ftp.ee.pdx.edu/2014.02.ftp.ee.pdx.edu.tar/ftp.ee.pdx.edu/pub/frp/futures/rules.txt

Text File | 1993-09-07 | 176KB | 3,619 lines

F o r g o t t e n    F u t u r e s
----------------------------------
Role Playing Rules For Scientific Romances

By Marcus L Rowland

Copyright <c> 1993

This document is copyright, but you are encouraged to make copies and
print-outs as needed. You may make modifications for your own use, but
modified versions MUST NOT be distributed. If you find any of these
files useful you are asked to pay a registration fee, as specified in
the accompanying document REGISTER.TXT



0.0    Introduction
0.1      Example of Play
0.2      Game Requirements
0.3      Game Terms
0.4      Acknowledgements

1.0    Characters And Rules
           Character Record
1.1      Character Points
1.1.1     Equipment and Notes, Weapons, etc.
1.1.2     Sample Character Record
1.2      Characteristics
1.2.1     Using Characteristics
           Attack Versus Defence Table
1.2.2     Improving The Odds
1.2.3     Common Characteristic Rolls
1.3      Skills
1.3.1     Using Skills
1.3.2     Temporary Skills
1.3.3     Projects
1.3.4     Improving Skills
1.3.5     Adding Skills
1.3.6     Free Skills
1.3.7     Skill list
1.4      Wounds
1.4.1     Medical Skills, Recovery, & Death
1.5      Combat
1.5.1     Combat Round
1.5.2     Resolving attacks
1.5.3     Armour
1.5.4     Weapons
1.5.5     Non-combat injuries
1.6      Animal, Vegetable, Mineral

2.0      Role Playing

3.0      Running Adventures
3.1       Setting The Scene
3.2       Plot
3.3       Non-Player Characters
3.4       Props

4.0       The Game World - See WORLDBK.TXT

5.0       The Adventure  - See ADVENT.TXT

6.0       Coming Attractions

APPENDIX A      Units, Currency, and Dates
APPENDIX B      Some other game systems
APPENDIX C      About the author
APPENDIX D      Sources



0.0       Introduction
======================

I like the dreams of the future better than the history of the past.
                                              Thomas Jefferson

Draw the blinds on yesterday and it's all so much scarier....
                                              David Bowie

What will the future be like? Every generation has its own set of
ideas and predictions. At the turn of this century most pundits
thought that the mighty power of steam and electricity would usher in
a new age of peace and prosperity. In the fifties the future was
mostly seen as doom, gloom, and nuclear destruction. In the nineties
we are obsessed with computers, and convinced that the future will
revolve around information technology. Each of the earlier views was
valid for its era; each was at least partially wrong. By looking at
earlier guesses we may be able to discover what is wrong with our own
vision of the future - and make even worse mistakes when we try to
correct it!

Forgotten Futures is a role playing game based on these discarded
possibilities; the futures that could never have been, and the pasts
that might have led to them. Other files in this collection contain
stories and a world book (which contains more information on
scientific romances in general, and Kipling's A.B.C. stories in
particular); this file contains the rules for a game that can be set
in that world.

Role playing games (usually shortened to RPGs) are story-telling
games. One player is the referee who runs the game, and has an idea of
what is to happen in the story, while the other players run characters
in the story. Characters are defined by a name, a description, and a
list of characteristics (such as 'Strength') and skills (such as
'Marksman'). Players describe the actions of their characters, while
the referee describes everyone and everything they encounter. This may
sound like an impossible job, but it's easy if players are prepared to
co-operate.

The Forgotten Futures rules work well when dealing with the activities
of normal people, but won't easily stretch to deal with magic,
superhuman powers, and the like. If you want to incorporate these
topics you might be better off with another game system, such as one
of those mentioned in APPENDIX B. Most of the source and adventure
material in this collection can easily be converted to other games.
You are still asked to register as a user if you find the collection
useful, even if you don't like these rules.

One aspect of the Forgotten Futures rules may annoy players who prefer
high levels of violence; it is easy to get hurt or killed in all forms
of weapon-based combat, it takes a long time to recover if you are
wounded, and most wounds require medical treatment. This seems more
realistic than the systems offered by some other RPGs, in which a
character can be shot three or four times and still come back for
more. If you dislike this approach please feel free to amend the
injury system, but please DO NOT distribute modified rules.


0.1       Example of Play
-------------------------
The easiest way to understand an RPG is to see it played. In this
example Bert is the referee; he's using these rules and a game
background which assumes that the American Civil War ended in the
formation of separate Confederate and Union nations. Eric is playing
Captain Kirk T. James of the Confederate Zeppelin Squadron, Judy is
Ella Mae Hickey, apparently a resourceful Southern belle but actually
a Yankee spy, and Aaron is reporter Horace Mandeville of the Times
(that's the London Times for American readers). They are heading
towards a mysterious South American plateau, on the trail of the
missing British explorer Professor Challenger, but there have been
problems:

 Bert: The airship is starting to rock from side to side, and pitching
       up and down in the cross winds from the hurricane.
 Eric: I'll try to steer towards the eye of the storm. We'll drift
       with it until it ends.
 Bert: How do you know where the eye is?
 Eric: In this hemisphere storms spin anticlockwise. If I veer to the
       left, sorry, I mean port, while moving with the wind, I should
       go towards the eye.
       [Eric isn't sure, but it sounds plausible and is the sort of
       thing a real pilot would know. Bert isn't sure either, but
       knows that 'Kirk' should understand these things.]
 Bert: Make your 'Pilot' roll, difficulty six.
 Eric: [Rolls dice and consults table]
       No problemo. Gritting my teeth, I wrestle with the wheel and
       force the dirigible to its new heading.
Aaron: I pick up my pocket phono-recorder, slip in a new wax cylinder,
       and describe the captain's desperate duel with the elements.
 Bert: Good idea, except you're still feeling airsick in the aft cabin
       and don't know what he's doing.
Aaron: I'll dictate a mood piece about airsickness instead. Let's see,
       how many different synonyms for the word "vomit" can I use...
       [starts to write list]
 Judy: Ugh. Don't read it out loud.
 Bert: Definitely not.
 Judy: Once we're moving with the wind there should be less
       turbulence.
 Bert: Yes, after a few minutes things seem to be getting quieter.
 Judy: Kirk cut his head when the windscreen broke, didn't he?
 Bert: You weren't in the control room, but yes he did.
 Judy: Then I'll go forward and bandage Kirk's wounds.
 Bert: I suppose he calls for your help through the speaking tube?
       Otherwise you wouldn't know.
       [Bert suggests this to keep the game moving. Players usually do
       better if their characters are together.]
 Eric: Yes, as soon as things calm down enough to let go of the wheel
       for a few seconds.
Aaron: In that case I should feel better, so I'll tag along.
 Bert: Roll for luck, to be there at the right time ..um... difficulty
       three.
       [Aaron rolls a 2, a success]
       OK, you get up and stagger forward in time to meet her.
 Judy: I bat my eyelashes and ask him to carry my first aid kit.
Aaron: [speaking as Horace] Delighted to help, Miss Hickey.
 Bert: You reach the bridge. Kirk is still at the wheel, and his
       forehead and arm are obviously badly gashed.
 Judy: [as Ella Mae] Mah hero, you've saved us all!
 Eric: [as Kirk] Shucks, it was nothing ma'am.
Aaron: [mimes speaking to recorder] Headline, Heroic But Modest
       Captain Defies Wounds In Hurricane Drama. Subhead, Southern
       Belle Angel Of Mercy. First paragraph: Captain Kirk T. James of
       the Confederate Zeppelin squadron today denied.. blah, blah,
       for a few paragraphs.
 Judy: While he dictates I'll bandage the wounds.
 Bert: Make a First Aid roll, difficulty four as he's lost a lot of
       blood.
 Eric: Hey, I thought you said it was just cuts and bruises.
 Bert: You didn't get her help straight away, and you've been bleeding
       for quite a while. It's now a flesh wound.
       [In this game prompt First Aid stops wounds getting worse,
       untreated wounds sometimes lead to additional damage. Some
       recovery time (and optionally the help of a doctor) is needed
       to restore health.]
 Judy: Oh mah hero, let me tend to these awful cuts.
       [Rolls dice successfully]
 Eric: Shucks, Ma'am, it's only a flesh wound. Ah feel better already.
 Bert: Apart from bandages around your head and your left arm in a
       sling. You'll be walking wounded for at least a week.
 Eric: Ouch.
 Judy: When I pack my first aid kit afterwards I'll use my spy camera
       to take a picture of the maps on the bridge.
 Bert: The camera concealed in your hat? It's the first chance you've
       had to use it, isn't it?
 Judy: Uh-oh. Yes, it is. I have a bad feeling about this...
 Bert: There's a loud whirring click, and the artificial flower at the
       front flaps out of the way, like the door of a cuckoo clock.
       The lens pops out on a concertina bellows and clicks, then
       retracts again. It takes two seconds.
 Eric: Wow, really subtle. Do I notice this?
       [Eric (the player) knows that Judy's character is a spy, but
       Kirk (his character) is unaware of Ella Mae's real identity.
       A little schizophrenia is sometimes needed in an RPG]
 Bert: Roll to notice. You too, Aaron. Difficulty six, I think, since
       her back is turned.
 Eric: [rolls dice] Rats - missed it.
 Bert: Drowned out by the noise of the wind, perhaps.
Aaron: [rolls dice] Using my Detective skill I spot it, I think.
       [Horace is a reporter, so this skill (improved observational
       abilities) is naturally very useful]
 Bert: Yes. What are you going to do about it?
Aaron: Nothing for now. It confirms what I thought when I saw her near
       the Marconi transmitter yesterday. I'll wait until we land,
       then try to get her to talk. An interview with a beautiful
       Yankee spy should sell a lot of papers!
 Bert: Good thinking. Now, you seem to be in fairly clear air, and
       something big has just flown past the windscreen.
 Judy: Another Zeppelin?
 Bert: You're not too sure, but it looked like a pterodactyl....

In this example male players took male roles, and the female player
took a female role. This is advisable if they feel uncomfortable
playing a character of the opposite sex, but there is no other reason
why players shouldn't run characters of different sexes, races,
nationalities, or even species. The referee needs to take on a wide
variety of roles, which will probably take in all of the above as a
campaign progresses. At a few points in these rules it has been
convenient to use the term "him" or "her" when describing something
that is equally applicable to either sex. This is not meant to imply
that either sex should be excluded from any activity.


0.2       Game Requirements
---------------------------
To use this system you'll need two six-sided dice (preferably two per
player), copies of the character record form and a few tables (in
these rules, and in TABLES.TXT), and some pens and paper. A calculator
is occasionally useful. Lead or plastic figures can be used to
represent characters, but they are not essential. Players may want
their own copies of this file, on disk or as a printout.


0.3       Game Terms
--------------------
Most role playing games incorporate specialised terms. Forgotten
Future uses some, as well as a few abbreviations and contractions, as
follows:

1D6            Roll one dice (one die if you feel pedantic)
2D6            Roll two dice and add the numbers
BODY           A characteristic, often abbreviated as B.
MIND           A characteristic, often abbreviated as M.
SOUL           A characteristic, often abbreviated as S.
Effect         Numerical rating used to calculate the damage caused by
                weapons and other forms of attack.
Average of..   Add two numbers (eg characteristics) and divide by two.
                Round UP if the result is a fraction. Usually
                abbreviated as Av, eg AvB&S
Half of..      Divide a number (usually a characteristic) by two and
                round up. Usually shown as /2, eg B/2
Half average.. Some skills are based on half the average of two
                characteristics. Add the characteristics, then divide
                by 4, then round up. Eg AvB&S/2
+1             Add 1 to a dice roll or other number.
+2             Add 2 to a dice roll or other number.
-1             Subtract 1 from a dice roll or other number.
-2             Subtract 2 from a dice roll or other number.
2+, 3+, etc.   2 or more, 3 or more, etc.
PC             Player character (controlled by a player)
NPC            Non-player character (controlled by the referee)
RPG            Role-Playing Game
Round          A flexible period of time during which all PCs and NPCs
                can perform actions. In combat a round is a few
                seconds, in other situations it might be a few minutes
                or hours.
Scenario       A script for the events in an RPG.
Adventure      As scenario, but usually complete in itself, with no
                ongoing characters or events.
Campaign       A series of scenarios set against a common background,
                with continuing characters and events.
Optional Rule  This means exactly what it sounds like; something that
                can be tacked onto the game if you want to use it, but
                isn't essential for play. Usually optional rules add
                extra realism, but make life harder for players or the
                referee, or involve complexities which you may wish to
                avoid.


0.4       Acknowledgements
--------------------------
All of the following helped with useful ideas and information, or made
valuable suggestions on changes to these rules: Tim Illingworth, Hugh
Mascetti, Dave Langford, Phil Masters, Bernie Peake, Roger Robinson,
Charles Stross, Alex Stewart, and Ashley Watkins. Most also helped
with the world book.

John Dallman gave invaluable help with rules definitions, general
readability, science, engineering, and additional dialogue.

John Clute, co-editor of the Encyclopaedia of Science Fiction, made a
copy of the second edition available before publication. This
essential reference work is strongly recommended to anyone with an
interest in scientific romances. You might also want to look at the
entry on Games and Toys, written in part by the author.

Roughly twenty players at Gamesfair 93 and the 1993 UK National SF
Convention helped to test an early version of the system, and improved
it immensely. There are too many to name, my thanks to all of them.

Mike Birchill, Colin Greenland, Roger Zelazny, and others at the 1993
Lunicon SF convention organised and/or participated in a series of
Victorian programme items which suggested several ideas in these
rules, most notably the Victorian gadgetry in section 3.1



1.0       Characters And Rules
==============================
Each player will need at least one character, whose details should be
recorded on one of the record forms that follow:

     ------------------------------------------------------------
               Forgotten Futures Character Record

 Player Name    ___________________________________________

 Character Name ___________________________________________

 Profession     _______________________________Sex___Age___

 Characteristics   Skills

 BODY   [ ]        ________________________________________

 MIND   [ ]        ________________________________________

 SOUL   [ ]        ________________________________________

 Bonus  [ ]   Notes & Equipment





 Weapon       Mult?     Effect      A    B    C







 Wounds  B[] F[] I[] I[] C[]
      ------------------------------------------------------------

This form may be copied or printed in quantity. It is also included in
the file TABLES.TXT; a version in Windows Draw format (RECORD.DRW) is
provided for users of that program.

Players should record their names and the name (including any title or
rank), sex, and age of the character. They may wish to give their
characters aristocratic or military names and rank, academic honours,
and the like; the referee must decide if this will cause problems.

Sex (Male or Female, and [optionally] sexual orientation) may be
important in some game settings. The A.B.C. world has typical late
Victorian attitudes; women don't have much chance of achieving
important or responsible positions. Usually their parents arrange
introductions to eligible bachelors, and they are expected to marry
and have children. In this setting a male adventurer is probably most
useful. In a civilisation derived from a successful suffragette revolt
women might have all the power, with men down-trodden or enslaved. In
most scientific romance settings homosexual characters will encounter
severe social problems.

Age is usually unimportant; exceptionally young or old characters may
be at a social disadvantage, otherwise there is no effect in game
terms. In the A.B.C. world normal lifespan exceeds 100, and anyone
aged 20-80 should be treated as a healthy adult.

For "profession", write in something appropriate to the game setting;
the referee should tell players if they have made an unsuitable
choice. In an A.B.C. campaign good professions would be "A.B.C
Accident Investigator", "Second Mate", "Doctor", "Rich Sportsman". Bad
professions would be "Military Officer" (no wars, duties are
ceremonial and/or extremely boring), "Politician" (a lynching offence
in many areas), "Spy" (no-one worth spying on), "Clerk" (boring and
too restricted).

