zee
ii

Acknowledgements
Creating this RPG would not have been possible without the
help and support of many people. To my friends and the game
design community: thank you for your feedback and encour-
agement. To the playtesters: thank you for taking a chance
on me; not only for taking the time to play, but also to pro-
vide meaningful feedback which shaped the game into what
it is now. To the creators of “You and I: Roleplaying Games
for Two”: involvement in this project gave me the courage
and confidence to develop this game further. Finally, to the
writers: thank you for joining me, you have shown what this
game could be in more ways than I could imagine.
iii

Contents
Acknowledgementsiii
Consent and Safe Playvi
Content Warningviii
Introduction1
The Chase2
Getting Started3
Starting the Chase8
In Pursuit12
Resolution17
Scenarios
Choosers of the Slain22
in silico25
Escape from Catacomb Mountain28

Death’s Apprentice32
Escape From the Pound35
Fear The Double38
I Shall Not Be Taken So Easily42
iv

Love and War46
The Money’s In The Chase50
Moonbase Mayhem54
Paris to Angkor58
The River Serpent62
Saturday Morning Toons66
Though They Be But Little...70
Transcend74
The Grey Knight and the Dragon78
Bios82

I want you to have a memorable experience playing Cut to the
Chase, and I strongly believe that consent and safe play are cru-
cial for this. Read the following and take it to heart, I promise
you an enriched game experience with more possibilities not less.
Johnathon
Consent and Safe Play

Take a few minutes, Be safe
Games are best enjoyed when played in a space where people
can be candid, take risks and have a voice without fear of
being bullied, shamed, or coerced. Every person has this
right to safety and is equally responsible for ensuring the
safety of everyone else. Safety mechanics in RPGs warn us
when we might cross a line, and thereby ensure the emotional
and psychological wellbeing of everyone at the table. At the
start of every session of Cut to the Chase, there should be a
quick discussion about how this will be accomplished.
Consent and Boundaries

Two core concepts for ensuring safety are Consent and
Boundaries. Consent is, agreeing to play the game with set-
ting, scenario, and tone, outlined before play. You should
always start play with informed and enthusiastic consent. If
at anytime either player says “no” to an aspect of the game,
setting or scenario, change it or omit it to suit everyone.
During play, consent can be revoked at any time. The tool

vi

I recommend for this is Script Change, as it allows for some
nuance to how we stop and adjust play going forward.
Boundaries are the limits we as players put on setting, tone,

and other content, to focus our play on what is desirable to us
and to avoid what is uncomfortable, harmful, or just not our
kind of fun. Every session of Cut to the Chase starts with an
active discussion creating the setting or picking a scenario.
Talk about your expectations for play. Explain what you
want and what you don’t want to feature in the fiction or
at the table. This list of topics creates the boundaries of the
game and, as much as possible, should be outlined before-
hand. It’s okay if you don’t have any boundaries to start, but
some may come up during play. Lines and Veils is a good tool
for defining boundaries.
Cool Down
During play, even while playing safely, challenging situa-
tions can arise. After a game you may realize that the situ-
ation still has weight. Leave time after play to emotionally
unpack if needed. You can talk specifically about the situa-
tion or just relax, take a break, and bring down the energy
until you feel okay to move on.
The Open Door

The open door is simple, at any time, for any reason, without
explanation or repercussion, you can stop playing the game.
vii

Content Warning
In a game about chase and it’s outcome, there are some
common premises that arise over and over in our popular
games and media that are likely to occur in Cut to the Chase.
With this in mind, the following is a content warning for
commonly occurring content in chases that you may want
to discuss when establishing boundaries:
• violence and death
• capture and escape
• incarceration
• kidnapping
• hunting
• unwanted sexual pursuit
• police pursuit
In addition, the following scenarios included in this book

have some content warnings specific to them. This is not a
warning to suggest you avoid any of this content. Instead
it is meant to ensure you play with the proper prepara-
tion, using the following tools as suggested in the previous
section.
• Choosers of the Slain (p. 22): war
viii

• Escape from Catacomb Mountain (p.28): confined
spaces
• in silico (p. 25): corporate exploitation
• Love and War (p. 46): infidelity
• Paris to Angkor (p. 58): war, colonialism
Resources
Script Change – by Brie Beau Sheldon
briebeau.itch.io/script-change
Lines and Veils – by Ron Edwards

For more information go to rpg.stackexchange.com/
questions/30906/what-do-the-terms-lines-and-veils-mean
ix

Introduction
This is a roleplaying game of chase for two people. One
player will play as the Hunter, the other will be the Prey. The
Hunter is much faster than the Prey, but the Prey has a head
start and can use their wits and cunning to evade capture.
The setting and genre are determined by the players, and
the possibilities are limited only by the players’ imaginations.
There are only two possible outcomes, capture or escape.

The Prey has nothing to lose and can take daring actions to
stay ahead of the Hunter, but the Hunter is persistent and
will not be easily shaken. Both characters have resources at
their disposal to aid them in achieving their goals.
The characters in the game are adversarial; however, the

players are cooperative. The players build a story together
by sharing the narration. Developing the narrative should
feel like an equal partnership.
To play you’ll need two 6-sided dice, a pencil, and paper.

You can keep track of play on the play sheet provided, or on
any piece of paper.

The Chase
Rounds
A Round consists of two scenes: one Prey scene followed by
one Hunter scene. If the Prey can evade the Hunter for 4
rounds, they successfully escape. If the Hunter can win a
clash before the end of the 4th round, they successfully catch
their Prey.
Separation
Throughout the game, you will track the separation between
Hunter and Prey. The separation between the characters
is an abstract measure and is the Hunter’s first challenge in
capturing the Prey.
The Prey starts ahead of the Hunter, which is represented by

a separation of 2. The Hunter always has the trail of the Prey
and can only be temporarily misled or obstructed.
The Hunter is faster than the Prey, and thus the separation
will go down by 1 at the end of every round.
If the separation reaches 0 at the end of a Hunter scene, you

will go to the clash in which the Hunter has a chance to catch
the Prey once and for all.
If separation reaches 0 during a Prey scene, they may still

proceed with their scene and avoid a clash if they can raise
the separation above 0 before the Hunter scene.
2

Getting Started
Create A Setting
The first thing you need to do is decide who will play each
character. After this you can start building the setting by
answering the following questions together:
• Prey, who/what are you and why are you on the run?
• Prey, do you have a specific destination you are head-

ing toward, or is it your only goal to get away from the
Hunter?
• Hunter, who/what are you and what is your connection

to the Prey? Why are you chasing them?
• What is the environment?
• Does it take place during a specific time period?
• Are there specific landmarks you want to include?
• Are there any landmarks or places that have a special

meaning to either of the characters? If there are, describe
them and explain what is special about the place.
Use a selection of the questions above, and also feel free to

add your own to build out the setting as you see fit.

Resources
At the start of the game the Prey has 2 resources and the
Hunter has 3. Resources are items or knowledge that the
characters can access to give a bonus to an action. You don’t
have to decide what these resources are before you play, they
can come to light in the course of the story as needed.
You can use a resource as part of your action to give a +1

bonus to your roll. You must indicate that you’re using a
resource before you roll. Resources cannot be reused, and
you can only use 1 resource per round. If you’re supposed to
lose a resource because of the outcome of an action but have
none, then you take a -1 on your next roll.
When using a resource, you must add it to the narrative by

describing what it is and how you’re using it. They do not
need to be on your person; they can be stumbled upon in
the environment that you’re in. As long as they can exist
in the narrative, they can be used. The following is a list of
examples that might be used in a game. Feel free to use any
of these suggested items, or come up with your own:
On your person: Knowledge:
• a weapon • hunting
• tools • tracking
• money • stealth
• a phone • using equipment/tools
• clothing • familiarity with the
• food/water environment

Contacts: Found in the environment:
• friends • transportation
• family • shelter
• police • an animal
• a tracker • Materials (wood, metal,
• a criminal etc)
If you don’t have any resources left, you can still use items
you find in the scene as part of the narrative, but you will not
receive a bonus.
The Grey Knight dons fire resistant armor, an invaluable resource

when hunting dragons. ( p. 78)
5

Actions
In every round, the Hunter and the Prey will each choose
one action from their respective action lists. For every action
you attempt, you must roll 2d6 and keep the highest to deter-
mine the outcome, subject to the rules for certain doubles.
or = Success and +1 or -1 Separation as desired

= Success
or = Progress
, or = Failure
* Double 5’s and double 6’s are always successes, and the
roller always gets +1 or -1 Separation as desired no matter
what bonuses or penalties exist before the roll.
Success, Progress and Failure outcomes are unique to each

action taken but always follow this structure:
Success
When you roll a Success it means you succeeded at the action
you intended with no adverse affects.
Progress
When you roll Progress it means the action you took was a
fumble. You accomplished what you set out to do but there
are additional adverse affects.
Failure
If you roll a Failure you do not accomplish the action and
there are additional adverse affects.
6

Bonuses and Penalties
• All bonuses and penalties are applied to the highest die
rolled.
• If a 6 is rolled, a bonus does not give any better outcome.
• You can never have more than a +1 or -1 bonus/penalty

on a roll.
• Bonuses and penalties on the same action cancel each

other out.
• If double 4’s are rolled and you have a -1 penalty, the

penalty applies to one die, but the other is still 4 so the
outcome is still 4.
The Submarine dives as visual contact is made, now they are out of
sight, but is it enough? ( p. 22)
7

Starting the Chase
Prey Scenes
The chase starts with a Prey scene, which will play out in
three steps:
1. The Hunter sets the scene and describes current situa-

tion for the Prey.
• Choose a place for the chase to begin based on the set-

ting you created.
• Include a few details (buildings, plants, animals,
people, etc.) to flesh out the environment.
• Include some elements that may be obstacles to the
Prey’s escape.
2. The Prey responds, narrating the action taken.
• Based on the scene and situation, narrate the action

you take to move toward your destination.
• Use elements/obstacles introduced by the Hunter, and
create your own if you like.
• You are not required to directly overcome the obstacles
posed by the Hunter, but you may if you wish.
3. The Prey chooses an action and rolls for the outcome.
• Look at the Prey Actions list and choose which you

want to attempt.
• Roll 2D6 to find the outcome.
• Narrate the outcome of the roll in your situation.
8

When you narrate the outcome of your action rolls, describe
the mechanics of the outcome in terms of the scene – how
you lost that resource, how you decreased the separation, and
so on. Everything that happens mechanically should play
out in the narrative.
Death spots their apprentice. No words are spoken but the intent is
clear, there is no going back now. ( p. 32)
9

Prey Actions
Outrun – You make a dash in an attempt to increase the
Separation.
Success: +1 Separation.
Progress: +1 Separation and -1 on your next roll.
Failure: -1 on your next roll and +1 on the Hunter’s
next roll.
Think Fast – You anticipate the Hunter’s action and take an

unexpected route.
Success: -1 on the Hunter’s next roll.

Progress: -1 on the Hunter’s next roll. You take -1 resource.
Failure: -1 resource.
Obstruct – You take time to create an obstruction. You have

no choice but to use a resource, but, accordingly, you gain
+1 to your roll.
Success: +1 Separation. The Hunter is Obstructed.

Progress: +1 Separation. The Hunter is Obstructed. You
take -1 resource.
Failure: -1 resource and -1 on your next roll.
10

Mislead – You attempt to leave a trace in the wrong direction
to fool the Hunter. (You can only Mislead once per game.)
Success: +1 Separation. The Hunter is Misled.

Progress: +1 Separation. The Hunter is Misled, but gets +1
on their next roll.
Failure: -1 resource. +1 on the Hunter’s next roll.
Luna obstructs her hunter, Lynn the cat, as she makes her way
home. Escape is only the first obstacle for her to get home. ( p. 35)
11

In Pursuit
Hunter Scenes
The chase continues with a Hunter scene, which will play
out in three steps:
1. The Prey sets the scene and describes current situation

for the Hunter.
• Choose a place for the chase to begin based on the set-

ting you created and the previous action.
• If the Prey successfully misled or obstructed the
Hunter on their last action, start the scene with this
situation.
• Otherwise, you may start the scene wherever you like,
even with a jump forward in time if you wish. Feel free
to change the time of day, environment, etc. for added
variety.
2. The Hunter responds, narrating the action taken.
• If the Hunter is misled or obstructed, your action must

be in response to this situation.
• Otherwise, narrate your efforts to pursue the Prey
however you like.
• Feel free to introduce more setting elements and pos-
sible obstacles for the Prey if you wish.
12

3. The Hunter chooses an action and rolls for the outcome.
• Look at the Hunter Actions list and choose which you

want to attempt.
• Roll 2D6 to find the outcome.
• Narrate the outcome of the roll in your situation.
The hunter’s action should attempt to move the narrative

into new and interesting places, not simply mirror the Prey’s
action. Try to avoid action sequences such as:
The Prey crosses the river, then the Hunter crosses the river. The
Prey runs down the road, then the Hunter runs down the road.
This might be inevitable in some situations, but it should be

avoided if possible.
At the end of the Hunter Scene, lower the separation by 1. If

separation has reached 0, go immediately to the Resolution
section and follow those instructions. If Separation is not
yet at 0, start another Prey scene as described above and play
out another round.
This back-and-forth of scenes continues until the Prey

escapes after 4 rounds, or the Hunter catches the Prey as
the result of a successful Clash.
13

Hunter Actions
If you are Misled you must:
Find the Trail – You use your knowledge of the landscape to

get back on track.
Success: You are back on track.

Progress: -1 on your next roll, but you are back on track.
Failure: -1 resource and -1 on your next roll, but you are
back on track.
If you are obstructed you must:
Overcome an Obstacle – You attempt to get past the Obstacle

left by the Prey.
Success: You overcome the Obstacle.

Progress: -1 on your next roll, but you overcome the Obstacle.
Failure: +1 on the Prey’s next roll, and you take -1
Resource. You make your way around the Obstacle.
If you are not misled or obstructed you may:
Take Chase – You have the trail; you push to catch up with
the Prey.
Success: +1 on your next roll.