Try to avoid professional ranks that will give players too much power,
or restrict them too badly. In the A.B.C world it isn't a good idea to
let players begin with characters who are members of the Board.
Wealthy characters are perfectly acceptable, but should not be able to
buy their way out of every problem. Avoid occupations that restrict
character freedom and mobility; an obvious example is a slave or a
serf, but a clerk with no money, a businessman with a full work
schedule, or a mother tied down by young children isn't much better
off.

Example: Lady Janet Smedley-Smythe-Smythe
 In a world whose science is based on H.G. Wells' "The First Men In
 The Moon", Lady Janet is an eccentric explorer who defies the normal
 limits of her sex. She has participated in a series of daring
 interplanetary expeditions, using the latest model of Cavorite
 sphere-ship. She is single, 25 years old, and extremely rich. Her
 profession is recorded as "Immensely Wealthy Eccentric". The referee
 has no problem with this, because he wants the campaign to move
 between worlds, and sphere-ships are very expensive. Lady Janet and
 her adventures are used to illustrate these rules.

The next sections of the form are completed using character points.


1.1       Character Points
--------------------------
Give each player 25 points (20 if you don't feel generous) which must
be shared between the following options:

1: Purchase characteristics at the following costs:

Value   1       2     3     4     5     6     7*
Cost    Free    2     3     5     7     10    14

* At the discretion of the referee ONLY.

Average human characteristics are 3 or 4. 5 is above average, 6 is
very good (for example, BODY 6 is an Olympic athlete), 7 is
extraordinarily unusual and is available only at the referee's
discretion.

BODY (B) covers physical strength, toughness, speed, and dexterity.
MIND (M) covers all intellectual capabilities, reasoning, and
observation.
SOUL (S) covers emotions, charisma, and psychic ability.

See section 1.2, below, for full details of the effect of
characteristics.

Example: Lady Janet Smedley-Smythe-Smythe (2)
 The player running Lady Janet buys
    BODY [3] = 3 points
    MIND [4] = 5 points
    SOUL [4] = 5 points
        Total 13 points. 12 points are left.

2: Purchase skills.
This game uses very general skills; for example, Scientist covers
everything from Archaeology to Zoology, Pilot covers everything from
Autogyros to Zeppelins. Players may spend up to three points per skill
during character generation.

Skills are based on one or more characteristics, to which at least one
point must be added. For instance, Actor is based on the average of
Mind and Soul, plus at least one point. A character with MIND [3] and
SOUL [3] would get Actor [4] for one point, Actor [5] for 2 points, or
Actor [6] for 3 points.

Skill          Value    Skill          Value   Skill          Value
--------------------    --------------------   --------------------
Actor          AvM&S    Driving        AvB&M   Pilot          AvB&M/2
Artist         AvM&S    First Aid      M       Psychology     AvM&S
Athlete        B        Linguist #     M       Riding         AvB&S
Babbage Engine M        Medium         S/2     Scientist      M
Brawling       B *      Martial Arts   AvB&S   Marksman       M
Business       M        Mechanic       M       Stealth        B/2 *
Detective      AvM&S    Melee Weapons  AvB&M   Thief          AvB&M/2
Doctor         M/2      Military Arms  M
* Brawling and Stealth are available automatically, even if no points
  are spent on them, but are improved if points are spent on them.
# Characters with the Linguist skill initially know Linguist/2
  languages (round UP). For example, Linguist [5] begins with 3
  languages known.

See section 1.3, below, for full details of the purchasing system and
use of skills, and 1.3.5 for a detailed explanation of each skill.

Example: Lady Janet Smedley-Smythe-Smythe (3)
 Lady Janet doesn't bother to learn to fly her sphere-ship; that's
 what servants are for. Her hired pilot will be another player-
 character. She owns factories and other businesses which will need
 occasional attention, but her main interest is "collecting"
 (shooting) any alien animals she encounters. Obviously useful skills
 for this include Scientist and Marksman; she spends two points on
 each. For awkward situations First Aid, Athlete, Brawling and Stealth
 are useful; she could have Brawling [3] and Stealth [2] for nothing,
 but points are spent to improve them. Finally, any lady must be able
 to ride; how else does one fit into society? Ten points buy the
 following skills:
        Athlete [4] - 1 point           Brawling [4] - 1 point
       Business [5] - 1 point          First Aid [5] - 1 point
       Marksman [6] - 2 points            Riding [5] - 1 point
      Scientist [6] - 2 points           Stealth [3] - 1 point
 2 points are left.

3: Saved for use in play
Points can be used to improve skills at a later date, or optionally to
improve the odds in emergencies. If points are saved for this purpose,
double them and record them as bonus points.

Example: Lady Janet Smedley-Smythe-Smythe (4)
 Lady Janet saves the remaining two points, doubled as four bonus
 points.

At the end of an adventure the referee should give players bonus
points for successes, for unusually good ideas, for unusually good
role playing, and anything else that seems appropriate. Try to give
each player 3-6 points per successful adventure, less if they blow
things completely. Bonus points should be noted in the Bonus box on
the character sheet, and deleted as they are used.

OPTIONAL RULE: Buying Advantages
--------------------------------
Optionally, charge players points to buy unusual backgrounds and
equipment, such as incredible wealth or a personal airship. For
example:

  Immensely Rich, Own Spaceship, Royalty  -  3 points each
           Rich, Own Airship, Aristocrat  -  2 points each
          Well off, Own car, Minor Title  -  1 point each

Under this system Lady Janet would need to spend eight points to get
her special advantages. Use it if players seem to want to take unfair
advantage of the referee. Referees who can take care of themselves are
advised to omit it!


1.1.1     Equipment And Notes, Weapons, etc.
--------------------------------------------
These sections should be completed when the character's
characteristics, skills, and history have been decided. Players should
simply say what they'd like to own, and describe any special status or
background details; the referee should decide if this is reasonable,
and if it would be useful (or much too useful!) in the game setting.
It's reasonable to assume that characters in most campaigns own a home
and have enough money to live comfortably and pay normal expenses; at
the referee's discretion characters may be rich if it will help to
develop the campaign. All characters should note how much money they
normally carry, remembering that it has roughly fifty times the
purchasing power of modern money in most Victorian-derived and
Edwardian-derived campaigns (prices are discussed in the world book).

Example:  Lady Janet Smedley-Smythe-Smythe (5)
 In addition to the sphere-ship, Lady Janet owns factories (the source
 of her wealth), an ocean-going yacht, a stately home, jewels, furs,
 several houses and apartments, and numerous cars and horses. Most of
 this stuff stays in the background, or is mentioned as it is needed.
 For example, the referee doesn't bother to mention a villa in Rome
 until she wants to go there. The referee does ask for a list of items
 she regularly carries on her person; these include a Derringer
 pistol, gold and jewellery (enough to make her a high priority target
 for any thief, although the referee doesn't mention that), and flasks
 of laudanum (a powerful anaesthetic) and smelling salts. She wants to
 add a powerful rifle and shotgun; the referee rules that they might
 be kept in her sphere-ship, or carried when she's in the wild, but
 aren't routinely carried in London. He also accepts that she has her
 own laboratories (mainly used for dissection) aboard the sphere-ship
 and in her mansion.

The weapons section is used to record weapons that the character
routinely carries. The columns list the weapon's name, whether it is
capable of multiple attacks, the Effect number which determines how
much damage it can cause, and the results of any damage caused. For
now it isn't necessary to worry about the use of this system; it's
explained in the section on combat below. Weapons are listed in
section 1.5.4

Example: Lady Janet Smedley-Smythe-Smythe (6)
 Lady Janet has several weapons; her hands and feet, and the guns she
 owns. These need to be recorded on the character sheet. The only hard
 part of this process is calculation of the Effect number for some
 weapons, which may be dependent on BODY or one or another skill.
   Lady Janet uses the Brawling skill to fight with her hands and
 feet. For these attacks the Effect number is equivalent to her BODY,
 3. She has several firearms; all of them have fixed effect numbers
 determined by the size and speed of the bullet.

The section marked "Wounds" is left blank for use during play. Note
that this is the wound chart for humans and animals of roughly human
size and toughness; some animals use different charts.


1.1.2     Sample Character Record
---------------------------------
  ------------------------------------------------------------
 Forgotten Futures Character Record

 Player Name    _SAMPLE____________________________________
 Character Name _Lady Janet Smedley-Smythe-Smythe__________
 Profession     _Incredibly rich eccentric explorer________

 Characteristics   Skills
 BODY   [3]        Business [5], Scientist [6], First_____
 MIND   [4]        Aid [5], Marksman [6], Athlete [4],____
 SOUL   [4]        Brawling [4], Riding [5], Stealth [3]__

 Bonus  [4]   Notes & Equipment
 Owns numerous factories, houses, flats, cars, Cavorite sphere-ship.
 Carries #50 gold, #1500 gems, Derringer, laudanum, smelling salts.
 Keeps shotguns, rifles, and other supplies aboard sphere-ship and in
 some of her homes. Laboratories in mansion and sphere-ship.

 Weapon         Mult?     Effect      A    B    C
 Fist           No        3           B    B    KO
 Kick           No        3           B    B    F
 Wrestle        No        3           B    KO   KO/I
 Derringer      Max 2     4           F    F    I/C
 Hunting rifle  No        7           F    I    C/K
 Large shotgun  Max 2     7           F    I    C/K  1 barrel
 "     "        No        14          I    C    K    Both barrels

 Wounds B[] F[] I[] I[] C[]
  -----------------------------------------------------------


1.2       Characteristics
-------------------------
Characteristics are three numbers which are used to determine the
general physical, mental, and spiritual nature of characters.

BODY represents general physique, well-being, stamina, and speed. If
characters expect to spend a lot of time in combat, or performing
manual labour, BODY should be high. Inanimate objects also have BODY.
BODY is NOT necessarily indicative of size or weight; it's possible
for something to be physically small or light and still have high
BODY, or big and have low BODY.

MIND covers all mental skills and traits including intelligence,
reasoning ability, common sense, and the like. Anyone in a skilled job
needs high MIND. MIND is also important in the use of most weapons.

SOUL covers artistic abilities, empathy, luck, and spiritual
well-being. If SOUL is low the character should be played as aloof,
insensitive, and unlikeable (as in the phrase "This man has no soul");
if high, the character does well in these areas. It is also used for
other forms of human interaction, such as fast-talking, acting ("A
very soulful performance"), and other arts (including martial arts).
If your SOUL is low better not try to con anyone, and forget about
learning baritsu or karate.

Normal human characteristics are in the range 1-6, with 1
exceptionally poor, 3 or 4 average, and 6 very good, the top
percentile of normal human performance. Player characters may have
characteristics of 7 at the discretion of the referee ONLY; this is
freakishly good, far better than normal human performance.

Characteristics cannot normally be improved; under really exceptional
circumstances changes might be allowed, but this is a once in a
lifetime event. For example, someone discovering the fountain of
eternal youth might gain extra BODY, but there should be a price to
pay; reduced MIND or SOUL, hideous deformity, and the like. In the
unlikely event of an increase in any characteristic, any skills
already derived from it (see below) should be recalculated and (if
necessary) improved.

Characteristics may sometimes be reduced. For instance, someone
crippled after a fall might lose BODY, someone suffering a severe head
injury might lose MIND. SOUL might be damaged by insanity or drug
abuse. If any characteristic is reduced, recalculate the values of all
skills derived from it.


1.2.1     Using Characteristics
-------------------------------
Characteristics are used mostly as the foundation of skills, but it's
occasionally necessary to use them directly. For example, someone
trying to perform a feat of strength needs to use BODY. This is done
by using the character's BODY (attacking) against the BODY of the
target object (defending) using the "attack versus defence" table:

Attack versus Defence
---------------------
This table is used for any attempts to achieve something by using a
characteristic or skill. Roll 2D6; if the result is less than or equal
to the number indicated on the table, the attempt succeeds.
A dash (-) indicates that there is NO chance of success, otherwise
     2 is ALWAYS a success.
    12 is ALWAYS a failure.

Attacking      : Defending characteristic, skill, or difficulty number
characteristic :
or skill       : 1  2  3  4  5  6  7  8  9  10 11 12 13 14 15 16 17 18
---------------+------------------------------------------------------
       1       : 7  6  5  4  3  2  2  2  -  -  -  -  -  -  -  -  -  -
       2       : 8  7  6  5  4  3  2  2  2  -  -  -  -  -  -  -  -  -
       3       : 9  8  7  6  5  4  3  2  2  2  -  -  -  -  -  -  -  -
       4       : 10 9  8  7  6  5  4  3  2  2  2  -  -  -  -  -  -  -
       5       : 11 10 9  8  7  6  5  4  3  2  2  2  -  -  -  -  -  -
       6       : 11 11 10 9  8  7  6  5  4  3  2  2  2  -  -  -  -  -
       7       : 11 11 11 10 9  8  7  6  5  4  3  2  2  2  -  -  -  -
       8       : 11 11 11 11 10 9  8  7  6  5  4  3  2  2  2  -  -  -
       9       : 11 11 11 11 11 10 9  8  7  6  5  4  3  2  2  2  -  -
       10      : 11 11 11 11 11 11 10 9  8  7  6  5  4  3  2  2  2  -

If the result is EXACTLY the number needed to succeed, the attempt has
come very close to failure; referees may want to dramatise this
appropriately. If the number rolled is much lower than the number
needed to succeed, the referee should emphasise the ease with which
success was achieved. Similarly, a roll just one above the number
needed for success should be dramatised as a very near thing that came
within an ace of succeeding, a very high roll as an abject failure.
These dramatics aside, any success is a success, any failure a
failure.

Example: Breaking down a door
 Fred (BODY [4]) wants to break a household door (BODY [6]). The first
 attempt is a roll of 7, a failure. There's a little noise, and the
 door rattles but stays shut.
   After a brief rest Fred kicks the door again. On a 2 the lock
 breaks. The referee dramatises this by describing the wood
 splintering and the knob flying across the room and shattering a
 priceless Ming vase.

Example:  Arm Wrestling
 Fred (BODY [4]) and Nigel (BODY [2]) are arm wrestling. In each round
 each should roll BODY as attacker with the other character's BODY as
 defender.
 Round 1: Fred and Nigel both roll 10, too high to succeed. Nothing
 happens, apart from a slight quivering of opposed muscles.
 Round 2: Fred and Nigel both roll 3, and succeed. Again, nothing
 happens apart from more quivering.
 Round 3: Fred rolls 10 and fails, Nigel rolls 2 and succeeds. Nigel
 smashes Fred's arm to the table and wins the match.

All other feats of strength should use BODY to attack BODY. If several
characters want to co-operate in a feat of strength, take the
character with the highest BODY and add the BODY/2 of each additional
person aiding.

This system isn't perfect. For example, a man with BODY [3]
theoretically has a 1 in 36 chance of lifting a BODY [10] elephant; in
practice the referee should make this task much harder. Referees
should be firm if players want to do something that's physically
impossible, or make them tackle the job in smaller chunks. "Pass the
saw, I need to cut up this elephant..."

Depending on circumstances, characteristics may be used against other
characteristics, against skills, or against an arbitrary "difficulty
number". Skills give an edge in most of these situations, as explained
in later sections.

Example: Excuse Me, Where Is The British Consul?
 Lady Janet has been captured by Venusian savages who have decided
 that she is their long-awaited god (her gender isn't obvious to
 Venusians). They have no common language. The referee decides that
 her SOUL [4] must be used against the native chief's SOUL [5] to make
 her manner sufficiently forceful, and ensure her release. On a 2 the
 natives build a sedan chair to carry her back to the sphere-ship.

Example: It's Up His Sleeve!
 On their way back to the ship the native witch doctor decides that
 Lady Janet's charismatic presence undermines his authority. He
 challenges her to a duel of magic (actually conjuring), using his
 skill Acting [6]. She must use her MIND [4] to spot his tricks. He
 begins by making a fruit "disappear"; on a 3 she notices that he's
 tucked it into a fold of his loincloth, and points out the bulge to
 the audience. This causes so much lewd merriment that the duel ends
 in his abject defeat.

Example: I Can Take It...
 The wily witch doctor has persuaded the chief that Lady Janet must be
 tested again. This time it's a test of endurance; she must put her
 hand into a jar of stinging insects. Their stings are extremely
 painful but do no permanent damage. Lady Janet must use her MIND [4]
 to attack an arbitrary difficulty of 8.
  This is a tough test; on a 6 she fails, pulling her hand out before
 the test ends. Fortunately she has the sense to grab a handful of
 insects and throw them at the witch doctor; he also fails, and starts
 to scream as they sting him. The chief decides that nothing has been
 proved.
  Incidentally, the referee might instead have asked for a roll of
 AvB&M, rather than just MIND, to check if the character has the
 will-power and endurance to overcome the pain, or SOUL to check
 if the character has the courage to endure it.


BIG Numbers
-----------
If attacking and defending values are both too high to fit the table,
divide both by a number which will just put them back onto the scale.
For really large numbers (Godzilla versus New York, an H-Bomb versus
the Rock of Gibraltar) division by 50 or 100 may be needed, but in
most cases dividing by a smaller number (such as 2,3,4,5, or 10)
should do the job. Round numbers up if the result is a fraction. In a
campaign based on Kipling's A.B.C. stories this rule may be useful for
dirigible combat.

Example: Tom Sloth And His Pneumatic Coveralls
 Tom Sloth, the brilliant but somewhat misguided engineer, has
 developed a mechanical exoskeleton which can be worn over normal
 clothing. It looks like a pair of silver coveralls, and will
 theoretically let him lift things as though his BODY is 30. He
 decides to test it by lifting an elephant at the zoo.
   The exoskeleton attacks with BODY [30], and the referee has decided
 that lifting an elephant will be difficulty 20. Neither number fits
 on the scale, so he divides both by 3 to make them fit. Now the
 attacking force is 10 and the defending BODY rounds up to 7.
   On a 3 Tom lifts the elephant; unfortunately its weight is now
 attacking his ankles and wrists, which aren't boosted by the power of
 the coveralls... Difficulty 20 is attacking Tom's BODY; since his
 BODY fits on the scale the numbers aren't modified, and the weight
 will cause him serious harm on an 11 or less!


1.2.2     Improving The Odds
----------------------------
At the discretion of the referee ONLY players may spend bonus points
to temporarily modify an attacking or defending value as appropriate.
Players must declare that they are doing this, and mark off the
point(s) used, before the dice are rolled.

Example: She's Buying A Stairway To Heaven...
 Lady Janet and the Venusians are being chased by a huge predator, and
 want to take to the trees to avoid it. The Venusians are natural
 climbers, and sprint up the trees without any trouble, leaving Lady
 Janet stranded four feet below the lowest branch. She tries to jump
 (Athlete [4] attacking difficulty 5) and fails on an 8. The predator
 roars and pads toward her. Before trying again she spends two bonus
 points to temporarily boost her Athlete skill to 6. Propelled by a
 sudden surge of adrenalin she zooms up the tree, passing the
 Venusians before they're half-way up.

This rule should NOT be abused to allow players to perform the
physically impossible. No matter how many points are spent, a BODY [1]
weakling will not lift an elephant single-handed.


1.2.3     Common Characteristic Rolls
-------------------------------------
Here are a few more examples of the use of characteristics. Use the
table that follows to choose the difficulty number for the roll:

 Situation                                    :   Difficulty
 ---------------------------------------------+-------------
 Something that will probably happen anyway   :   1-3
 Something that will happen if things go well :   4-5
 Something moderately difficult               :   6-9
 A "million to one shot"                      :   10
 Lifting an elephant                          :   20

Characters may need to get lucky. Ask them to use SOUL against a
difficulty number as above. If they need to notice things, such as a
concealed movement or a faint smell, use MIND against a difficulty
number (incidentally, the skill Detective can be used to improve this
ability). To get a bright idea use a roll of MIND against a difficulty
number.

All of the above situations have something in common; they should not
occur frequently, and must not be an essential stage in an adventure.
There must always be an alternative which does not rely on the luck of
the dice. Sometimes players get unlucky in situations where their
characters should succeed; in one play-test five characters failed to
hear something at difficulty 3, and an extra clue was needed to put
them back on the right track.

Example: It's Behind You...
 A Venusian predator has chameleon-like camouflage abilities. One is
 about to pounce on the witch doctor's son, and Lady Janet is the only
 person with a chance to spot it. She must roll MIND against
 difficulty 6 to notice. On a 3 she succeeds and yells just in time to
 save his life, finally earning the witch-doctor's friendship.
   The referee might instead have had her roll against the creature's
 Stealth skill.


1.3       Skills
----------------
Anything that a character wants to do will probably relate to some
form of skill. Driving a car is use of the Driving skill. Splitting
the atom is use of the Scientist skill. Skills in this game are VERY
broadly defined; for example, Acting covers light comedy, tragedy,
juggling, singing, and human cannonball acts!

Skills are initially calculated from one or more characteristics, with
the number of points spent added to the result. For instance, Marksman
(the use of all forms of hand-held firearm and other hand-held
projectile weapons) is based on MIND. Acting is based on an average of
MIND and SOUL. Skills may be raised to a maximum value of 10.

Example: Buying Skills
 While generating Fred (MIND [4], SOUL [2]) a player adds two points
 each to the skills Acting and Marksman, and one to Linguist.
   Marksman will be rated at MIND +2.
   Acting will be rated at the average of MIND and SOUL +2.
   Linguist will be rated at MIND +1, with Linguist/2 languages known.
 This is recorded on his character record as
   Marksman [6]
   Acting [5]
   Linguist [5] (Modern Greek, German, French)

Characters automatically have two skills at their basic values without
spending points: Brawling and Stealth. Naturally points can be spent
to improve them. Optionally additional skills may be made available at
their basic values; see Free Skills, section 1.5 below.


1.3.1     Using Skills
----------------------
If characters have skills the referee should assume that they are
reasonably competent. For example, someone who has learned a language
should be able to use it under normal circumstances without bothering
to roll dice. This applies even if the skill rating is low; someone
with Linguist [2] and knowledge of Yugoslavian will still be able to
read, speak, and understand it under all normal circumstances.

Example: It's All Greek... (1)
 Fred has the skill Linguist [5] and knows Greek. He is buying a box
 of matches in a shop in Athens. No dice roll is required.

Example: ...If Gills Are Green Go To Section 6b...
 Lady Janet wants to identify Venusian foods that are safe to eat. Her
 backpack contains a copy of the Oxford Guide To Extra-Terrestrial
 Vegetables, and she is using its key to identify a curious warty
 fungus. This is routine easy use of her Scientist [6] skill and no
 roll is needed.

Dice rolls should be made if the character is working under unusual or
difficult conditions, under stress, or in immediate danger. They are
always used in combat. Usually a skill is used against one of the
following:

1: An opponent's characteristics, eg MIND, BODY, SOUL
2: An opponent's skills, eg Business, Martial Arts, Acting
3: An arbitrary difficulty number set by the referee (usually when
   dealing with inanimate objects, puzzles, combination locks, and the
   like.

Example: Trouble At T'mill
 On her return to Earth, Lady Janet finds that one of her factories is
 on the verge of bankruptcy. She travels to Lancashire to investigate,
 using a series of Business skill rolls to overcome the Business skill
 of a crooked manager who has been bleeding the company dry.
   Once the villain is unmasked she should theoretically use her
 Business skill to unravel years of tortuously complicated accounts
 and restore the factory to prosperity. In practice, she uses the
 skill to weigh up the merits of several candidates and hires another
 manager.

Example: It's All Greek... (2)
 Fred is still in Athens, and wants to buy a box of silver bullets,
 ten crucifixes, a certified genuine saint's relict, and a Mk 4
 Carnacki Electric Pentacle. When the police arrest him as a suspected
 lunatic he will need to make several Linguist rolls against
 difficulty 6 to explain his need for these items, and at least one
 Acting roll at difficulty 8 to persuade them to let him go.

Bonus points can be spent to improve skill rolls, exactly as they are
used to improve characteristic rolls.


1.3.2     Temporary Skills
--------------------------
Characters may occasionally want to use skills they don't possess.
This is allowable, if it will keep characters alive or the game moving
and there is some way to justify it. The character uses the skill at
its lowest possible rating, but must roll for all actions including
routine easy jobs, and the difficulty of all actions is doubled.

Example: What If I Press This Button?
 Lady Janet's sphere-ship is hit by a meteor. Her pilot is knocked
 out, and the ship is veering wildly off-course. No-one else aboard
 has the pilot skill; the referee decides that Lady Janet has been in
 the control room often enough to have a sketchy idea of piloting
 techniques. She will use the skill at AvB&M, or Pilot [4]. Normally
 the roll to restore the ship to its correct course would be against
 difficulty 4; because she isn't properly trained, the referee changes
 that to difficulty 8. On a 3, she just succeeds.

Bonus points may not be used to help in this situation.


1.3.3     Projects
------------------
The skill rolls above are used to resolve short-term problems.
Sometimes characters become involved in long projects, such as the
creation of a work of art or development of a new invention, which
should not be determined by a single roll of the dice.

Some projects simply require routine use of a skill for a prolonged
period, with any failure extending the time. For example, the creation
of a monolithic sculpture might need five difficulty 6 Artist rolls at
intervals of a month; any failure leads to major revision of the work,
extending the time needed by two months. The project is completed when
the fifth successful skill roll is made.

Sometimes practice is all that is needed. This is especially true when
learning languages.

Example: Que..?
 Fred doesn't understand Spanish. During an adventure in Spain he
 tries to learn the language; since he already knows some related
 languages the referee rates this as difficulty 8 after a week,
 difficulty 7 after two weeks, and so forth. A lucky roll of 2 allows
 Fred to learn the language in a week, and it's added to the list on
 his character record.

NOTE: This considerably underestimates the difficulty of learning a
new language. Linguistic problems are not usually much fun to
role-play, unless you particularly want to inflict an unreliable
translator on characters, and most scientific romances either ignore
them completely or assume that their heroes will easily teach the
natives English!

Research projects, such as the development of a new invention, are
resolved a little differently. The referee should decide how difficult
the work will be, and how long it will take, then require a series of
skill rolls of gradually increasing difficulty, repeated until the
final difficulty level is reached.

Example: What Goes Up...
 Lady Janet's colleague Professor Polkington wants to develop a new
 antigravity paint and smash the Cavorite monopoly. The referee
 decides that this project will start at difficulty 5, but will
 eventually be difficulty 10, and each stage of the project will take
 1D6 months; initially 4 months.
   At the end of 4 months the skill roll fails. Polkington has
 achieved nothing, apart from shutting off a few dead ends. The
 referee rolls 1D6 again, and determines that the project will stay at
 difficulty 5 for another 3 months. This cycle is repeated until there
 is a success, then the difficulty is raised to 6 for the next round
 of attempts. Difficulty continues to escalate until Polkington
 eventually overcomes difficulty 10 to complete the synthesis.

The referee need not say that characters are attempting the
impossible, but it's advisable to drop a few hints if serious amounts
of time are being wasted on a completely fallacious idea.


1.3.4     Improving Skills
--------------------------
Bonus points can be spent to attempt to improve skill ratings (to a
maximum of 10, representing near-perfection). These improvements are
assumed to have been acquired by experience or by training. Each
improvement costs as much as the new value of the skill.

To try to improve a skill use the relevant characteristic(s) to attack
the current skill rating.

If the result is a success, the skill has been improved.

If the attempt is a failure, but the dice roll is not a 12, the
character loses the points but does NOT improve the skill; more
training is needed. After some more experience (another adventure) the
player can try again. This can be repeated until the skill has been
improved. A skill's rating may not be improved more than one point per
adventure.

If the result is a 12 the character has "peaked" with this skill; she
loses the points, does not improve the skill, and CANNOT improve it at
a later date.

Example: You Must Read My Latest Monograph...
 Lady Janet wants to upgrade her Scientist skill from 6 to 7,
 reflecting her detailed study of Venusian anthropology,
 Zoology, and Botany. This will cost 7 points, and she must roll her
 MIND [4] against difficulty 7 to gain the improvement. On a 3 she
 succeeds. After another adventure she tries again, spending 8 points
 for the next improvement. Unfortunately the dice roll is 12; she is
 beginning to encounter concepts that she doesn't understand, and will
 never raise the skill past Scientist 7.

Characters with the Linguist skill may add extra languages by practice
during the campaign, as described in 1.3.3 above, or by spending 1
bonus point per extra language for training between adventures. Only
add one language per adventure. Improving the Linguist skill itself
costs the new value of the skill, eg. 5 bonus points to raise Linguist
[4] to Linguist [5], as above.


1.3.5     Adding Skills
-----------------------
New skills can be purchased, using the roll described above, but costs
are increased.

The referee should decide if a new skill is appropriate for the
character; for example, a priest shouldn't normally be allowed to buy
the Military Arms skill. The new skill is acquired at its lowest
possible value.

An attempt to add a new skill costs DOUBLE its rating; eg, an attempt
to add a skill with rating 5 costs 10 bonus points. This represents
the considerable investment in time and money needed to learn a
completely new skill.

To try to acquire a new skill use the relevant characteristic(s)
against the first rating the skill will have. If the result is a
success, the skill has been acquired. If the attempt is a failure, the
character loses the points but does NOT acquire the skill; more
training is needed. After some more experience (another adventure) the
player can try again. This can be repeated until the skill has been
acquired, or until a 12 is rolled, indicating that the character is
incapable of learning that skill.

Example: I Want To Be An Engine Driver...
 Gordon (MIND [4], BODY [3]) has decided that he wants to be an engine
 driver. This skill (actually Driving) begins with a rating of 5, so
 it costs ten bonus points. To gain the skill he must use the average
 of MIND and BODY (4) against Difficulty 5. Unfortunately he rolls a
 7, a failure. After his next adventure he pays another ten points,
 representing  more training, succeeds on a 3, and adds Driving [5] to
 his skill list.

The referee may make things easier for players if a new skill is a
natural result of events in the game:

Example: Klatuu Barada Nichtu, My Dear Chap...
 Lady Janet has spent several months on Venus, and the referee agrees
 that she has probably picked up some of the language, and thus earned
 the Linguist skill. She has mind 4, so this skill will begin with a
 rating of 5. Normally an attempt to learn the skill would be a roll
 against difficulty 5, costing ten points; because of her experience
 the referee reduces the difficulty to 3 and the cost to six points.
 On a roll of 4 it's an easy success, and she adds Linguist [5]
 (Venusian aboriginal) to her skill list. Since this is a new skill,
 she initially knows no other languages, but this can be improved by
 experience.

As with any training, things can go wrong when you try to learn a new
skill. If the roll is a 12 the character is unbelievably bad, and can
NEVER learn that skill.

Example: If I Had The Wings Of An Angel...
 Gordon, a glutton for punishment, has decided that he also wants to
 be a pilot. The referee warns him that he must spend several months
 of his spare time in training (see difficult skills, below). After
 several adventures the referee finally lets him roll the dice; on a
 12 the instructor has a nervous breakdown after a few flights with
 Gordon, and he is permanently barred from the training course. The
 points he spent are wasted.


Difficult Skills
----------------
Some skills are based on half characteristics (Martial arts, Doctor,
Medium, Pilot, Stealth, Thief) so that they are difficult to buy at a
high level during character generation. Unfortunately this means that
it is cheap to acquire them at their lowest level at a later date. The
remedy is simple; only let characters have them after intensive
training and/or an incident which explains how they have suddenly
acquired the skill. They cannot suddenly be acquired between
adventures.

      Doctor: Needs several years of training at a medical school.
Martial Arts: Needs years of training and a suitable instructor.
      Medium: Cannot be acquired after character generation unless
              events in the game somehow trigger psychic sensitivity.
       Pilot: Needs several months of training.
     Stealth: This skill is automatically given to all characters.
       Thief: Needs months of training and a suitable instructor;
              referees may optionally wish players to make luck rolls
              to avoid arrest while training.