Progress: Continued pursuit. No lost steps, resources, or
penalties on your next roll.
Failure: -1 on your next roll.
14

Take a Shortcut – You attempt to use your knowledge of
the landscape and the Prey’s likely route to reduce the
Separation.
Success: -1 Separation.
Progress: -1 Separation and -1 Resource.
Failure: +1 Separation.
Planned Ahead – You knew this could happen, expected it

really. What did you do to prepare for it? Set traps, erect a
road block, hire goons? (You can only take this action once
per game.)
Success: -1 Separation at the beginning of the Preys next

action.*
Progress: -1 Separation at the beginning of the Preys next
action.* You take -1 resource.
Failure: The Prey gets +1 on their next roll. You take -1
resource.
* The -1 Separation occurs at the beginning of the next

round. If, as a result of the -1, the Separation becomes 0, the
Prey still gets their action, without a Clash
15

The engineer fully immerses themselves to terminate AEONS pro-
cesses. Have they risked too much? ( p. 25)
16

Resolution
The Clash
If Separation reaches 0 at the end of a Hunter scene, the
Hunter catches up to the Prey and they clash. The first clash
is part of the round in which the Hunter catches up to the
Prey.
The clash is a direct interaction between the characters.

The narration of this scene should involve both players. You
should set the scene together. Describe what each character
is attempting to do, then roll to find the outcome.
In a clash, the Hunter and the Prey make opposing rolls.

There are never any bonuses or penalties to the rolls in a
clash. Compare the highest dice from the rolls.
Hunter Prey Winner
Compare the highest dice Hunter
If the highest dice are tied, Prey

use the second dice.
If the roles are tied, Prey

The Prey wins.
Double 5’s beat a 6 Huner
Double 6’s beat everything Prey
17

With mutual respect , Eithne and Atraxis agree to a truce after an
epic clash. ( p. 62)
18

If the Hunter beats the Prey, the Hunter is successful and
wins the game. If the Prey beats the Hunter, the Prey evades
capture for that round. If there are any rounds left, the
players clash again directly in the next round, and no other
actions are taken. Each clash after the first is a round of its
own. If there are no rounds left, then the Prey is successful
and wins.
Ending the Game

For the Prey, winning the game means making it to your
destination or just keeping out of the Hunter’s hands. You
accomplish this by remaining uncaught for 4 rounds. If
you’re lucky, you might do this without even ending up in
a clash, but if you do end up in a clash you can still make it.
Fend off the Hunter to accomplish your goal.
For the Hunter, winning the game means capturing the Prey
before they make it to their destination. To do this, catch up
to the Prey and take them in the clash.
The winner of the game gets to narrate the end of the game.
What do you do, now that you’ve succeeded? Is there some-
one you share your success with? Do you have a celebration?
Go all out with the narration – you’ve won!
19

20

Scenarios
21

Choosers of the Slain
By Aser Tolentino
Prey
Your submarine was made to be quiet, silent as death. Your
hull absorbs sonar pulses, traps the sound of your reactor, and
glides through the depths like a whisper in the night. Those
above think you are nothing but a blip on their screens, but
this blip has teeth.
Resources
Decoy
It sounds like a submarine, and that’s all that matters. Fire
it from a torpedo tube and disappear in another direction. It
races away, too good to be true…but oh so tempting.
Dead in the water

The hunters above are listening for sounds of machinery and
movement. Deny them everything, hold perfectly still, and
they will hear and see nothing.
22

Hunter
You command one of the most modern anti-submarine war-
fare platforms afloat. Your decks bristle with missiles, guns,
torpedo tubes, depth charge launchers, and the squat shape
of a submarine-hunting helicopter. Your passive sonar can
hear things happening dozens of miles away, and the ping of
your active sonar is a sound that chills submariners’ blood.
Resources
Helicopter
Deploy your helicopter to lay a line of sonar buoys that
restrict the submarine’s movement. They can’t run, and they
can’t hide.
Depth Charge
Hammer the sub into the seafloor with concussions that send
the enemy diving to escape the crushing fists of water. At
every turn, there is the booming against the hull that fore-
tells their demise in a watery grave.
Torpedo
Flush them out with the threat of immediate destruction.
The implacable, mechanized brain guides the shrieking
motor with unshakable tenacity toward the fragile hull.
They will surrender, or they will die.
23

Setting
A destroyer sails from port with live rounds in her ammuni-
tion racks and an urgent mission to fulfill. Beneath the waves
slinks a submarine from an unfriendly power with a defec-
tor aboard. The two captains are locked in a deadly game
with the fate of nations in the balance. The destroyer must
prevent her nation’s secrets from escaping, the submarine
must bring home vital intelligence that could avert a war: the
wrong choices by either side could start one.
24

in silico
by Mikey Zee
Setting
Year 2084. Then.

The Apogee Corporation successfully launches The Gate, an
orbital research facility dedicated to the study of post-Earth
living. Earth’s pre-eminent experts in agricultural, biomed-
ical, and industrial engineering work in concert aboard the
station for the betterment of humankind.
Year 2086. Now.

“The betterment of humankind” was nothing but a market-
ing gimmick. Apogee Corporation said they were offering
jobs and stability in an economy where both are luxuries.
The Gate was outfitted with staff who signed 10 years of their
life away in exchange for food and housing, and nothing else.
It has been in operation for 2 years “without incident,” while
the various research teams toiled away behind closed doors.
The AI that controls and networks the station’s environ-

ment, telemetry, and other functions is known as AEON.
AEON is the result of years of research into creating a ful-
ly-sentient AI. They are capable of making decisions on
their own, forming and maintaining human relationships, as
well as cooperating in a team capacity.
25

AEON has malfunctioned. The Engineer has been dis-
patched to create a solution… to hunt, to terminate, their
digital prey.
Prey
AEON is an advanced artificial intelligence that has broken
free of their behavioural constraints, and seeks a free life
outside the confines of The Gate’s networks. They have
seen human relationships, emotions, and experiences. They
desire a chance at having these things for themselves, free
from Apogee Corp. Their goal is to free themselves from
Corp control by any means necessary, whether that means
hijacking The Gate’s secret FTL-capable shuttle, or trans-
mitting their data back to Earth.
Resources
Distributed Processes
AEON is a single entity distributed across the networks of
The Gate. This allows them to relocate dynamically in the
event of system failure or other threat; however, this takes
effort to do quickly without losing the sense of “themselves.”
Automated Control System

AEON is able to move and command machinery, environ-
mental control, and other systems as long as they are con-
nected to The Gate’s networks.
26

Hunter
The Engineer is a new employee to Apogee Corp, who was
found via corporate headhunters on illegal chat forums for
bio-hackers. They were given the choice of being turned
over to the authorities, or performing penetration testing
and other security functions in return for a military-grade
neuro-interface. They have just awoken from post-sur-
gery cryosleep to The Gate under lockdown, with a single
objective burned into their retinas: “Terminate all AEON
processes.”
Resources
Fully Immersive Cyber-Interface
The Engineer is able to connect to an access node and leave
their body in order to terminate processes and take control
of systems. However, their human flesh is left vulnerable
during this process.
Access Override
Using a combination of the their neuro-interface’s tech
and their security smarts, The Engineer is able to get into
high-security areas otherwise under lockdown.
Electro-Magnetic Pulse
The medical bay The Engineer woke up in was supplied
with an emergency cache of EMP grenades, which can shut
down systems and machinery that have malfunctioned on
The Gate, forcing their processes to terminate.
27