1.3.6     Free Skills
---------------------
Referees may want to make some additional skills available to all
characters without the normal points cost, on the assumption that they
are so common that anyone can use them. For example, in a campaign set
in real 1990s America it would be reasonable to assume that every
adult can drive. If taken, these free skills are automatically
received at the values shown below without spending any points.

Example: Everyone's Jumping...
 In a world based on a revival of ancient Greek customs, it's
 customary for every citizen to participate in the Olympics or face
 ostracism. All characters should have the Athlete skill automatically
 at BODY; extra points push it to BODY+1 etc.

An extra skill is available in the A.B.C. world, and is free at its
base value:

International      Basic Value: M/2 *
Knowledge of International, an improved form of Morse code. This is so
often useful that it is taught to all children. Trained pilots
naturally learn it to higher levels; someone who would normally have
this skill as International [3], but buys Pilot [5], receives
International [5] without spending points on it. It may alternatively
be taken as one of the languages acquired via the Linguist skill.


1.3.7     Skill List
--------------------
This list does not represent every possibility; it is just a selection
of the most useful skills. Please feel free to add more, to change
values and costs, or otherwise mess things up, but DON'T distribute
modified versions of this file!

Skills are listed in the following format: Name, basic value (to which
the points spent should be added), and explanation. The following
abbreviations are used:

   B = BODY, M = MIND, S = SOUL, Av = Average, / = Divided by
For example:
   AvM&S   = average of MIND and SOUL
   M/2     = MIND divided by 2 (round UP)
   AvB&S/2 = average of BODY and SOUL divided by 2 (round UP)

Skills marked with an asterisk are automatically acquired at their
basic values. All of these skills are acceptable in the world of the
A.B.C. stories.

Actor              Basic Value: AvM&S
Any form of stage performance. If more than one point is spent the
character is competent enough to earn money from one specialised type
of performance, such as Operatic Tenor, Conjuror, Ballerina. This
skill is also useful for confidence tricks.

Artist             Basic Value: AvM&S
Any artistic endeavour, also useful for forgery. For more than one
point add a specialisation, such as Sculptor, Chef, Tattoo Artist, at
professional level.

Athlete            Basic Value: B
Swimming, running, etc. The advantage of training over brute strength.
For more points mention a speciality such as Skiing, Surfing,
Marathon, performed at championship level.

Babbage Engine     Basic Value: M
Use for control of any type of mechanical, pneumatic, hydraulic, or
electric computer (including player pianos and card- or roll-
controlled looms and organs), also for commanding androids, golems,
zombies, etc.

Brawling           Basic Value: B *
Any form of unarmed combat, apart from martial arts. See the combat
rules below.

Business           Basic Value: M
Any form of financial or organisational work, man-management,
politics, etc. Also useful for preparing forged papers and the like.

Detective          Basic Value: AvM&S
Trained in the art of observation; good at spotting small details,
noticing faint scents, little clues, unusual behaviour, etc. Can be
used as an improvement over normal observation rolls, and sometimes in
place of an Idea roll, or in place of the Psychology skill.

Doctor             Basic Value: M/2
A detailed knowledge of medicines, minor surgery, etc., and a licence
to practice. If more than one point is spent, the character has
knowledge of a speciality (such as surgery) and the appropriate
qualifications. See the rules on injuries for use of this skill. This
skill may NOT be acquired in the course of play, unless several years
pass between adventures.

Driving            Basic Value: AvB&M
Any ground vehicle (car, land ironclad, railway engine, tractor,
etc.). This skill does not apply to exotic vehicles (such as aircraft,
spacecraft, submersibles) whose operators require a high degree of
training. In the A.B.C. world this skill also covers operation of
remotely controlled ground vehicles such as cultivators.

Car chases should be resolved by using the skills of chasing driver to
attack the skill of the fleeing driver. Attempts to follow cars should
be resolved by use of the the tailing driver's skill to attack the
observational ability (or Detective skill) of the lead driver.

First Aid          Basic Value: M
Emergency treatment of wounds. See the rules on injuries.

Linguist           Basic Value: M
The ability to learn, read, speak, and write languages. Initially
characters know Linguist/2 languages; more languages can be acquired
very easily: see 1.3.1 and 1.3.3 above. Characters automatically know
their own native language, and need never roll to use it, without
buying this skill.

Marksman           Basic Value: M
Use of directly aimed projectile weapons (eg gun, crossbow, throwing
knives, spears, etc.) but not field guns or other specialised
militaria. See the combat rules below.

Martial Arts       Basic Value: AvB&S/2
Use for any Oriental martial art, also for Savate, quarterstaff
combat, etc. See the combat rules below. Allows multiple hand-to-hand
and melee weapon attacks in a single combat round, and can increase
the Effect number of some attacks.

Note: This is by far the most powerful unarmed combat skill in this
game, and is not necessarily appropriate to the scientific romance
genre (although Sherlock Holmes was a master of Baritsu, an obscure
Oriental martial art); players should only be allowed to take it at
the referee's discretion, and only if they can devise a background to
explain acquisition of this skill. Referees can make it a little less
useful by adopting one or both of the following optional rules:
 1: Martial artists may not use firearms at any time.
 2: Martial artists must choose to specialise in unarmed or armed
    combat, but not both; to gain these advantages with both, the
    skill must be purchased twice.

Mechanic           Basic Value: M
All forms of mechanical and electrical work, engineering, building,
plumbing, etc.; this covers work on existing machinery and the like,
and the use of machine tools and other production equipment, but not
innovative equipment design which is covered by the Scientist skill.

Medium             Basic Value: S/2
A genuine medium, not a fake. Fake mediums use the Acting skill
instead. This skill may not work in all campaigns; if it does, it can
be used for contact with the spirit world, seances, and premonitions
of impending doom: "I have a bad feeling about this..."

Melee Weapon       Basic Value: AvB&M
Use of any non-projectile weapon, such as a dagger, sword, or axe. See
the combat rules below.

Military Arms      Basic Value: M
Use of field guns, mortars, explosives, and other specialised military
weapons, but not hand guns and other simple portable weapons.

Pilot              Basic Value: AvB&M/2
Use for aircraft, spacecraft, submersibles, digging machines, and
other vehicles which require a high degree of skill and concentration.
Includes the use of parachutes and systems such as radios, sonar,
navigation, and meteorology.

Psychology         Basic Value: AvM&S
Use to spot lies, calm hysteria, notice tension, and so forth. This
skill may also be used for hypnosis; use the skill level against the
MIND of the target - if the roll is made successfully for a number of
rounds equivalent to the MIND of the target, the victim is hypnotised.
This can only be done if the psychologist and target are talking face
to face in a non-hostile situation.

Riding             Basic Value: AvB&S
Riding any animal, from a pony to a diplodocus. Also used for training
animals including lion taming, dog handling, or running a flea circus.

Scientist          Basic Value: M
Use of all sciences. Most scientific romances make little or no
distinction between sciences; for example Professor Challenger (in The
Lost World) has knowledge of anthropology, biology, geology, and
palaeontology, and in later stories displays profound knowledge of
physics, chemistry, astronomy, and psychic research. Optionally mark
one particular science (eg Paleontology) as a speciality if more than
one point is spent on science.

Stealth            Basic Value: B/2 *
Hiding, camouflage, sneaking, etc.

Thief              Basic Value: AvB&M/2
Pick pockets, locksmith, forgery, etc.


1.4       Wounds
----------------
Each character and NPC has a Wounds record, which indicates the
general severity of wounds taken. It is possible (and sometimes easy)
to go from "uninjured" to "dead" as the result of a single wound.

For humans and human-sized animals, humanoid aliens, etc. the Wounds
record has five boxes, indicating the extent of damage:

   Wounds B[ ] F[ ] I[ ] I[ ] C[ ]

"B" means "Bruised"; if you are hurt to this extent you are stiff and
a little slow, but otherwise unharmed, and recover in a day or two.
It's possible to suffer multiple bruises without any additional
effect, apart from spectacular flesh colours and superficial marks.
"Bruised" includes all forms of minor cut and scald.

"F" means "Flesh Wound". This is a deep cut, concussion, or sprain, a
moderately serious burn, and so forth. You are slowed, and may become
infected or suffer other long-term medical effects, but there is
little risk of death. If a flesh wound isn't treated promptly it may
deteriorate and become an Injury (below). Recovery takes at least a
week. Additional flesh wounds must be treated separately but have no
other effects.

"I" means "Injury". This is nasty; a gaping wound, punctured lung,
broken bone, skull fracture, serious poisoning, first degree burns, or
the like. You need first aid and reasonably prompt medical attention;
without it you will probably suffer serious medical effects. You can
only move slowly. If you take two injuries (a tick in both boxes) you
can barely crawl and cannot fight. Injuries need at least a month to
heal, longer if there are medical complications. If all Injury boxes
are ticked and you take another injury you are critically injured, as
below. Small animals don't have an "Injury" box on their wounds
record; any result of "Injury" is automatically "Critical". Really big
animals have three or more "Injury" boxes.

"C" means "Critical". The victim is unconscious and will die without
medical aid. If First Aid or the Doctor skill is used successfully the
victim reverts to severely injured status (all injury boxes ticked),
otherwise death occurs in a matter of minutes, hours at best.

Note that some weapons, and some other forms of damage, have two
additional results possible. "KO" means knockout; the victim is
knocked unconscious for a few minutes, but isn't necessarily
permanently harmed. There is no need to record this since it is a
temporary effect. Record bruises instead if appropriate. "K" means
"Kill". For obvious reasons there isn't any need to have a tick box
for this!

The table shows the effects of wounds. Reduce the value of BODY or
BODY-related skills by the value shown, but not below a minimum of 1.

 Wound         Body   Recovery   Recovery      Notes
                      Period     Difficulty
 --------------------------------------------------------------
 Bruised       -      1 Day      2             Purple marks etc.
 Flesh Wound   -1     1 Week     4             A nasty cut
 Injury        -2     1 Month    6             Broken bones etc.
 2+ Injuries   -4     1 Month    8 per injury  Cannot fight or run
 Critical      N/A    N/A        8             Unconscious, dying
 Knocked out   -      6D6 min    4

Example: It's Only A Flesh Wound...(1)
 During a visit to a German Duke's estate, Lady Janet takes part in a
 boar hunt. During a sudden storm she is separated from the rest of
 the hunters, and loses her gun in a thicket.
  As she trudges home she disturbs a boar and is badly cut by one of
 its tusks. In the next round she tries to fend it off by beating it
 with a fallen branch. Normally she would use her Brawling [4] skill
 for the attack; because she has a flesh wound this is reduced to
 Brawling [3].


1.4.1     Medical Skills, Recovery, and Death
---------------------------------------------
The First Aid skill stabilises wounds and prevent them getting worse.
On a successful roll against the recovery difficulty of the wound,
there is no possibility of any deterioration. For example, this might
involve splinting a broken leg, disinfecting and bandaging a wound, or
putting ice onto a burn. Multiple wounds must be treated separately;
for example, someone with a Flesh Wound and an Injury, or with two
Injuries, would need each treated separately.

Without first aid the wound may eventually deteriorate; roll the
recovery difficulty against the patient's BODY, if the result is a
success the wound will get worse. Flesh wounds become Injuries and
Injuries become Critical if they get worse.

The Doctor skill does all of the above, and also speeds healing. If a
successful roll is made recovery time is halved. Since the Doctor
skill usually begins at a lower level than First Aid, players who are
devoted healers may wish to take both skills.

To recover from wounds without medical help, roll BODY against the
recovery difficulty - AFTER the minimum recovery period. If the result
is a success, the wound is healed. If the result is a failure, the
illness drags on for another period before the roll can be made again.

Example: It's Only A Flesh Wound...(2)
 Lady Janet has a flesh wound. She bandages it herself, using First
 Aid [5] against recovery Difficulty [4]. On a 9 she doesn't do a good
 enough job of cleaning the wound and applying pressure to prevent
 further bleeding.
   She rolls BODY [3] against Difficulty [4]. On a result of 10 the
 wound gets worse; by the time she reaches help Lady Janet is bleeding
 severely, and must spend some time in bed.
   Her doctor fails to help, so her first roll for natural recovery is
 made after a month. Fortunately she succeeds and finally heals.

Death is death, and is usually permanent. In some settings there may
be some rationale for reanimation or resurrection, but in most games
there is no recovery. In an A.B.C. campaign there is optionally a
chance of survival after death by reincarnation. See the A.B.C.
Worldbook (WORLDBK.TXT) for data.

Some examples of common forms of injury follow the combat rules below;
they are clearer if you understand some details that are introduced in
the combat rules.


1.5       Combat
----------------
The combat rules take up a large chunk of this file; this does NOT
mean that they are the most important aspect of the game - it just
means that they are a little more complicated than other sections.
DON'T make the mistake of thinking that every adventure must involve
several firefights!

These rules borrow an idea that is found in some war games. It is
assumed that all the events in a combat round occur simultaneously. If
ten people are firing guns, all of them fire BEFORE the results are
assessed. You can shoot a gun out of someone's hand, but he will have
a chance to shoot you before he loses it. Attacks are usually a use of
skill against a defence; if the attack penetrates the defence, the
damage is determined by use of the attack's Effect against the BODY of
the target. All of these concepts are explained in more detail below.


1.5.1     Combat Rounds
-----------------------
A combat round is a period of approximately five seconds in which
combat occurs. In this time punches might be exchanged, shots fired,
and so forth.

The following things can be done in a combat round
1: Movement.
   A normal human can walk about ten feet, or run twenty. On a
   difficulty 6 BODY or Athlete roll, or on expenditure of a bonus
   point, this can be pushed to thirty feet.
   OR
2: An action, such as ducking for cover or opening a door.
   Referees may OPTIONALLY allow two actions, or an action and a
   movement, in a round; for instance, opening a door and diving
   through.
   THEN
3: An attack, or several attacks with some weapons and skills.
   THEN
4: Wounds take effect.

If you don't want to move or perform any action apart from the attack
itself there is a bonus on the attack, but you do NOT fire first.

Surprise attacks work a little differently. Anyone taken completely by
surprise CANNOT fight, move, or dodge in the first round of combat,
but CAN perform a simple action. For example, intruders would have a
round to attack someone who was standing a few feet from an alarm
button; he would not have time to get to it first. They could not stop
him pressing the button if he already had his hand on it. By
definition, someone with a weapon in his hand pointed at an attacker
is NOT taken by surprise!


1.5.2     Resolving Attacks
---------------------------
Attacks are resolved in the following stages:

1: All players should state who they intend to attack; the referee
   should explain who NPCs are attacking. This should be done before
   any attacks are made.

2: Each character and NPC attacks the chosen target. Roll the
   attacking skill or characteristic against a defending skill, or
   against a difficulty number of 6 if there is no better defence
   available. There are various modifiers for distance etc.

3: If the roll to hit succeeds, the Effect of the attack is used
   to attack the Body of the victim. Damage is calculated according to
   the success of this roll.

Rolling To Attack
-----------------
The following bonuses are available, and should be added to the
attacking skill if appropriate (to a maximum of 10):
  Attacker hasn't moved                   +1
  Target is immobile/inanimate            +1
  Target is twice man sized or more       +1
  Target is very close                    +1 (projectiles only)
  Using a fully automatic weapon          +1 (machine guns) *

* Machine guns are a little less accurate than other firearms, but
  more than make up for it by firing LOTS of bullets, increasing the
  chance of a hit over that for a normal gun. This is the main reason
  why automatic weapons are used. The idea that machine guns rarely
  hit and do less damage than other firearms is a myth.

The following penalties apply, and should be subtracted from the
attacking skill if appropriate (to a minimum of 1):
  Target is TOO close                     -1 (NOT brawling)
  Target is running/moving fast           -1
  Target is half man sized or less        -1
  Target is distant                       -1 (Projectiles only)
  Target partially hidden or camouflaged  -1
  Attacking two or more targets           -2
  Attacker is ducking or dodging          -1
  Target is ducking or dodging            -2
  Attacking for limited damage            -1 (See below)
  Attacking for minimal damage            -2 (See below)

Example: Collecting A Specimen (1)
 Lady Janet (Marksman [6]) wants to "collect" a Ganymedan lion.
  The lion isn't defending itself, so she must fire the shot against a
 basic difficulty of 6. The lion is immobile (+1) and large (+1), so
 her skill would normally be modified to 8; unfortunately it's a long
 way off (-1), and has skin coloration that makes it harder to see
 (-1), so the skill stays as Marksman [6]. On an 8 the shot misses;
 the lion is startled and runs away.
  In the second round the lion is moving (-1), but Lady Janet didn't
 move (+1). The lion is still big (+1) and isn't trying to dodge or
 hide, and is no longer camouflaged, but it's still a long way off
 (-1), so Lady Janet uses an effective Marksman [5] for her next shot.
 On a 4 it's an easy hit.

Example: Take That You Cad! (1)
 Bobby and George have decided to settle their differences in a boxing
 match. Both have BODY [4] and the Brawling [5] skill.
  In the first combat round Bobby dodges and weaves (-1) then tries to
 punch the immobile (+1) George; George stays still (+1) and tries to
 hit the dodging (-2) Bobby when he gets close.
  In this round Bobby has an effective skill of Brawling [5], George
 an effective skill of Brawling [4]. On a 3 Bobby easily breaks past
 George's guard, but on a 2 George also hits Bobby.

Some attacks can be used via two or more skills; for example, a
longbow might be used via the Marksman or Martial Arts skill, a club
via the Brawling or Melee Weapons skill. Use whichever skill is best.
If all else fails weapons may be used via characteristic rolls; these
are usually poorer than skills.

Defences may also be based on skills or characteristics; for example,
someone might try to avoid an arrow by ducking (BODY versus the
attacking skill), by hiding (Stealth skill), or by use of the Martial
Arts skill to catch it! If no better skill is available, the basic
defending value is 6.

If the result of any attack is a success, some damage occurs. Roll for
damage as described below.

Damage
------
Roll to cause damage, using the Effect of the attack (see below)
against the victim's BODY.

All attacks have an Effect number. For hand-to-hand weapons, martial
arts, and other unarmed combat skills it is either the skill level or
the user's BODY plus a bonus; for example, a club gains most of its
power from the user's strength, and has an Effect equal to the user's
BODY +1. A fencing foil, like all swords and daggers, has an Effect
equal to Melee Weapon skill. For firearms the Effect number is usually
intrinsic to the weapon, and thus independent of the user's skill or
BODY.

Damage is determined by using the Effect number to attack the target's
body. The result of this roll will sometimes be a failure; this is
interpreted as minimal damage for the weapon, from column A of the
weapons table. While this is always preferable (for the victim!), many
weapons have a flesh wound or worse as their minimal damage.

If the result is a success, but more than half of the result needed
for a success, check column B of the weapon table.

If the result is a success, and the dice roll is less than or equal to
half the result needed for a success (round DOWN), check column C of
the weapon table. If in doubt, use this table to calculate which
damage column is used:

Roll Needed    Column A      Column B     Column C
               if result     if result    if result
2              3-12          2            -
3              4-12          2-3          -
4              5-12          3-4          2
5              6-12          3-5          2
6              7-12          4-6          2-3
7              8-12          4-7          2-3
8              9-12          5-8          2-4
9              10-12         5-9          2-4
10             11-12         6-10         2-5
11             12            6-11         2-5

Example: Collecting A Specimen (2)
 Lady Janet's hunting rifle is recorded as follows:
 Weapon      Multiple     Effect   Damage      Notes
             Targets               A  B  C
 Big Rifle   No           8        F  I  C/K   -
 This means that it does the following damage:
 A: Flesh wound
 B: Injury
 C: Roll the Effect against BODY again; if the result is a failure the
    injury is critical, otherwise it's a kill.

 Effect [8] attacking BODY [8] succeeds on a 7 or less.
 If the result is an 8 or more the lion suffers a flesh wound.
 If the result is 5-7 the lion is injured.
 If the result is 2-4 the lion is critically injured or killed.
 On 4, then 6, the lion is killed.

Example: Take That You Cad! (2)
 Both combatants are using fists, which are rated as follows:
 Weapon      Multiple     Effect   Damage        Notes
             Targets               A  B  C
 Fist        No           BODY     B  B  KO      -
 There is no reason to modify these results, so both must use BODY [4]
 against BODY [4].
 On a 9, George just grazes Bobby. On a 2, Bobby catches George with a
 perfect right hook and knocks him out.

Machine guns use a special rule. If they are used on more than one
target, the Effect is reduced by 2. The attacker must roll separately
to hit each target, and to damage the victim if the attack is
successful. It's easy to abuse machine guns; players often say that
they are trying to shoot at victims in two or three different areas,
which should not be allowed. Shooting at several targets in one
direction (such as a group of men running along a corridor) is
acceptable, but the targets in front will conceal those behind, or at
least reduce the Effect. They are powerful weapons, but not
all-powerful.

Example: Budda Budda Budda.... oops
 Arnie, with Marksman [6] and a submachine gun, stumbles into a German
 trench during the First World War. Despite Arnie's cry of "Eat hot
 lead, you scummy krauts!", the referee accepts that they are
 surprised; Arnie will get one free attack before they can shoot back.
 There are five Germans, and he tries to shoot them all. His Marksman
 skill is raised to 7, because he is using a machine gun, but reduced
 to 5 because he is shooting at multiple targets, and the Effect is
 reduced from 9 to 7. Arnie succeeds in hitting and injuring three of
 the Germans, but there are no critical injuries or kills. All five
 will be able to shoot back in the next round!

Pulling Punches & Aiming To Wound
---------------------------------
Sometimes players may want to do less than the maximum amount of
damage with an attack. To do this, players should say what they are
trying to do BEFORE rolling to hit; the referee should adjust the
attacking skill as follows:

1: Attacking for limited damage; damage effects are limited to column
   A and B only, column C damage is taken as column B. Skill -1.

2: Attacking for minimal damage; damage effect is limited to column A
   only, column B and C damage are taken as column A. Skill -2.

In other words, there is an increased chance of missing if you are
pulling your punches or aiming to wound, because the attack is
trickier.

It isn't possible to limit damage with shotguns, machine guns, or area
effect weapons such as explosives or flame throwers, or with ANY
attack on multiple targets.


OPTIONAL RULE: Hit Locations
----------------------------
Players may sometimes want to aim at a specific part of the body. To
do so, modify the attacking skill and the damage Effect as follows:

   Location   Skill modification    Effect     Random hit
   ------------------------------------------------------
   Head       -2                    +2         2
   Arms       -1                    -1         3 Right, 4 left
   Torso      No modification        0         5-9
   Legs       -1                    -1         10-12

This rule makes it harder to hit if you are aiming at someone's limbs
or head, but increases the likelihood of serious damage from a head
injury.

Someone who is rolling to hit a target without trying to hit a
specific area should roll 2D6 for a random hit location as indicated
above, and modify the Effect accordingly.

It is not possible to attack a specific hit location with machine guns
or area effect weapons such as grenades, or while performing any form
of multiple attack. Damage from these weapons should attack random hit
locations.


1.5.3     Armour
----------------
Armour reduces the Effect of weapons. It does not affect the roll to
hit; in fact, someone wearing heavy armour should theoretically be
slower and easier to hit. The level of protection depends on the type
of armour. Naturally only the area covered by the armour is protected;
for example, motorbike leathers cover the torso, arms, and legs, but
don't protect the head. Adding a full-face crash helmet extends this
protection to the head. Similarly, body armour doesn't protect limbs
or the head.

    Bulletproof vest: -4 Effect on projectile and blade attacks
  Kevlar body armour: -6 Effect on projectile and blade attacks
  Bullet Proof glass: -4 Effect on all projectile attacks
 Medieval Plate Mail: -4 Effect on all melee weapon attacks
  Motorbike leathers: -2 Effect on all impact weapons (eg clubs)
    WW1 Steel Helmet: -3 Effect on all attacks to head
        Crash Helmet: -2 Effect on all impact damage to head


1.5.4     Weapons
-----------------
Use the tables that follow to determine the capabilities and effects
of combat skills and weapons. If two damage results are shown (eg
C/K), roll the effect against BODY again; if this roll fails the first
result is used, otherwise the second result is used.
Abbreviations:  B = Bruise, F = Flesh wound, I = Injury,
                C = Critical, KO = Knockout, K = Kill
                M.Arts = Martial Arts
                  I+KO = Injured AND knocked out.

Some of the weapons shown have very high effect numbers, which go well
off the "attack versus defence" table. This usually indicates an
attack which will do maximum damage unless a 12 is rolled, or the
effect number is somehow reduced; for example by distance
(explosives), by the damage being spread to cover several targets
(mini gun), or by armour.

Melee Weapons
-------------
Effect is based on BODY or skill.

Weapon         Multiple   Effect   Damage      Notes
               Targets             A  B  C
-------------------------------------------------------------
Fist           No [1]     BODY [2] B  B  KO
Kick           No [1]     BODY [2] B  B  F
Wrestling      No         BODY [2] B  KO KO/I
Animal bite    No         BODY+2   F  I  C
Animal claw    No         BODY+1   F  I  C
Animal horns   No         BODY+2   F  I  C/K
[1] Using the Martial Arts skill it is possible to perform one fist
and one kick attack in a single round against one target, or against
two targets that are close together. Against two targets the attacks
are at -2 Effect.
[2] Users of the Martial Arts skill can use BODY or Martial Arts for
Effect in these attacks, whichever is better.

Club           Max 2 [3]  BODY+1   B  F  KO/K  Eg cricket bat
Spear          No         Melee    F  I  C/K   Any type
Axe            No         BODY+2   F  I  C/K
Sword          Max 2 [3]  Melee+1  F  I  C/K
Dagger         No         Melee+1  F  I  I/K   Eg flick knife
Whip           No         Melee/2  B  B  F

Chair          No         Brawl    B  F  I/KO
Broken bottle  No         Brawl+1  F  F  I

Nunchuks       Max 2 [3]  M. Arts  B  F  KO/K  Martial Artist ONLY
Staff          Max 3 [3]  Melee+2  F  I  KO/C
[3] Targets must be within 5ft. Multiple attacks are at -2 Effect.
    Multiple attacks are available with the Martial Artist skill ONLY

Range: For all melee weapons, targets are TOO CLOSE if they block
effective use of the weapon; within a couple of feet for swords and
axes, within 6 ft for whips, and so forth. This is usually impossible
to work out without using models; if unsure, give players the benefit
of the doubt.

Projectile Weapons
------------------
Effect is usually based on skill (for thrown weapons), on BODY (for
longbows and thrown axes), or on the weapon rather than the user for
firearms etc.

Weapon         Multiple   Effect   Damage      Notes
               Targets             A  B  C
---------------------------------------------------------------
Spear          No         Melee    F  I  C/K   Thrown
Axe            No         BODY+1   F  I  C/K   Thrown
Dagger         No         Melee    F  I  I     Thrown
Shuriken       Max 3      M.Arts   B  F  F     Thrown
Boomerang      No         Marksman B  F  KO/I  Thrown
Cricket ball   No         Marksman B  F  KO/I  Thrown

Longbow        No [4]     BODY+1   F  I  C/K   A hunting bow
Crossbow       No         7        F  I  C/K   A military bow
[4] Maximum 2 targets if attacking with Martial Arts skill.

Small handgun  Max 2 [5]  4        F  F  I/C   eg .22 revolver
Big handgun    Max 2 [5]  6        F  I  C/K   eg .38 revolver
Huge handgun   Max 2 [5]  8        I  I  C/K   eg .45 revolver

Small rifle    No         5        F  F  I/C   eg .22 rifle
Big rifle      No         7        F  I  C/K   eg Winchester
Huge rifle     No         9        I  C  K     eg Elephant gun

Small shotgun  Max 2 [5]  4        F  I  I     1 barrel
Small shotgun  No         8        I  I  C     Firing both barrels
Large shotgun  Max 2 [5]  7        F  I  C/K   1 barrel
Large shotgun  No         14       I  C  K     Firing both barrels

Machine pistol Yes [6]    7        F  I  C/K   eg Schmeisser
Submachine gun Yes [6]    9        F  I  C/K   eg Tommy Gun
Machine gun    Yes [6]    11       F  I  C/K   eg Gatling Gun

Harpoon        No         15       I  C  C/K   Non-explosive whaler
Harpoon        No         25       C  C  K     Explosive harpoon

[5] Hand guns can be used to fire at two targets, or twice at one
 target. If firing at two separate targets each attack is at -2 to
 hit. If firing two shots at one target there is no modifier. Each
 attack is resolved separately. Shotguns can fire twice at one target
 (no modifier to hit, small effect), fire at two different targets
 (modifier -2 to hit, small effect), or fire both barrels at once (No
 modifier to hit, big effect). In all but the last case the two shots
 are resolved separately.
[6] Reduce Effect by 2 if fired at additional targets

Ammunition: Players will undoubtedly have their own ideas about the
number of rounds in their weapons, and usually keep track without
prompting. If you don't want to bother with bookkeeping it's perfectly
acceptable to ignore the matter. As a rule of thumb six shots for all
rifles and handguns, and three bursts or twenty single shots for
machine guns, should satisfy most players.

Range: Normal range for all hand-thrown weapons, handguns, machine
pistols, and submachine guns is 10-20 ft; normal range for bows,
rifles, machine guns, and mini guns is 50-100 ft. Anything closer is
at short range, anything further away at long range. Targets are too
close if they are closer than the end of the weapon.

Area Effect Weapons
-------------------
All explosives damage everything at full effect inside the radius
shown, at effect -1D6 to double that radius, at effect -2D6 to three
times the radius, and so forth. The effect of these weapons is not
reduced if there are multiple targets.

Weapon         Damage     Effect   Damage      Notes
               Radius              A  B  C
---------------------------------------------------------------
Stun grenade   6ft        8        B  KO I+KO
Hand grenade   10ft       10       F  I  C/K
Dynamite       10ft       10       F  I  C/K  +2 effect/stick
Mortar shell   10ft       12       I  C  K
Howitzer shell 10ft       15       I  C  K
Anti-tank mine 10ft       20       I  C  K
Car bomb       20ft       15       I  C  K
Truck bomb     20ft       20       I  C  K
Flame thrower  10 ft      10       I  I  C/K   No damage outside 20ft

Exotic Weapons: Things that might conceivably come into play in a
Forgotten Futures campaign, in no specific order:

Weapon         Multiple   Effect   Damage      Notes
               Targets             A  B  C
---------------------------------------------------------------
Radium gun     No         8        F  I  C/K   Burroughs' Mars
Stun gun       Area 3ft   8        B  KO KO    Most SF
Disintegrator  Yes [6]    15       I  C  K     Most SF
Heat Ray       Area 75ft  30       C  K  K     War Of The Worlds
Black smoke    Area 500yd 10       C  K  K     War of the Worlds
Hydrogen bomb  Area 1 ml  40       C  K  K     Not recommended!
Mini gun       Yes [6]    15       I  C  K     See Terminator 2

The A.B.C. World
----------------
The "weapons" used by the A.B.C. do not cause wounds, or do so only as
a side effect of their main purposes. They are described in detail in
the worldbook. Firearms are not mentioned in the A.B.C. stories, but
"sporting" guns and obsolete military armaments undoubtedly exist.
Some examples are described in the worldbook and adventure.


1.5.5     Non-Combat Injuries
-----------------------------
Combat is the main cause of wounds, but characters occasionally run
into other problems that can cause damage. For instance:

Falling: The damage hits automatically; the Effect number is 1 plus 1
per storey fallen, to a maximum of 20. For example, someone tripping
and falling to the ground risks damage with Effect 2; someone falling
20,000ft takes damage with effect 20. Note that falls of less than
10ft are a common cause of accidental death in the home.

Car Crash: Effect 1 plus 1 per 10 MPH. Halve the effect if wearing a
seat belt or protected by an air bag.