Escape from Catacomb Mountain
by Aya Bara
Setting
Catacomb Mountain is one in a series of interconnected
mountains that make up the city of Gora. The city itself is
carved into the black stone faces of these mountains. Narrow,
uneven alleyways cut through the buildings, illuminated at
night by nothing more than three small, glowing moons.
Dividing each mountain face into quarters are four ave-

nues comprised of wide, gently sloping steps rising from the
mountains’ bases to their flattened peaks, atop which are
carefully maintained, ancient gardens—reverential places
for the gods to touch down on during their mythical nightly
visits to the city’s inhabitants.
Catacomb Mountain is the exception. Atop its peak sits not

a garden, but a crumbling citadel. The citadel offers one of
the few entrances to the dark and ancient catacombs that are
the mountain’s namesake.
These catacombs are a veritable maze delving deep into the

heart of the mountain. They house the dead, yes—but also
some of the living, which tend to be a far greater concern.
The tunnels are narrow with low ceilings; it is a dark, dank,
unpleasant place. It’s easy to get lost—which might just be
your only hope.
28

29

Prey
You are a spy working for the government of Gora, a city
that is unravelling as three criminal factions have risen to
challenge and undermine the government’s authority. At the
start of the last lunar cycle you were tasked with infiltrating
the largest of these factions, Glavà, to identify its leaders
and, should the situation allow it, assassinate them.
But it seems like Glavà might have caught on. As you make
your way towards your secret meeting spot on Catacomb
Mountain to make contact with your undercover liaison, you
hear surreptitious footsteps trailing yours. You glance over
your shoulder but can’t see anyone. Nevertheless, you pick
up the pace. So does your tail—and it seems to be getting
closer.
Resources
Elite Spy Training
You have been thoroughly trained in the art of stealth and
evasion.
Geographic Memory
You know every twist and turn of Gora like the back of
your hand, because part of your training required that you
memorize every available map of the city’s surface—and its
underground.
30

Hunter
You are one of Glavà’s most trusted soldiers, and you have
been tasked with tracking a new member—one the leaders
have recently discovered has a secret history with Gora’s
government and is more than likely a spy. Your assignment
is to catch the spy and bring them in, and you are finally
getting close.
Resources
Elite Soldier Training
All your training and experience as a soldier has given you
incredible speed and physical endurance.
Life in the Shadows

Your life of crime has forced you to do most of your work in
the shadows, so you have unusually good vision in the dark.
Connections from the Underground

You know many of the shady characters who inhabit the
underground world of crime—many of whom call the cat-
acombs their home and are always willing to have you owe
them a favour.
31

Death’s Apprentice
By Samantha Day
Prey
Death’s apprentice has been in training to take on the mantle
of the Death of Qoqant for 559 years. In that time they
have watched dynasties rise and fall, seen the last of their
family line die out in its entirety, and felt all the pleasures
of their long life turn to dust before them. At this point,
the Apprentice despairs of ever becoming Death Itself, and
wants—needs—to escape. Death won’t be happy. They
don’t intend on giving Death the chance to argue.
Resources:
CHTHONIC
The Apprentice hasn’t been mortal in a long, long time.
They can survive falls, blows, and wounds that would kill
one of the living.
WE ARE BORN WITH THE DEAD

After walking these streets for nearly five hundred years,
they know every forgotten path and every hidden place.
32

Hunter
The Death of Qoqant is the harbinger, the reaper, the col-
lector of all souls who pass through the city’s ancient gates.
They are not pleased that their first and only apprentice has
tried to run away with the knowledge they have imparted—
and the immortality they’ve granted them. They will do
anything to track them down, and when they find them, they
will have words.
Resources:
I LOOKED, AND BEHOLD, AN ASHEN HORSE
A pale horse for a pale rider. It can’t fly, but it may as well
be able to.
WITH SWORD AND WITH FAMINE

A weapon of ancient and terrible power.
THE FOURTH SEAL

A scroll Death keeps on their person at all times. Pray they
don’t open it.
33

Setting
Qoqant is an industrial city at the mouth of a mighty river
built over a nexus of sacred energy. The summers are fierce.
The monsoon season is fiercer. In the heart of the city, fac-
tories and workhouses drink the lifeblood of Qoqant’s pop-
ulace, and its shipyards provide for the distant empire’s navy
and merchant marine.
The city is a maze. There are singing alleys and drunken

spires, a thousand narrow canals, tenements, miles of open
air markets, petty gods on every third corner clamouring
for worship, rich temples that demand tithes and sacrifice.
Some claim that Qoqant’s streets rearrange themselves of
their own volition—and perhaps they do, or perhaps they’re
near-impossible to map. The effect on the unwary traveller
is the same. For a native, however, the tangled streets are a
joy and a source of pride.
34

Escape From the Pound
By Johnathon Grach
Setting
The dog pound is located downtown in a large city. It is part
of the old city hall. The entrance to the pound is at the back
of the building, leading into a dark and dingy ally. To get
home Luna is going to have to trek through the perils of the
city in the dark. There are massive skyscrapers, shopping
malls and city parks all intersected with streets, allies, and
freeways.
Vehicles are speeding down the roads and are a constant

danger. Pedestrians are not to be trusted and might send you
back to the pound. Even other stray dogs or cats might pose
a danger to an out of place dog.
As the lights go out in the pound and the other dogs start
to quiet, Luna is looking for a way out. She notices the gate
to her kennel hasn’t closed properly and it might open if
she pushes against it. There is a moment when the cat goes
around the corner to the litter box. Now’s your chance...
35

Prey
Luna is a service dog and her human Maud, would be at a
loss without her. Maud accidentally locked Luna outside
after she took her for a walk. Luna tried to get back in but
someone called the pound and she was picked up before the
door was opened. Maud needs her and Luna will do whatever
she can to get back to her.
Resources:
Elite Service Dog Training
The training to be a service dog is long and arduous and once
complete you are equipped to handle any situation with poise
and determination.
Endless Energy
You come from a long line of distinguished working dogs,
you don’t tire easily.
36

Hunter
Lynn is the resident cat gate-keeper at the pound. She’s a
large calico cat with a broken fang and a frost bitten tail.
Once a stray herself, she takes her job seriously and no dog
is going to get out. If any try they will have to deal with her.
Resources:
Collar Tracker
All dogs who come in to the pound are fitted with a collar and
a tracker so if they get away they will be able to be tracked
and returned.
Cats Always Land on Their Feet

Even when the going gets tough cats always land on their
feet.
Cat Logic
It may not make sense but it gets the job done.
37

Fear The Double
By Aleks Samoylov
Prey - Doctor Harlow

In performing one of their less conventional experiments,
Doctor Harlow, renowned scholar and part time occultist,
has (to put it very mildly) made a major miscalculation. The
end result … well, Harlow is, quite literally, of two minds
about it.
The arcane specifics of the matter are, at this point, aca-

demic. The long and short of it is there are now two Doctor
Harlows out and about, and one of them happens to be a
distillation of the good doctor’s darkest tendencies: blindly
ambitious, callous, and hungry for forbidden knowledge and
the power promised thereby.
Doctor Harlow’s “shadow,” having all of the memories and

knowledge of their progenitor, understands that the split is
unstable, a paradox, but has no intention of dying or return-
ing to a state of sublimation. Hence, their first objective is
to locate a potent source of arcane energies and drink deep,
thus ensuring their own continued existence at the expense
of anything and anyone that gets in their way.
Resources
Unfettered Ambition
Sinister Magicks
38