Run Over: Effect 2 plus 2 per 10 MPH, to a maximum of 10.

Poison: Effects vary with type of poison as below. Some gases have an
increasing effect with time as shown.

Electrocution: The effect varies with voltage as below.

Drowning, suffocation, etc: Characters can hold their breath without
harm for BODY x 20 seconds; after that take damage with Effect 1, +1
per 20 seconds submerged. If the character survives, any damage (other
than death) is cleared in a few hours, not the days required for other
forms of damage.

Fire: Effect varies with severity of fire, starting at 1 (a match) and
working up to 7 (a petrol bomb or flamethrower) and onwards. The
effect increases for each round of exposure after the first.

                               Effect      Damage
Cause of Damage                            A  B  C
--------------------------------------------------
Falls                          1+1/storey  B  I  C/K
Car crash (passenger/driver)   1+1/10MPH   F  I  C/K
Run over                       2+2/10MPH   F  I  C/K

"Micky Finn"                   8           KO KO C/K
A small amount of strychnine   6           I  C  K
A lot of cyanide               10          C  K  K
A tiny amount of arsenic       3 *         -  I  C/K
A lot of arsenic               6 *         I  C  K
Cobra venom                    8 **        I  C  K
Chloroform or ether            6+1/round   KO KO C/K
Fleury's Gas                   3+1/round   F  F  I  (A.B.C. world)
Chlorine (WW1 poison gas)      7+1/minute  I  C  K
Gas chamber (execution)        -- Automatic kill --
 * It is possible to build up an immunity to some forms of arsenic
   with repeated small doses, reducing the Effect of large doses. It
   is also possible to kill yourself trying this stunt.
** The cobra must attack successfully first!

Electric Cattle fence          4           -  B  F
110 V (US mains)               6           F  I  C/K
220/240 V (European mains)     8           F  I  C/K
Electric fence (5000 Volts)    15          C  K  K
Electric chair (execution)     - Automatic Kill -

Drowning / suffocation         1+1/30 sec  I  I  C/K *

Match                          1+1/round   F  F  F
Candle flame                   2+1/round   F  F  F
Bonfire                        4+2/round   F  I  I
Petrol bomb                    7+3/round   I  C  C/K
Blast furnace                  10+10/round C  K  K
Volcano                        20+10/round C  K  K


1.6       Animal, Vegetable, Mineral
------------------------------------
What's the BODY of a door? Of a bottle? Of the Queen Elizabeth? How
much damage can a rabbit take (or dish out); a rhino; a blue whale?
This section contains data on a range of common and uncommon objects,
plants, and animals, which characters may conceivably encounter in the
course of play.


1.6.1     Animals
-----------------
Rat           BODY [1], MIND [1], SOUL [1]
              Brawling [1]; Bite, Effect 1, Damage A:B, B:B, C:F
              Wounds: Any wound kills
Rabbit        BODY [1], MIND [1], SOUL [1]
              Brawling [1]; Kick, Effect 1, Damage A:-, B:B, C:B
              Wounds: B[ ] F[ ] C[ ] (Any Injury result is Critical)
Domestic Cat  BODY [1], MIND [1], SOUL [1]
              Brawling [4]; Claw, Effect 2, Damage A:B, B:F, C:F
              Wounds: B[ ] F[ ] C[ ] (any Injury result is Critical)
Small Dog     BODY [2], MIND [1], SOUL [1]
              Brawling [3]; Bite, Effect 4, Damage A:B, B:F, C:F
              Wounds: B[ ] F[ ] I[ ] C[ ]
Cobra         BODY [2], MIND [1], SOUL [1]
              Brawling [6]; Poison, Effect 8, Damage A:I, B:C, C:K
              Wounds: B[ ] F[ ] I[ ] C[ ]
Big Dog       BODY [3], MIND [1], SOUL [1]
              Brawling [5]; Bite, Effect 5, Damage A:B, B:F, C:I
              Wounds: B[ ] F[ ] I[ ] I[ ] C[ ]
Rottweiler    BODY [4], MIND [1], SOUL [1]
              Brawling [7]; Bite, Effect 6, Damage A:F, B:I, C:C
              Wounds: B[ ] F[ ] I[ ] I[ ] C[ ]
Anaconda      BODY [6], MIND [1], SOUL [1]
              Brawling [7]; Wrestle, Effect 8, Damage A:I, B:I, C:C
              Wounds: B[ ] F[ ] I[ ] I[ ] C[ ]
Lion          BODY [7], MIND [1], SOUL [1]
              Brawling [9]; Bite, Effect 9, Damage A:F, B:I, C:C/K
              Wounds: B[ ] F[ ] I[ ] I[ ] C[ ]
Horse         BODY [7], MIND [1], SOUL [1]
              Brawling [4]; Kick, Effect 7, Damage A:B, B:F, C:I/C
              Wounds: B[ ] F[ ] I[ ] I[ ] C[ ]
Bull          BODY [8], MIND [1], SOUL [1]
              Brawling [10]; Horns, Effect 10, Damage A:F, B:I, C:C/K
              Wounds: B[ ] F[ ] I[ ] I[ ] C[ ]
Alligator     BODY [8], MIND [1], SOUL [1]
or Crocodile  Brawling [8]; Bite, effect 8, Damage A:F, B:I, C:C/K
              Wounds: B[ ] F[ ] I[ ] I[ ] C[ ]
              Armour thick skin, -3 Effect all attacks
Dolphin       BODY [8], MIND [3], SOUL [2] *
              Brawling [8]; Butt, Effect [8], Damage A:B, B:I, C:C/K
              Wounds: B[ ] F[ ] I[ ] I[ ] C[ ]
Rhino         BODY [9], MIND [1], SOUL [1]
              Brawling [10]; Horn, Effect 10, Damage A:F, B:I, C:C/K
              Wounds: B[ ] F[ ] I[ ] I[ ] I[ ] C[ ]
              Armour thick skin, -2 Effect all attacks
Elephant      BODY [10], MIND [2], SOUL [2]
              Brawling [6]; Tusks, Effect 10, Damage A:F, B:I, C:C/K
              Wounds: B[ ] F[ ] I[ ] I[ ] I[ ] C[ ]
              Armour thick skin, -2 Effect all attacks
Killer Whale  BODY [15], MIND [3], SOUL [2] *
              Brawling [12]; Bite, Effect 15, Damage A:I, B:I, C:C/K
              Wounds: B[ ] F[ ] I[ ] I[ ] I[ ] C[ ]
              Armour thick blubber, -2 Effect all attacks
Tyrannosaurus BODY [15], MIND [1], SOUL [1]
              Brawling [15]; Bite, Effect 16, Damage A:I, B:C, C:K
              Wounds: B[ ] F[ ] I[ ] I[ ] I[ ] C[ ]
Brontosaurus  BODY [20], MIND [1], SOUL [1]
              Brawling [15]; Butt, Effect 16, Damage A:B, B:I, C:C/K
              Wounds: B[ ] F[ ] I[ ] I[ ] I[ ] C[ ]
Blue Whale    BODY [25], MIND [3], SOUL [2] *
              Brawling [10]; Butt, Effect 20, Damage A:I, B:C, C:K
              Wounds: B[ ] F[ ] I[ ] I[ ] I[ ] I[ ] C[ ]
              Armour thick blubber, -3 Effect all attacks
* If dolphins and whales are intelligent in your campaign, you may
wish to change MIND and SOUL ratings and add more skills, such as
Linguist or Actor (singer).


1.6.2     Plants
----------------
Cabbage         BODY [1]
Sapling         BODY [3] *
Young tree      BODY [8] *
Large tree      BODY [10-20] *
Giant redwood   BODY [30-50] *
Giant flytrap   BODY [8], Bite Effect 6  Damage A:B, B:F, C:I
* Axes attack a portion of the BODY of a tree equivalent to the effect
of the weapon. For example, an axe with Effect 6 attacks 6 BODY of the
tree, succeeding on a 7 or less. If successful, that much of the BODY
of the tree is destroyed. Some trees have thick bark which may act as
armour.


1.6.3     Everything Else
-------------------------
Household Door  BODY [6]    Internal door; lock complexity [4]
Household Door  BODY [8]    Street door; lock complexity [5]
Household Safe  BODY [10]   Lock complexity [10]
Church Door     BODY [12]   Lock complexity [8]
Bank vault      BODY [20]   Lock complexity [15]
House           BODY [20]
Warehouse       BODY [75]
Skyscraper      BODY [200]

Household Table BODY [6]    A simple wood table
Household Chair BODY [5]    A simple wood chair
Garden table    BODY [8]    Wrought iron table
Garden chair    BODY [8]    Wrought iron chair
Armchair        BODY [4]
Bottle          BODY [1]

Car             BODY [10]   See A.B.C. Worldbook for more examples
Truck           BODY [15]   See A.B.C. Worldbook for more examples
Bulldozer       BODY [20]
Tank            BODY [25]
Liner           BODY [100]
Airship         BODY [50]   See A.B.C. Worldbook for more examples



2.0       Role Playing
======================
So far these rules have said a lot about rolling dice, but little
about the real meat of a role playing game; the opportunity to take on
a completely different personality. If players have prepared
characters, they probably already have an idea of the campaign
background, and what their characters are like. Since most scientific
romances were written by Victorians and Edwardians, characters have a
tendency to fall into stereotyped behaviour which isn't necessarily
changed if they are set in the future. Here are a few of the principal
elements of this behaviour:

I Know My Place...
------------------
People in inferior positions accept that their role in life is to be
an underling. They are happy to be employed; the idea of bettering
their position, over and above promotion within their workplace, is
somehow abhorrent. This attitude is especially prevalent amongst
servants and others in intimate contact with their social "superiors".
For excellent examples see the roles played by Eric Sykes in "Monte
Carlo Or Bust", Peter Falk in "The Great Race", and Gordon Jackson in
"Upstairs, Downstairs".

Get Up And Go...
----------------
In contradiction to the above, the Protestant Work Ethic is also very
popular. This says that if you work hard, study, and save money you'll
eventually reach the top. This is primarily an American ideal, but
also very popular with the British middle classes and anyone else who
wants to better himself. Unfortunately middle-class Britons know that
however successful they may be, they will never be gentlemen...

You're A Toff, Guv...
---------------------
Aristocrats are the cream of society; stern but caring, almost always
wealthy and learned, always polite (especially to women and other
inferiors), they are genuinely superior men, and even savages know
them as such. An excellent example is Lord John Roxton in "The Lost
World". Even if an aristocrat goes bad he remains a gentleman; if his
crimes are discovered he will commit suicide rather than dishonour his
family by standing trial.

A Woman's Place Is In The Home...
---------------------------------
Women unfortunately tend to be treated as inferiors, second class
citizens who must be protected from physical and moral danger. An
adventurous woman is VERY unusual, a cause for sensation and scandal.
A woman exerting real authority is almost unheard of, despite the
example of Queen Victoria, and suffragettes and other campaigners for
women's rights are treated with great suspicion.

I Say, He's A Bally Foreigner...
--------------------------------
Chauvinism, in its original meaning, is rampant. People don't
necessarily hate foreigners, but they do treat them as mental and
moral inferiors. To quote a satirical treatment of this attitude, from
H.M.S. Pinafore:

   For he might have been a Roosian,
    A French, or Turk, or Proosian,
    Or perhaps Itali-an,
   But in spite of all temptations,
    To belong to other nations,
    He remains an Englishman!
   Hurrah!
    For the true born Englishman!

This disrespect for foreigners was true of most nations, especially
Britain, while harsh treatment and exploitation of "savages" was
typical wherever "civilised" nations were expanding into "primitive"
lands; in India and Africa, the Middle East, North and South America,
Australia, and the Pacific.

Under A Gooseberry Bush, My Dear...
-----------------------------------
Some things just aren't done. Chief amongst these is any detailed
discussion of sex. Courtship is almost invariably chaperoned, any more
intimate contact takes place as in this example:

   ....he brushed off the confetti, and swept her into his arms.
                   *  *  *  *  *  *  *  *  *  *
   The next morning there were kippers for breakfast....

The row of stars is the nearest these stories come to a lurid sex
scene. All indelicacies, whatever their nature, should occur well
off-stage.

Arr, We Talks Loike This....
----------------------------
Speech is usually fairly formal, and is of course always polite.
Accents are stereotyped; in Britain members of the working classes
always have lovable Cockney accents, or impenetrable country dialects,
while the upper classes all have Oxford accents. Scotsmen say "Och
aye", "The noo", and "Hoots mon", Welshmen "Look you" and "Boyo",
Irish "Begorrah" and "Saints preserve us". America has its own
stereotypes; Harvard accents for the upper classes, Brooklyn for the
dregs. Only criminals and drunkards swear.


Finally, here are three examples of good and bad roleplaying in the
context of these rules. Can you tell them apart?

  "I say, old chap, can you direct me to the station?"
  "Yo dude, where do I catch the iron horse?"

  "Excuse me, my Lord, a gentleman from the police is at the door."
  "Hey boss, it's the pigs."

  "I'm afraid we're in a bit of a hurry. May we get by, please?"
  "Out of the way, you ***ing scumbags, we're on a mission from God!"



3.0       Running Adventures
============================
By now you should understand the rules. Take another look at the
example of game play, in section 0.1, and try to imagine how you would
handle things if you were a player or the referee.

This section is mainly intended for referees. It goes into more
details on the running of games, backgrounds and NPCs, plotting, and
the use of handouts and other aids. If you are already an experienced
referee most of the concepts in this section will be old news; even
so, you may find some new ideas.


3.1       Setting The Scene
---------------------------
Before play begins the referee needs to make a few decisions. The
first is the choice of background. While each of the Forgotten Futures
collections will include source material, there is no reason to feel
compelled to use it. Maybe you have a better idea. For instance,
several authors have set stories in worlds where the Confederacy won
the American Civil War, or the war ended in a stalemate; the example
of play in section 0.1 was set in such a world. Equally valid settings
include the New York of the future, as described in 1920s pulp SF,
London under the rule of Dracula and Queen Victoria (See Kim Newman's
"Anno Dracula"), or Africa in a world conquered by H.G. Wells'
Martians.

Players should understand the basic details of the game world: the
nature of society (or at least how it appears to the characters), the
way in which people are expected to behave, and important things that
everyone would be aware of. How do people get to work? Do they NEED to
work? If not, why not? Is money used? If not, what has replaced it?
What gadgets do people use? What would they like to use? What do they
like, hate, or fear?

While there's nothing to stop you giving players a long briefing, or
copies of the source material, this can sometimes lead to information
overload; players have too many facts to digest, and don't know where
to begin. This type of briefing is reminiscent of the "balloon
factory" sequence found in some of the less impressive scientific
romances - if the world the book described revolved around balloon
travel, there would be interminable descriptions of their
construction, and of the nature of society as transformed by readily
available balloons. Here's an example, set in a generic Communist
Utopia:

'Ah, Comrade Reporter Langford, welcome to People's Synthetic Food
Processing Plant 12B. Here we take sawdust and convert it to the
finest synthetic protein...' [several pages of explanation omitted]
'This is wonderful, Comrade Food Synthesis Manager Bell. Now, how does
the operation of this plant fit into Comrade Glorious Leader
Illingworth's five year socio-economic plan?' [several more pages of
explanation omitted]

It's more fun to establish these details in play. Tell the players
about the world as they develop characters, then let characters loose
in a non-threatening situation that shows them some more. Here Judy is
the referee for a game set in Kipling's A.B.C. world. The adventurers
are on their way to stay at a country house:

 Judy: The lane ahead is blocked by a surfacer, melting the road and
       rolling it smooth. You can see the white glare of heat under
       its safety covers, and smell the usual ozone. A workman with a
       red flag signals for you to stop.
 Bert: I say, old chap, going to be long?
 Judy: The workman spits towards the surfacer; the saliva sizzles into
       steam as it hits the road, then he says [uses appalling rural
       accent] "Arr, that be what I would loike to know. The trouble
       with these danged cheap country roads is that your molten rock
       turns to glass, and glass cracks as it cools. If he doesn't
       take it slow we'll have the whole danged job to do again in six
       months." He spits again, and looks gloomy. "Thing is, if he
       doesn't speed up a bit I'll be late for my tea."
 Bert: But I've an important appointment, old chap. Can't you let me
       by?
 Judy: [in rural voice] Well, I could, but your tyres would melt afore
       ye got onto the cool part of the road....