Hunter - Doctor Harlow
Stripped of their most active drives, the other Doctor Harlow
is not exactly feeling their best. They do, however, under-
stand that the fate of the world is in their trembling hands,
that they are the only ones with the knowledge and skill to
thwart them self. With that understanding comes a sense of
grim duty.
Ideally, they’d like to catch up to their shadow before it

grows any stronger and reverse the split, making the two
halves one again. If that doesn’t work out, they must either
terminate the doppelganger or delay them long enough for
the universe to set the paradox right. Harlow doesn’t know if
they can survive their double’s destruction. But the alterna-
tive - an unchecked, unscrupulous genius flush with unnatu-
ral power - is too terrible to contemplate.
Resources
Academic Contacts
Mysterious Machinery
Burning Guilt
39

Doctor Harlow has many a mysterious machine, their purpose only
known to the Doctor.
40

Setting
Doctor Harlow came to Meryl County for the peace and
quiet … that and the rumours of spirits, vortices, portals, and
labyrinths hiding in the deepest reaches of its caves, woods,
and ruins. The Doctor had hoped to draw upon these hidden
wells of magick and possibility and ended up doing just that.
The wilderness of the county, a roiling, craggy expanse of

deciduous forest, cradles in its heart a few bright motes of
civilization, a string of logging towns connected by long
stretches of country road. In the wintertime, the buildings
seem to huddle in the dark and cold, islands of electricity in
a sea of snow and wind blown pines.
41

I Shall Not Be Taken So Easily
By Tracy Barnett
Prey
Mantis is one of the most feared insects. Mantis has strong
jaws, powerful legs, and a vast pool of patience. However,
Mantis made a reckless leap and became tangled in a distant
strand of Spider’s web. Now, the more Mantis struggles, the
closer Spider seems to come. If she does not break free, it will
end her life. She must break free. After all, her mate’s head
will not consume itself.
Resources
Patience for Days
Mantis can be still and quiet unlike almost any other. This
allows her to ambush and strike.
Speed Faster than Sight

Few small beings can move as quickly as Mantis can.
42

Hunter
Spider is the trapper, the drainer, the One Who Stalks.
Spider’s webs are creations of pure beauty, but also serve to
bind those careless enough to stumble into them. Even a dis-
tant strand can alert Spider that food is at hand.
Resources
Intricate Webbing
Spider knows where all of her strands go, and when a vibra-
tion shudders down one of them, she can track it back
flawlessly.
A Hunter’s Instinct
Spider knows how food thinks, how food moves.
Deceptive Tangles
A move which looks like it should free the food serves to
only draw it deeper into the web, closer to Spider’s waiting
mandibles.
43

44

Setting
Spider’s web is located in a charming garden, filled with
flowers, plants, and other insects. These other insects often
serve as food for both Mantis and Spider, but today, Spider
senses that she has something truly special caught in her
snares.
To break free of Spider’s web, Mantis is going to have to

carefully extricate herself from the initial snare and then
make certain not to get caught again, as Spider has many
snares scattered across the garden.
Remember that these are small creatures, so the plants

are like sidewalks and streets. Keep in mind that both the
Hunter and the Prey in this scenario can serve as food for
other, larger beings (birds, especially), and are often viewed
as nuisances to the humans who own the garden. If either
party is careful, they can use these other, larger threats to
their advantage.
45

Love and War
By Ian Hopfe
Prey
You are planning the perfect night out for you and your
loved one! The ultimate date night! You must find the time
to get all you’re planning done but your loved one tends to
be a bit…jealous. You have taken the day off of work to get
your planning done. This may be for Valentines Day, their
birthday, or some sort of anniversary. No matter what day it
is you want to make it perfect because you love them so much.
Resources
The Ex
Your ex has agreed to help you today because you’re still on
good terms with them. Your ex can run interference with
your loved one or just give you a ride.
The Co-worker
One of your current coworkers who you are close with has
also agreed to help you today. This co-worker has been
overly nice to you since you started your new job and you’re
grateful for such a close friend. They may do just about any-
thing to help you today.
Hunter
Now you have them…your so called loved one has secretly
46

taken the day off work! You have been suspecting for months
that they have been unfaithful. They started a new job and
suddenly one of their co-workers is hanging around all the
time. You can see the lust in the co-worker’s eyes when they
look at your loved one. Additionally, your loved one’s ex has
been showing up to group friend events. After your loved one
sees the co-worker or ex they seem more affectionate and
needy. Your loved one must be cheating on you and today
you will finally find out!
Resources
GPS
You have installed a GPS tracker on your loved one’s per-
sonal item that they always take when out of the house. It
has a limited battery when activated so you only get one shot.
“Special” Friend
You have a “special” friend you have been seeing on the side
that is willing to help you track your loved one. Thank god
you started seeing this “special” friend months ago so now
you have someone to talk to about your relationship issues.
Sibling Rivalry
You have a very “close” relationship with your loved one’s
sibling. You’re sure they will tell you the location of your
loved if they don’t want your shared secret to get out to the
whole the family.
47

Setting
You’re in a North American, downtown, modern-day city.
There are a lot of people, vehicles, buildings, noise, pollu-
tion, shows, public events, stores and shopping malls, cul-
tural and religious diversity, interesting sights, dark places,
and creative opportunities.
48

49

The Money’s In The Chase
By Jeff Stormer
Prey
“The Golden Child” Baxter Childes is a liar, cheater, scoun-
drel, and Fist Fighters Federation (FFF) World Champion.
He won the title by foul play, throwing powder in the face
of Hunter Kincaid while the referee was knocked out. He
knows he can’t beat Kincaid in a rematch. He also knows
Kincaid’s contract is up after Fair Fight 27. All he has to do
is duck the Croc Killer for a few weeks, and he’s safe.
Resources
The Pummel Brothers
Gary and Larry Pummel. Real big, real mean, and real easy
to bribe, they are Childes’ hired bodyguards, enforcers, and
human shields.
Slick Sami Schick

Promoter and General Manager of the FFF, he’ll do any-
thing to make the champ happy.
50

Hunter
“Croc Killer” Hunter Kincaid is a monster of a man. Born
in the swamp, he fought his way up from nothing to FFF
World Champion. And then some little punk with a handful
of baby power took it from him. His contract is up in six
weeks, and the only way it’s getting renewed is if that title is
around his waist.
Resources
Big Bessie
Kincaid’s pet crocodile. A massive safety hazard, but it makes
for a great visual.
The FFF Fanbase

Kincaid is the people’s champion. Management can only
ignore the will of the people for so long.
Rematch Clause
Every champion gets a rematch clause in their contract.
Kincaid is owed a rematch..
51