In this scene Judy wants to establish that the surfacer produces
immense heat; it will be important later. She doesn't want to let the
players know that the information is important. By presenting it in
this way she gives the players the impression that this encounter has
been used mainly to slow them. She's also mentioned the way that this
setting feels to the characters; the noise and smell of the surfacer,
and the light it produces, are more evidence of its vast controlled
power.

If every scene appeals to two or three senses you'll find that players
visualise events more clearly. This is usually good, but don't spend
so long on scene setting that the players become impatient. Here's
another example:

"A sombre plume of grey smoke rises sluggishly from the red brick
chimney of the cottage, twisting and billowing over the slates as the
breeze blows it towards you. The smoke has a strong aroma of firewood,
probably cedar, but something else is added; the sickly miasma of
burning flesh."

As descriptions go this isn't bad, but it might be more appropriate in
a Gothic novel. Paring it to its essential elements, we get something
a little shorter:

"Grey smoke blows towards you from the cottage chimney; it smells of
wood, but there's also the sweet aroma of burning meat."

Victorians, and to a lesser extent Edwardians, lived in an era when
gadgetry was everywhere. No home was complete without knife grinders,
elaborate folding tongs, magic lantern projectors, and other useful(?)
devices. Although many important inventions date from this era, attics
and old patent archives are full of "labour-saving" devices that can't
readily be called useful. Some were practical in their day, some
virtually insane. Victorian gadgets are usually over-ornamented,
bulky, and heavy. They are often designed with two or three extra
functions over and above their main use. Power sources include
compressed air (from bellows or pumps), hydraulic pressure, clockwork,
coal gas, steam, electrostatic forces, batteries, and muscles.
Components are usually made of brass, cast iron, leather, rubber,
gutta-percha, whalebone, ivory, glass, or teak. This misplaced
ingenuity sometimes found its way into scientific romances, and
mentioning or describing these gadgets is often a good way to set the
scene. For example:

"Grice-Charlesworth pumps the bellows, and the flywheel mounted above
it begins to spin. A brass drive shaft with a couple of flexible
joints runs up to an ivory handle which supports a rotating steel
blade, a little like a miniature apple corer, mounted below a concave
mirror. You can hear a thin hiss of air sucking back to the bellows
through the blade. He squeezes the rubber bulb of the ether spray, and
a thin jet of flame momentarily plays over the glittering surface of
the steel. He smiles, and says 'At last, after all my work, the Little
Wonder Nose Hair Cutter and Singer mark II (with razor grinder and
anti-explosion device) is ready for testing! Which of you gentlemen
would care to be the first to try it...?'"

One last point; a picture is sometimes worth a thousand words - when
it's relevant. If you're an artist, consider sketching some of the
scenes the players are likely to encounter, or use newspaper and
magazine photographs. Maps and other plans are also very helpful. A
word of warning; if you only prepare pictures of vital scenes, players
will soon start to assume that nothing important is happening if they
don't see a picture. A few extra pictures, produced to set the scene
at less vital moments, can keep them guessing.

You'll find more examples of scene-setting in the adventure that
accompanies these rules, ADVENT.TXT, and more on illustrations and
handouts in section 3.4 below.


3.2       Plot
--------------
Most people get up in the morning with a fair idea of likely events
during the day ahead, and very rarely run into invading Martians,
marauding dinosaurs, or deranged serial killers. It is unlikely that
anyone reading this has fought a gun battle on the wings of a biplane,
or unravelled a sinister web of deceit to unmask the machinations of
an ancient cult and a nameless evil from beyond the stars.

Life is different in a role playing game, and characters don't lead
routine lives. They are adventurers, encountering excitement wherever
they go. Sinister cultists kill victims on their doorsteps, or decide
that an adventurer is the reincarnation of their god. Their airliner
is the one that is hijacked, their spaceship the one that picks up a
strange alien parasite. They suspect weirdness in the most mundane
events, and are usually right. The snag is that the referee has to
prepare all this for the players.

Sometimes plot elements are implicit in the game background. Let's
take an example set in 1911, a decade after the War Of The Worlds was
won by the wrong side. The Martians control the world, and are using
their machines to exterminate humans, apart from a few survivors kept
as food animals. There are still human enclaves, hiding places where a
resistance organisation is gradually acquiring the tools needed to
destroy the Martians. Think of a steam-powered version of the
resistance organisation in the "Terminator" films. Here the staple
plot will be commando-style raids on Martian bases, and attempts to
destroy Martian war machines. The aliens aren't invulnerable; cunning
booby traps might literally bring a machine to its knees. Long-term
goals would be capture of Martian heat rays and other weapons, and
discovery of a way to use them safely.

This is fine for one or two sessions, but it won't sustain a long
campaign. You can only destroy so many tripods before the novelty
wears off. Let's add another plot element; the Martians have implanted
electrodes and transmitters in the brains of a few of their prisoners,
and brainwashed them to wipe out knowledge of the implants. These
spies have been allowed to "escape" to the resistance organisation,
where they unconsciously report to the Martians. The Martians use the
information to catch raiding parties; they prefer fresh-caught food,
not the unhealthy blood of their ageing "cattle". The resistance base
is allowed to exist, because the occupants are accomplishing little.
The Martians know its exact location, but don't move in because it
would cut off their most succulent food supply. Now raids will start
to go wrong, and the adventurers may start to suspect a spy in their
midst. Throw in more complications; a resistance commander who thinks
that one of the adventurers is a spy - possibly correctly. An escapee
who is behaving very strangely, but for a completely different reason.
Sooner or later someone will realise that escapees knew something
about every failed raid. Proving anything will be VERY difficult; the
spies don't know that they are spies, and aren't doing anything
unusual.

This simple example could be good for several evenings of play. By the
time the spies have been dealt with another Martian ploy will be under
way, or maybe the resistance leaders will have developed a new plan to
destroy the invaders.

Campaigns without these implicit adventure backgrounds pose more
difficulties. In an Utopia there is nothing obvious to drive the plot.
This may mean that the setting is unsuitable, but a little twisted
ingenuity will usually find some cause of conflict. No Utopia can
possibly please everyone all the time, and there may be hidden
serpents in the Garden of Eden. A good example here is the life of the
Eloi in H.G.Wells' "The Time Machine"; apparently living a life of
pastoral tranquillity, they were actually preyed on by the
subterranean Morlocks. Look at the workers in the film "Metropolis",
and contrast their life with that of the managers.

An interesting idea is the Utopia that goes wrong, where everyone is
genuinely happy and contented until a flaw in the system starts to
generate horrendous problems. The most common example is the revolt
plot typified by R.U.R. (Rossum's Universal Robots, by Carel Capek)
and the film "Westworld"; a civilisation where robots do all the work
until they decide to run things for themselves. Capek's "War With The
Newts" shows another example of the revolt of an artificially created
servant race. An interesting variant is the world where everything is
run by machines - trains, planes, ships and cars drive themselves,
factories are entirely automated, and every home has cleaning machines
and other labour saving devices. Naturally everything is designed so
that nothing can go wrong.. go wrong.. go wrong.. - when it does, the
adventurers will have to deal with road building machines which don't
notice that they are squashing cars, factories that insist on
spray-enamelling all intruders, and bed-making machines that fold the
occupants as well as the sheets. This example comes from numerous
sources; most notably E.M. Forster's "The Machine Stops", a gloomy
account of the collapse of an over-mechanised civilisation.

For one-off adventures these relatively simple plots will probably
satisfy your players. In long campaigns it's better to keep several
plot threads on the boil, and bring one to the fore as another ends.
These can be entirely separate, or different strands of a very complex
design. Here's a breakdown of part of a campaign:

1: Members of a sinister Indian cult believe that one of the
   adventurers is their god reincarnated, and have tricked him (and a
   few friends) into taking a cruise which will visit India; there
   they plan to kidnap him and take him to their temple.
2: Members of a rival cult want to identify the god and make sure that
   he is never crowned; the easiest way to do this will be to kill
   him, using a sacred jewelled dagger which is the only weapon sacred
   enough to be used against a god.
3: A Chinese steward steals the dagger. The theft is reported to the
   purser, although the significance of the dagger naturally isn't
   mentioned; the purser knows that one of the adventurers is a
   detective (there's usually at least one in every group) and asks
   him to track down the thief.
4: The British Secret Service knows that the adventurers are on board
   the ship, and wants them to steal a code book from a German
   diplomat who is also aboard.
5: Unknown to all, the German diplomat is secretly funding a sinister
   cult which happens to have tricked the adventurers into visiting
   India...

Plots of this complexity need a lot of preparation, but breaking them
down into their component streams helps to keep things on track. Some
referees also like to run adventures to a timetable, where NPCs will
act at a given time unless the adventurers counter their plans; this
can be fun if the adventurers are fighting a deadline (such as a bomb
that will explode if it isn't found first), but the bookkeeping needed
to time journeys and other activities tends to be a little more
trouble than it's worth. Timed activities work best over very short
periods, where combat rounds can be used; for example, if the
adventurers are trying to fight their way out of a burning house
before the gas mains explode.

Some groups of players run multi-referee campaigns; they take turns to
run the game, but continue to use the same characters throughout - the
current referee's character is sent off to the sidelines, or run as an
NPC, as best fits the needs of the plot. These games do need to run to
strict timetables, so that schemes involving NPCs will come to
fruition when the appropriate referee is running the campaign. A
simple variant is the use of several separate plot lines, set against
a common game background, but with a set of characters for each
referee. This method is most often used for superhero games, with each
referee essentially running a separate "comic" set in a common world.

Finally, no discussion of plot would be complete without mentioning
comedy. Humorous plots are occasionally fun, but a joke that falls
flat is worse than no joke at all. Characters with peculiar names and
behaviour aren't enough to sustain comedic interest, although the
author is aware of one Mafia-based adventure that featured an NPC
stool pigeon called Mr. Cream, inserted purely to allow the characters
to "ice" Cream.... It's usually better if the humour is an intrinsic
part of the situation you're describing. Pratfalls should be avoidable
if the characters take a little care. For example, if the referee sets
up a situation which should result in three or four characters getting
covered with mud, players who think things through should be able to
get away unblemished.

Many scientific romances are set around the year 2000, which is now
only seven years away, so one possible form of humour is satire of the
real world and its public figures, transformed by the game setting.
For example, a certain Herr Shwartzenegger appears in an unaccustomed
role in the adventure accompanying the first Forgotten Futures
sourcebook.


3.3       Non-Player Characters
-------------------------------
NPCs are the backbone of every game; if they aren't played well,
characters move through a landscape populated by formless blobs,
faceless entities that are usually treated as cannon fodder. Despite
the need to keep things simple, NPCs should be described and played as
though they are characters. Here's a poor referee telling players that
they've walked into trouble:

'Two men step out, with guns drawn, and tell you to throw down your
weapons.'

The players probably respond by shooting everything in sight. Now
let's see the same scene with a better referee:

'Two men step out into the road ahead of you, holding revolvers.
They're wearing oilskins - odd, on a hot day like this. The older one
looks very scarred; the other one looks too young to be allowed out
with a gun. He's got a nasty grin: "Kin I plug them, pa?". Dad shrugs;
"Not yet, Leroy [raises voice] Maybe you boys oughta know that there
are four shotguns covering you. Now drop them weapons, or Junior and
ma friends will shoot your balls off."'

The situation is essentially unchanged (those friends and shotguns are
a bluff), but players may think a little longer before going for their
own guns.

Ignore points when preparing NPCs; if you need someone with all three
characteristics at 6 and a dozen high-powered skills, just assume that
the character is exceptional. If you want a wimp, set characteristics
and skills low. It really doesn't matter, so long as the character
makes sense in the context of the adventure, and gives the adventurers
a fair chance of survival.

If player characters are the stars of an RPG, NPCs are the supporting
cast and extras; some are crucial to the plot, others are cannon
fodder. If all are acted to the best of the referee's ability, players
shouldn't automatically know who's who - someone who seems unimportant
might really be the villain of the piece, while "important" NPCs can
be set up as victims or red herrings.

Important NPCs should be prepared as thoroughly as player characters;
extras need much less attention, but it's advisable to keep a list of
their names, and have an idea of the way that they talk and act.
Experienced referees often have a small "repertory company" of
prepared NPCs, who can be used as they are needed; here are some
examples.

Extras
------
Mrs. Jenkins, The Little Old Lady, is always useful as a witness to
unusual events. She's unhelpful, inclined to call the police at the
first sign of trouble, and always complaining. Quote: "He's the one!"
(points at a completely innocent character)
 BODY [1], MIND [3], SOUL [2], Detective [8]
This character is also useful as a telephone operator, receptionist,
or librarian.

Stross, The Evil Retainer, knows at least three damning secrets about
his master or mistress, blackmails guests, and knows more than he
should. An expert at oiliness, materialising just before he is called,
skulking in shadows, and general skulduggery. Quote: "Will that be
all..." [pauses and sneers] "...sir?"
 BODY [3], MIND [5], SOUL [3], Detective [7], Stealth [9], Crime [8]
With minor modifications this character is easily run as a secret
policeman, sinister ventriloquist, or telephone timeshare salesman.
Female variants should be based on Mrs. Danvers, from "Rebecca", or
Frau Blucher from "Young Frankenstein".

Next a group of generic bruisers, suitable for brawls, for robbery
with violence, and as bouncers at rock concerts. Easily used as secret
policemen (add leather coats, handguns, strange accents, and Marksman
[6]), or as rampaging mercenaries or soldiers (add uniforms, rifles,
grenades, and Marksman [7]):

CURLY is bald, 6ft 6in tall, and armed with a crowbar. Quote: "I want
a word with you, shorty"
 BODY [6], MIND [2], SOUL [2], Brawling [8], Melee Weapons [8]

ERIC is an ex-jockey with a switch-blade knife. Quote: "I reckon it's
time I taught you some manners..."
 BODY [3], MIND [4], SOUL [1], Brawling [5], Melee Weapons [6],
 Riding [6]

BIG CECIL is fat, bearded, and a former wrestler. Quote: "When you get
out of hospital pay your bills."
 BODY [7], MIND [3], SOUL [4], Brawling [10], Martial Arts [8],
 Thief [5]

LENNY has a deep scar across his throat, and can only talk in a
rasping whisper. He uses a knife, and is a sadist. Quote: "Oh, was
that your kitten... naughty me."
 BODY [4], MIND [3], SOUL [1], Brawling [7], Melee Weapons [7],
 Thief [4]

DAVE is an unlovable Cockney, heavily tattooed, with a shotgun. Quote:
"Puke on my shoes and I'll 'it you again."
 BODY [2], MIND [2], SOUL [2], Marksman [6], Brawling [3], Thief [8]

The Police: Depending on the nature of your campaign, these may be
corrupt Gestapo-style thugs (as above), Scotland Yard bunglers, or
skilled professionals.