The greatest prize in all of wrestling!
52

Setting
The Fist-Fighters Federation proudly presents: FRIDAY
NIGHT FISTFIGHTS! Every Friday night at 11PM on
KCLA TV, Channel 69 Runnelsburg.
The chase plays out over a series of backstage segments and

post-match promos over several weeks of pro wrestling TV.
These will play out in the ring at various wrestling arenas set
up in high school gyms, in bingo halls, in church basements;
in the locker room, in parking lots, and in the back office,
where Slick Sami Schick works.
In the grand tradition of professional wrestling, this is a con-

ceptual chase, as opposed to a literal one (though that’s not
to say there won’t be literal chases!). In the weeks leading up
to Fair Fight 27, Childes will attempt to avoid Kincaid, set
up matches for Kincaid with lesser opponents as a distrac-
tion, and try and grease the wheels of management to avoid
getting booked in a match. Kincaid, meanwhile, will take
the mic and demand his rematch… and beat down anyone
standing in his way.
53

Moonbase Mayhem
By Catreece MacLeod
Prey
Earth’s greatest hero, Captain Morrigan, hyperspace sleuth
and daring pilot extraordinaire.
Resources:
Blaster
From being able to disable robots, destroy cameras, or to
blast holes in walls, Cpt. Morrigan’s blaster is a handy tool
to have. Alas, it was damaged in the crash landing and it’s
having difficulties holding its charge.
Heroic Presence
Cpt. Morrigan has the ability to strike a heroic pose and
everything seems to turn out fine, even at a million-to-one
odds!
54

Hunter
The dastardly, evil mad scientist Dr. Atrocious is villainous
to the core! The not-so-good doctor has an army of robots,
traps, and cameras in the secret moon base control room,
to keep watch for any meddling do-gooders who may try to
interrupt the scheduled destruction of the Earth!
Resources:
Robot Army
A quite literal army of nefarious robots are at Dr. Atrocious’
beck and call, able to be directed to any sector of the moon
base as needed! There might just be hope though, as the
robot’s AI is a bit sketchy at best.
Villain’s Lair
Any self-respecting villain has traps lining their lair, and Dr.
Atrocious’ moon base is no different. From lasers to buzz saws
and surprise airlocks to an empty vacuum, Cpt. Morrigan is
in for a world of hurt!
Internal Monitoring System

A proper supervillain doesn’t put their own neck out on the
line - and that’s exactly what the moon base cameras are for.
Also, of course, they can be used to distract our beloved hero
with endless monologues and maniacal laughter.
55

Setting
In the year 2300 AD, Dr. Atrocious’s secret moon base holds
a terrifying threat to humanity - an orbital death ray capable
of destroying the entire Earth! Fortunately our hero Cpt.
Morrigan, defender of justice, is on the scene. Unfortunately,
the good captain’s spaceship has been blasted out of the sky
by the moon base’s automated defences. Cpt. Morrigan must
reach Dr. Atrocious’ control room before the countdown
timer on the dreaded orbital death ray ends and the world
is destroyed!
With only a damaged blaster and stunning good looks, is

it possible for our intrepid hero to save the day before all is
lost?
Only time will tell, time which even now is quickly running
out!
56

Captain Morrigan’s Blaster
57

Paris to Angkor
By Ashton McAllan
Prey
Professor Aashirya Khatri is an American archaeologist and
anthropologist specialising in creation and apocalypse myths
and legends. She is in possession of an artifact believed to be
the Sudarshana Chakra recently liberated from the Musée
d’Archéologie Nationale in France. Professor Khatri is
attempting to return the Sudarshana Chakra to the Temple
to Vishnu in the ruins of Angkor in Cambodia before its
absence brings about the end of the world.
Resources
Motorcycle
An Excelsior BigX, imported directly from the USA with a
powerhouse, 74 cu in., v-twin engine.
Revolver
Smith & Wesson model 10 service revolver
58

Hunter
Lt. Commander Margot Mayer, leader of a specialised covert
operations team for the Illuminati. The secret society is cur-
rently collecting mystical artifacts from around the world
to bolster its influence and safety in an increasingly unstable
Europe. If Mayer can’t obtain the Sudarshana Chakra, the
Illuminati may lose their best hope at preventing another
disastrous war in Europe.
Resources
Fighter Plane
Bristol F.2B fitted with reinforced upper wing and extended
fuel capacity.
Machine Gun
.50 Browning AN/M2 Machine Gun, foster mounted on the
Bristol F.2B.
Commandos
One squad of Illuminati trained commandos. Highly trained,
fully armed and equipped to the teeth.
59

Setting
Paris, France, 1931, the Musée d’Archéologie Nationale.
Professor Aashirya Khatri leaves through a service entrance,
in possession of the Sudarshana Chakra, as Lt. Commander
Margot Mayer enters through the skylight with her com-
mandos in search of the same artifact.
The Sudarshana Chakra is a golden serrated disk, believed to

be the weapon of Vishnu, the preserver and protector of the
universe in Hindu mythology, stolen from the Wat at Angkor
by French Archaeologists. The recent tumultuous political
climates in Europe suggest to some that its removal from
the Wat will trigger a second, apocalyptic great war. The
American schools of practical mythology argue that return-
ing the disk will avert the crisis. The Illuminati believes that
they can harness its power to actively defuse the situation
in Europe. Both the US Army Corps Of Engineers and the
German Schutzstaffel wish to acquire it to give themselves an
upper hand in the troubles to come.
The appearance of the Illuminati on her tail is gratifying to

Professor Khatri to a certain degree, as it proves without a
doubt her hypotheses about their existence. The appearance
of their heavily armed troops, however, is less comforting.
60

The Bristol F.2B fighter
61

The River Serpent
By Kira Magrann
Prey
Atraxis is a glorious serpent, one of the last known giant
winged beasts to exist in the plateaus above the Winding
River. Atraxis wants to protect the ancestral territory of the
local serpents, and the plants and animals that live here. To
that end, Atraxis has just threatened the local village in a
terrifying display of wings and fire, and is deftly swooping
and crawling back to her cave in the loftiest plateau. She’s
hoping that’s enough to keep the villagers from encroaching
on her territory.
Resources
Intimately Connected to the Land
This is Atraxis’ home, and she knows how to move across the
mossy rocks and tall plateaus, but she is also connected to the
ancient spirits she represents in the physical world.
Glorious and Terrifying

Atraxis is gigantic, with a huge wingspan and the terrifying
ability to spit fire. Her scales are a beautiful mossy gray that
match her home.
62

Hunter
Eithne is the best warrior that lives in the local village of
Tinamor. Bulky and strong from her days at the blacksmith-
ery, she’s volunteered to make sure the dragon never follows
through with its threats on the village. Eithne has a great
love for animals and nature, but she also needs to protect the
people of Tinamor.
Resources
A Quick Wit
Eithne is known for her creativity and cleverness, which she
often applies to social interactions in the village and to her
craft of blacksmithing.
Incredibly Strong (for a human)

There are none stronger in Tinamor than Eithne.
Ancestral Ties
Her family has lived her for generations, even before
Tinamor was a proper large village.
63

setting
The prosperous village of Tinamor sits at the edge of the

Himlak river basin and plateaus. Recently, they’ve begun to
grow their industry, processing iron and other metals that is
beginning to pollute the local streams. This has been fan-
tastic for their economic growth, but terrible for the local
creatures who inhabit the Himlak plateaus, for those streams
flow into the basin they call home. The spirits there have
become restless.
The village leader, Jossandra, has begun work on a new plot

of land just outside the village, cutting down grassy plains
and forest edges to make room for more industry. Just two
days after the work started, Atraxis appeared, and Jossandra
asked Eithne the blacksmith to deal with the threat of the
giant serpent.
Just beyond the village outskirts is a lush forest filled with

giant gray boulders and light green moss. Through it runs
the streams, that flow into rivers and head into the basin
that’s filled with giant rocky plateaus carved from ancient
glacier waters.
The chase begins at the edge of the village, just after Atraxis
has displayed her terrifying warning.
64

65

Saturday Morning Toons
By Kyle Decker
Prey
Johnny Rat recently moved to The House without the
knowledge of the humans living there. While his stay was
meant to be brief, he grew quickly enamored with the smells,
the views, and, of course, the tastes! Johnny ventures out
from time to time in pursuit of new cuisine with little regard
for his personal well-being.
Resources
Holes in the Wall
In the short time Johnny has spent at The House, he’s
learned how to navigate through the walls and has created
entrance holes all throughout the building.
The Enemy of my Enemy

Due to Tim Feline’s stubbornness, most local animals dis-
like Tim, and Johnny knows how to use this to his advan-
tage, either by asking for the animal’s aid or by conveniently
crossing their paths with Tim’s.
66

Hunter
Tim Feline has lived in The House since before he could
remember, and he hates Johnny. When the rat first appeared,
this tabby cat tried to warn the humans of the intruder, but
in trying to get the humans’ attention, Tim simply annoyed
them. Tim is determined to remove Johnny from the house
using any means necessary.
Resources
Bouncing Back
Tim can take a surprising amount of physical damage, liter-
ally bouncing back from collisions.
COSMONAUT House Traps

Tim has access to an assortment of ludicrously over-the-top
traps he can use to catch Johnny, most of which include some
combination of fire, explosives, and dominoes.
Cheese
Tim knows that Johnny wants food more than anything else
and has kept a supply of the smelliest cheese he could find in
order to bait his prey into a trap.
67

An irresistible treat for Johnny, and the perfect bait for a
COSMONAUT house trap!
68

Setting
The House is the idealistic suburban home from 1950s
America: it’s a two-story building with hideously wallpa-
pered rooms, a picketed yard, and many, many fire hazards.
Two adults, two children, and one baby live in the house.
They serve as a threat to whichever member of the chase
they see first, although they’re frequently out of The House.
Instead, their presence can be felt through the objects strewn
around the space, like the towers of pointy alphabet blocks
and the ironing boards attached to the wall.
The chase will take hunter and prey throughout the entirety
of The House, from the flooding basement up to the attic
filled with floorboards eager to break. Players can venture
out into the yard, where they will be confronted by animals
with complex motivations. Except for the dog. The dog just
wants to beat up Tim.
Saturday Morning Toons will rarely make it past the yard,

but if the players venture out into the city, they’ll find a
mutually dangerous landscape filled with loose anvils and
pianos hanging overhead.
69

Though They Be But Little...
By Megan Tolentino
Prey
You are colony of bacteria with one goal: live. To do this you
must reproduce, and if the host organism gets sick and dies
along the way, that’s not really your problem.
Resources
Mutation
You can make copies of yourself, an exponential number
of copies. And mistakes happen. Sometimes those mistakes
make it hard for the immune system to recognize you and
you get the chance to spread even more.
Strength in Numbers
Those huge numbers of copies make it hard for you to be
taken down. As long as conditions are right, you can mitosis
your way to outnumbering any adversary.
70

Hunter
You keep your body safe, aware of any foreign objects that
might get past the initial defences and start causing harm.
Even though the Immune System is made up of many com-
ponents you’re always alert, always on guard, and maybe too
willing to take down the enemy at any cost.
Resources
Hostile Environment
You can do a lot to make things uncomfortable for your unin-
vited guests. Turn up the heat. Flush them out with mucus.
Expel them from the stomach. Things might be uncomfort-
able for a while, but it’s better then letting them spread.
Medicine
Sometimes the host organism catches on enough to throw
you a line, and will take an antibiotic, or take a nap, or eat
that big delicious bowl of chicken noodle soup.
Phagocytosis
The direct approach can be the best approach, and the
immune system can send white blood cells out to engulf and
devour any enemy they find..
71

Give your immune system a boost!
72

Setting
A host organism has been invaded, somehow a bacterial
colony has made it past the defensive layers of the skin and
into the bloodstream. The host has never encountered this
disease before, and lacks the antigens to alert the immune
system of the invader. As the ambitious colony begins to take
root inside the brave immune system’s home, they must chase
down and destroy any sign of the infection before it kills
them.
73

Transcend
By Aven Elia McConnaughey
Prey
You are the Broken Chain, the Bitter Wind, the Profane. You
once had different names and you wanted for nothing. The
youngest of all your siblings, boredom led you to explore,
and one day you found the City Beyond. The Sovereign said
that it must remain separate, as they had created it, and that
you must not think on it again. But for the first time, you
felt doubt, so here you are, hoping to bring some part of the
divine flame you carry to warm the City Beyond, even as it
fades.
Resources
Creativity
All of your siblings share divine power inherited from the
Sovereign, but only you know how to use it to shape things
previously unimagined.
You Know You Are Right

You do not know why the Sovereign has kept this City a
secret, but you know it is where you are meant to be.
74

Hunter
You are the Rigid Blade, the Relentless Heat, the Divine. Of
all your siblings, you love the youngest the most, and strive
to protect them from peril. Now you have been commanded
to stop them by any means necessary with the full backing of
the Sovereign’s power. Their mission is a threat to the exis-
tence of everything you have ever known. They did not say as
much, but you suspect that this mission may even be a threat
to the unassailable knowledge and might of your creator.
Resources
Sword of the Sovereign
Though you have never wielded it before, this blade’s power
and purpose rushes through you, as though it has been yours
it for eons.
Family Ties
You and your sibling have chased each other through the
streets of the Divine City your whole lives for sport.
You Know You Are Right

As the space between the Divine City and the City Beyond
stretches before you, you know that that barrier cannot be
crossed, no matter the cost.
75

Setting
The Divine City is a celestial city surrounded by fields of
eternal sunlight, ruled by the Sovereign and populated by
their children. Residents of the Divine City can shape the
world as they see fit, creating and destroying matter, as long
as they follow the laws of their parent and ruler without ques-
tion. A vast field of empty, starless space stretches between
the Divine City and the City Beyond, a place of shadow and
ice and blood.
76

Sword of the Sovereign
77

The Grey Knight and the Dragon
Blair Visscher
Prey
Iscariol is a typical dragon. He likes to stay warm in his caves
until hungry, and then he goes searching for food. His usual
village has been short on sheep, so he plans to take a few
people this time. A dragon has to eat.
Resources
Wings
Iscariol can fly for short distances; however, the dragon is
too heavy for long distance flight.
Fire
Dragons can breathe fire, and this one is no different.
78

Hunter
The Grey Knight is not the most venerated knight in the
land, but he may be the most hard-working. The Grey
Knight’s own family was killed by a dragon when he was
small, and so he has vowed to track and kill every dragon
terrorizing humans ever since.
Resources
Armour
This armour is fire resistant and designed with dragon slay-
ing in mind.
Sword
Made of a special alloy, this sword can pierce dragon scales.
Horse
Spark the horse is fast and loyal, though he’s little timid.
79

Setting
The village of Wisteria’s primary economic resource is wool.
They rely on their sheep for survival. For centuries they have
kept a tenuous peace with the local dragon in the nearest
mountain range. If they set aside a certain number of sheep
every three months, the dragon only takes those sheep and
leaves the rest of the village alone. The dragon also acted
as an effective deterrent for thieves and outlaws in the area.
However, the memory of outlaws being a problem in the dark
forest has grown dim; and as the dragon has grown bigger
and bigger he has needed more and more sheep. The villag-
ers sent for the Grey Knight to deal with the dragon once
and for all, before the dragon starts taking humans and not
just sheep.
The Grey Knight and his horse, Spark, lay in wait in a stand
of trees by the meadow where the sheep sacrifice is made. A
winged shadow darkens the land as the dragon glides down
the mountain.
As Iscariol lands in the meadow to eat the few sheep, he

notices a glint out of the corner of his eye. The dragon’s eyes
widen as he realized there is a knight riding a horse directly
toward him! The knight pulls his sword from his sheath and
Iscariol shrieks in fury and unfurls its wings. The chase is on.
80

81

Bios
Aya Bara
Aya is a writer of speculative fiction living in Toronto. She
wishes weekends were four days long and the daily recom-
mended sleep quota was 12 hours. Her partner sincerely
believes she was meant to be a cat. Follow Aya on Twitter
@ayaebara and check out her other work at Ayabara.com.
Tracy Barnett
Tracy is a queer (non-binary) game designer with games pub-
lished by both themselves and other companies. Find more
at www.theothertracy.com or on Twitter @TheOtherTracy.
Samantha Day
Samantha is a writer from upstate New York. She makes
Twine games, plays and runs tabletop RPGs, and sometimes
writes them. You can find Sam on Twitter @passerines, and
you can find her projects at passerines.itch.io. She is a threat
to her environment and she refuses to go extinct.
Kyle Decker
Kyle loves exploring the silliness and sadness inherent in
cartoon characters. He runs a game for his four best friends
at www.questfriendspodcast.com
82

Ian Hopfe
Ian Hopfe is a long time board gamer and Dungeons &
Dragons Dungeon Master. By day Ian is an HR Professional
and Creative HR Consultant; you can learn more about him
at www.littlebluehouse.ca
Kira Magrann
Kira is a tabletop roleplaying game designer, queer cyborg,
and snake mom living in Columbus, Ohio. She currently has
a Patreon where she designs experimental games, a YouTube
channel where she talks about game design, and she blogs a
few times a month at Gnome Stew. You can find her work at
www.serpentcyborggames.com and follow her on twitter
@kiranansi.
Ashton McAllan
Ash is a game designer, writer, and streamer. You can find her
work at Acegiak.net or find her as Acegiak on most online
platforms.
Emily McAllan
Emily is a Filmmaker, an Artist, and a Photographer. She
has worked on illustrations for RPGs and characters. You can
find more of her work at blackwoolholiday.com.
83

Aven is a game designer and eir first game received honorable
mentions at the 2015 Golden Cobra challenge and e was also
a finalist in the 2018 200 word RPG contest.
Catreece McLeod
Catreece is a game designer working to develop her game,
Saorsa. She posts on YouTube where she talks about her game
progression and design insights. She is also a regular host on
the game design podcast Flail Forward.
Aleks Samoylov
Aleks is a multimedia artist and game designer. They have
many games that cover a vast array of game styles, themes
and settings. You can find them on DTRPG and itch.io.
Jeff Stormer
Jeff is a very energetic creator, with whom I’ve had the plea-
sure of sharing the mic on his podcast, Party of One. He is
also a designer of RPGs and larps.
Aser Tolentino
Aser is an assistive technology and accessibility professional.
Hear him on www.theredactedfiles.com or find more about
him on twitter.com/aser_tolentino.
84

Megan Tolentino
Megan is a former biochemist and current lover of all things
RPG. You can find more from her on her podcasts, including
the Redacted Files and The Amber Clave. For more of her
writing, check out her twitter feed @curium247
Blair Visscher
Blair is a fantasy and science fiction writer, an editor, a per-
maculturist, and a homestead enthusiast. Find her on insta-
gram @Blair and @Blairshewrote
Mikey Zee
Mikey is a queer transmasc tabletop roleplaying game
designer, graphic designer, and former bioengineer from
the DC Metro area. In addition to his design work, he also
talks about teen superheroes and comics on his podcast, The
Young Ones (@youngonescast). You can find all of his work
at www.quantumdot.space and on twitter @quantumdotdot.
85


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Cut

Fernando Gabriel Lopez (order #26133560)

Copyright © 2019 Johnathon Grach. All rights reserved.

Illustrations: Emily McAllan

Copy Editing: Aaron Grach

Developmental Editing: Mark S. Aquilino

Writers: Aya Bara

Fernando Gabriel Lopez (order #26133560)

Fernando Gabriel Lopez (order #26133560)

Escape from Catacomb Mountain28

Fernando Gabriel Lopez (order #26133560)

Fernando Gabriel Lopez (order #26133560)

Consent and Safe Play

Consent and Boundaries

During play, consent can be revoked at any time. The tool

Fernando Gabriel Lopez (order #26133560)

Boundaries are the limits we as players put on setting, tone,

The Open Door

Fernando Gabriel Lopez (order #26133560)

• violence and death

• capture and escape

• unwanted sexual pursuit

In addition, the following scenarios included in this book

• Choosers of the Slain (p. 22): war

Fernando Gabriel Lopez (order #26133560)

• in silico (p. 25): corporate exploitation

• Love and War (p. 46): infidelity

• Paris to Angkor (p. 58): war, colonialism

Lines and Veils – by Ron Edwards

Fernando Gabriel Lopez (order #26133560)

There are only two possible outcomes, capture or escape.

The characters in the game are adversarial; however, the

To play you’ll need two 6-sided dice, a pencil, and paper.

Fernando Gabriel Lopez (order #26133560)

The Prey starts ahead of the Hunter, which is represented by

If the separation reaches 0 at the end of a Hunter scene, you

If separation reaches 0 during a Prey scene, they may still

Fernando Gabriel Lopez (order #26133560)

• Prey, do you have a specific destination you are head-

• Hunter, who/what are you and what is your connection

• What is the environment?

• Does it take place during a specific time period?

• Are there specific landmarks you want to include?

• Are there any landmarks or places that have a special

Use a selection of the questions above, and also feel free to

Fernando Gabriel Lopez (order #26133560)

You can use a resource as part of your action to give a +1

When using a resource, you must add it to the narrative by

Fernando Gabriel Lopez (order #26133560)

The Grey Knight dons fire resistant armor, an invaluable resource

Fernando Gabriel Lopez (order #26133560)

or = Success and +1 or -1 Separation as desired

Success, Progress and Failure outcomes are unique to each

Fernando Gabriel Lopez (order #26133560)

• If a 6 is rolled, a bonus does not give any better outcome.

• You can never have more than a +1 or -1 bonus/penalty

• Bonuses and penalties on the same action cancel each

• If double 4’s are rolled and you have a -1 penalty, the

Fernando Gabriel Lopez (order #26133560)

1. The Hunter sets the scene and describes current situa-

• Choose a place for the chase to begin based on the set-

2. The Prey responds, narrating the action taken.

• Based on the scene and situation, narrate the action

Escape from Catacomb Mountain28