CONSTABLE DICKINSON is fat, near to retirement, and has never solved a
serious crime in his life. He loves beer, and is armed with a
truncheon, bicycle pump, and the majesty of the law. Quote: "'Ello,
'ello, wot's orl this then?"
 BODY [4], MIND [3], SOUL [4], Brawling [5], Melee weapons [5],
 Acting [6] (comic songs)

DETECTIVE SERGEANT MONDALE is in his mid-thirties, a ruthlessly
efficient professional. He doesn't take bribes or frame anyone who
doesn't really deserve it. Quote: "They don't like me to hurt
prisoners, it messes up the cells..."
 BODY [5], MIND [4], SOUL [3], Detective [6], Brawling [8], Melee
 weapons [7], Marksman [6], Thief [8]

INSPECTOR CAVENDISH is in his early forties, fighting fit, and a
connoisseur of the arts. He is scrupulously honest and fair. Quote:
"Hmmm... I'd say that this ash was originally Turkish tobacco mixed
with a small amount of Peruvian cocaine."
 BODY [5], MIND [6], SOUL [4], Artist [7], Detective [8],
 Scientist [7], Brawling [6], Melee weapons [6], Linguist [7]
 (German, French, Italian, Welsh, Flemish)

Stars
-----
Most NPCs are secondary characters or cannon fodder. Adventures also
need a few NPC stars; powerful characters who are the driving force
behind the plot. These characters fall into three main groups:

AUTHORITIES: NPCs with rank and some degree of power over the
characters. Usually they need not be prepared in immense detail, since
they need not become involved in the action. For example, Queen
Victoria appears in several of George MacDonald Fraser's "Flashman"
novels, and sometimes motivates the plot, but she is never in danger,
or in a situation that makes much use of her undoubted skills.
Authorities are most common in adventurers with a service background.

Another type of authority is the information source; a scientist or
scholar. They are usually erudite, but rarely get involved in the
action. Q, in the James Bond novels, is a typical information source.
Again, there is usually no need to develop characters far beyond a
name and a brief description.

Here are examples of both types of authority:

H.R.H. QUEEN VICTORIA is an important figure in any Victorian
campaign. Characters might meet her at an official function, or save
her from some dastardly plot. Always regal, she is the Empress of half
the world and an inspiration to all normal men and women. Quote: "We
are most impressed"
 BODY [2], MIND [4], SOUL [5], Business [7], Linguist [5] (French,
 German, Hindi)

X3 is a senior figure in the British Secret Service, once an active
agent but now frail and confined to a wheelchair. Almost omniscient in
his grasp of the "great game", he controls a vast network of spies and
counter-spies. He is highly intuitive, often sensing trouble before
there is evidence. Quote: "I can't order you to accept this
mission..."
 BODY [1], MIND [6], SOUL [7], Artist [9] (miniatures), Business [9],
 Detective [8], Medium [4], Linguist [7] (German, French, Russian,
 Hindi), Thief [6]

PROFESSOR FINCH is a leading expert on tropical diseases and toxins.
He is preparing a definitive study of snake and insect venoms. There
are usually a few jars with nasty-looking live specimens on his desk;
sometimes the lids are a little loose. Quote: "Stay quite still while
I get a net, it's more frightened than you are."
 BODY [4], MIND [6], SOUL [5], Scientist [9], Doctor [5],
 First Aid [9]

HEROES: PCs are the heroes of most adventures, but occasionally you'll
want to confront them with an NPC hero or heroine. This can be
surprisingly difficult; heroes are often resented by players, or
treated as crutches to rescue them from their mistakes. For example,
Sherlock Holmes sometimes appears as an NPC in Victorian campaigns,
but players always expect him to do all the work, or at least to throw
off his disguise and rescue them at the last minute. It's more fun to
use a flawed hero; someone who has fortuitously acquired a formidable
reputation but doesn't really live up to it, has fallen on hard times,
or is living a lie can be a lot of fun. See the "Flashman" novels for
a splendid example. None of this is to say that NPC heroes should
always be avoided; sometimes they have their uses, but it's usually
advisable to keep their appearances and effect minimal. More examples:

SHERLOCK HOLMES should only appear in a Victorian campaign, and is
more likely to be found on the track of adventurers (who often tend to
leave a trail of corpses) than helping them. Quote: "I see that your
shoes were repaired in Aberystwyth..."
 BODY [6], MIND [7], SOUL [5], Acting [10] (disguise), Detective [10],
 Marksman [8], Martial Arts [9], Scientist [8], Stealth [10], Melee
 Weapons [8], Thief [9]

JACK ROBINSON is an adventurer who subsidises his career by publishing
lurid fiction based loosely on his exploits. He is NEVER around when
the adventurers need him - when danger rears its ugly head in Mexico,
he's believed to be somewhere in China; if evil strikes at sea, he was
last seen in the desert. He's a good drinking companion, a mesmerising
raconteur, and an excellent listener; several of the team's adventures
have somehow found their way into his pulp novels, without
acknowledgement. Quote: "There I was, with the anaconda coiled around
my legs..."
 BODY [7], MIND [4], SOUL [4], Actor [7] (disguise), Brawling [8],
 Detective [8], Melee weapons [8], Scientist [6], Marksman [7],
 Stealth [8], Thief [7]
If necessary use the thugs (above) as a team of assistants,
substituting more socially acceptable behaviour and weapons.

VILLAINS: Not all worlds need villains, and the enormity of their
crimes may vary according to the nature of the world; in an Utopian
setting unhappiness or ugliness may be the worst offence, in a
survivalist environment the main enemies may be disease or famine.
Victorian settings give villains their greatest scope; the widespread
inequalities and crime of the era bred fictional criminals like Bill
Sykes and Moriarty, while xenophobia led to the creation of foreign
masterminds like Fu Manchu and Carl Peterson. Then there are
misunderstood villains and monsters, and the looming spectre of Jack
The Ripper.

One referee's lovable rogue is another's homicidal maniac. Usually
players are reasonably relaxed about the threat of wholesale violence,
such as a cunning plan to destroy London, but upset by more personal
forms of assault. Here are two simple examples; you are STRONGLY
advised to put some work into developing characters of your own!

PROFESSOR VOLKOFF is a misguided genius of crime. He uses mechanical
juggernauts to break into banks, then tries to loot them before the
police arrive. He doesn't realise that he would earn far more by
selling his inventions. He is always caught, but always escapes from
captivity. Quote: "They all laughed at me at Heidelberg..."
 BODY [4], MIND [6], SOUL [2], Scientist [10], Linguist [10] (All
 European and Scandinavian languages, Russian, and Polish),
 Mechanic [9]
Volkoff will give up without a fight if he is personally confronted by
the adventurers. As an interesting twist on this character, consider
having him reform after his second or third brush with the
adventurers, and start to "help" with his strange inventions.

THE DEATH DOCTOR is the Press's nickname for a homicidal maniac.
Bodies have been found partially dissected, their adrenal glands
removed with great skill. The attacks occurred in the disreputable
neighbourhood of your choice. The doctor has found out how to extract
adrenal fluid and transform it into a potion which imbues enormous
strength, at the cost of all human feelings. The potion is addictive,
effects lasting a few hours. Only glands from a certain race, sex, age
group, or blood group will work; one of the adventurers falls into the
affected group. These crimes should take place in the background for
some time (mention them as newspaper stories appearing while the
adventurers are involved in other matters), gradually getting closer
and closer to home. Eventually incidents occur which make it certain
that someone is stalking the affected character. Catching the doctor
should be very difficult; although all human emotions and sympathy are
gone when he is under the influence of the drug, his mind remains
clear and he will make sure that there is always an escape route.
Quote: (On a note pinned to a corpse) "Nice trap. Better luck next
time."
 BODY [8/4], MIND [5], SOUL [0/1], Brawling [9/5], Doctor [7],
 Scientist [8], Melee weapons [7/5], Stealth [8]
Numbers before and after / signs are characteristics and skills with
and without the potion. When SOUL is reduced to zero this character
has no sympathy or human feelings, and is immune to all forms of
emotional control.

If one of the player characters is a doctor, frame her for the
murders!

Don't use these stereotypes too frequently; if every group of thugs
contains a fat former wrestler, and every crowd a little old lady,
players will soon start to recognise them. Above all, remember that
NPCs are expendable. There's nothing worse than a referee who
stubbornly refuses to admit that the players have killed his favourite
character. Nearly as bad is the referee who insists that the players
MUST meet a particular NPC, even if they have no intention of going
near him. Plots should always be flexible enough to give the
adventurers some leeway, and there should always be a way to get a
scenario back on course if something goes drastically wrong.


2.4       Props
---------------
Some referees love them, others hate them. Props, which can include
everything from maps to inflatable models of Godzilla, are very much a
matter of personal taste. While there are obviously endless
possibilities, the most useful props tend to be maps and plans,
newspaper cuttings and other written clues, pictures, and figures and
other models.

Home made maps have the advantage of being cheap and showing exactly
what you want them to show. This is also their disadvantage; if a map
only shows a limited number of locations, players will expect at least
one of them to be significant. A map that shows an area in a
reasonable amount of (mostly irrelevant) detail is usually better.
Wherever possible use real maps, modifying them for the history of
your game world as needed. For example, if a campaign is set in London
a few years after the War Of The Worlds (the one that mankind won),
it's easy to obtain a copy of a real Victorian map and add the Martian
excavations on Primrose Hill, the charred remains of Imperial College,
and other details. Some commercially published RPGs have included maps
of Victorian London; in general the scale is too small to be useful.
See APPENDIX D for suppliers of large-scale maps. The A.B.C. Files
includes two extremely small-scale maps (of London and Britain) which
may be a useful starting point for more detailed designs.

With a little research work it's possible to find maps and pictures of
"Future cities", showing grandiose plans for architectural projects
and city management that never came to pass. These are most often
found in old magazines, but collections have been published.

Building plans are easily obtained; just look at a few architectural
magazines or textbooks to find plenty of examples. Estate agents
(realtors) also sometimes offer plans of the buildings they are
selling. Plans are the most common type of handout in commercially
published games - if you are involved in this hobby for any length of
time, you'll soon accumulate dozens! Naturally some modification may
be needed for the circumstances of your game. The adventure in this
collection is accompanied by several plans.

News clippings and other written materials are always useful. Try to
give players too much information, rather than too little. Referees
often make the mistake of letting players find exactly the information
they need to solve a mystery, and nothing more. As an example, here's
an extract from a "newspaper" produced for a late Victorian post-War
of the Worlds campaign in which the Queen has been kidnapped by agents
of a foreign power desperate for the results of Britain's research
into the Martian heat ray:

  -------------------------------------------------------------
  THUNDER CHILD MEMORIAL UNVEILED -  POSTHUMOUS VC FOR CAPTAIN
In a short ceremony at Plymouth this afternoon the Prince of Wales
unveiled a magnificent bronze statue commemorating the loss of the
torpedo ram Thunder Child and her crew. He also announced a posthumous
Victoria Cross for Commander Jason Standish RN, the Captain of the
late vessel. In a moving speech he said "Since there were no survivors
of this attack, the award can only be a minor acknowledgement of the
gallantry of the entire ship's company, and of the many lives saved by
their heroic sacrifice."
  The Thunder Child charitable trust has raised over a hundred
thousand pounds for the families of her crew and of other service men
killed by the Martians. After the ceremony the Admiralty announced
that work will begin on a new Thunder Child later this year. The new
ship will be larger and more modern in every respect.
  Meanwhile military experts have suggested that construction should
be delayed until the secrets of flight are mastered. Several nations
are building flying machines based on Martian designs; Germany is
believed to have launched a steam ornithopter, while the American Gun
Club is building an interplanetary cannon, in a bid to place men on
the Moon. Britain lags behind in this research, and the recent
disaster in Kensington shows that our knowledge of Martian technology
is woefully incomplete.
                   ---------------------------------
Advertisement
WILL THE MARTIANS RETURN? IS THERE HOPE FOR MANKIND?
Read
ASTROLOGY OF THE MARTIAN INVASION
by Professor Ignatius Blowitz
Astrolabe Press  5s 6d
AND LEARN THE FRIGHTENING TRUTH!
  -------------------------------------------------------------

This cutting actually contains two important clues; the fact that the
Prince Of Wales unveiled the statue suggests that the Queen might be
busy elsewhere, and the last paragraph makes it clear that
international rivalries have spurred intense study of Martian
technology. The money raised by the Thunder Child trust isn't
important in the current scenario, but might be prominent in a later
adventure. The advertisement is a red herring. Some other
possibilities for text handouts include extracts from books, pages
from diaries, letters, business cards and other identity papers (most
shopping centres now have useful card-making machines), and official
reports.

As already said, pictures are an extremely useful adjunct to any
adventure. One obvious source is SF illustrations of the twenties and
thirties, when much of the tradition of the Scientific Romance still
survived in pulp magazine SF. Work from this period can be found in
numerous collections. Films of the era are also visually appealing,
and stills are often available; "Metropolis", "Things To Come", and
"Just Imagine" are particularly good in this respect, but there are
many other excellent examples. Some referees like to show players
photographs of NPCs; any pictorial magazine should contain all you
need. Each of the Forgotten Futures collections will be accompanied by
numerous .GIF illustrations. Pictures of gadgets are also useful; the
author has made good use of a collection of 19th century scientific
illustrations and a 1920s scientific instrument catalogue.

Figures and other models are useful but aren't essential. For most
purposes a few men and women in civilian clothing should be ample.
Figures made for the games Space 1889 and Call Of Cthulhu tend to be
particularly good for Victorian and Edwardian settings, SF figures may
be more appropriate in games with futuristic settings. RPG shops
mainly sell lead figures in 25mm scale, but there are plenty of
alternatives; plastic figures made for model railways can be quite
useful, as can larger scale plastic soldiers and animals, or the
smaller figures sold for war games. Toys are almost always cheaper and
less fragile than gaming miniatures. Dinosaurs and other large animals
are best purchased as plastic models; in Britain the Natural History
Museum sells an especially realistic range. Cars and other vehicles
are best obtained as toys, not as gaming models, since toys are
generally a LOT cheaper. One word of warning; once you start buying
these things, it's very hard to stop. The author has several hundred
lead figures, dozens of vehicles, and a whole herd of dinosaurs, but
generally uses less than a dozen figures for any game! If all of this
sounds hideously expensive, there's nothing to stop you using paper
cutouts instead of figures; just glue a picture or photograph to a
piece of card, and add a bit of wood or a coin as the base. Commercial
cardboard figures are rare but do exist, usually supplied as part of
game modules; the Cardboard Heroes range formerly manufactured by
Steve Jackson Games is still occasionally available, and is highly
recommended.

More exotic props can occasionally be useful, but they are often more
trouble than they are worth. Full sized replica daggers and guns look
good, but carrying them around most modern cities is asking for
trouble. Model airships or spaceships tend to be too large for easy
transportation, and you'll get some very strange looks from people who
notice what you are carrying...

Some referees like to enhance the mood of a game by playing music that
matches its theme. For instance, the music from Jeff Wayne's War Of
The Worlds album might be quite effective in a post-invasion game.
Ragtime might suit a campaign set in the twenties or thirties, with
Gilbert and Sullivan or Souza more appropriate for Victorian
adventures. Some players like this idea, others hate it; provided the
music doesn't stop people hearing what's going on, it probably doesn't
matter.

Finally, one last word of warning; if you need an eerie atmosphere,
DON'T try to establish it by drawing the curtains and running the game
by the light of a single candle. Extensive tests have revealed that
three out of five referees can't read their own notes under these
conditions, while one player in eight falls asleep in the dimness, and
one in fifty sets fire to something...



4.0       The Game World
========================
At this point most game rules start to describe the game world in
detail, outline adventures, and so forth. For convenience this
collection has been split into several files, and all the world
details are in WORLDBK.TXT, which describes the world of Kipling's
A.B.C. stories.



5.0       The Adventure
=======================
Again you are referred to another file, ADVENT.TXT, an adventure set
in Kipling's version of 2001 AD, but don't look at it unless you plan
to run the scenario!



6.0       Coming Attractions
============================
Finally, a very brief word about the future of Forgotten Futures.

The next collection will be The Log Of The Astronef, based on 'Stories
Of Other Worlds' (AKA 'Honeymoon In Space') by George Griffith. This
promises to be BIG, with six stories, dozens of graphics files, and a
campaign adventure that spans the solar system. Keep AT LEAST 2 MB
clear for it! This is already in preparation; the stories and many of
the graphics have been scanned, and preliminary planning of the
worldbook and adventure are well in hand. This collection will be sent
to all registered users at least a month before it is generally
available; currently this looks like being around Easter 1994, but
these things have a habit of slipping well behind schedule.

If copyright permits the third collection will be based on the
Professor Challenger stories by Sir Arthur Conan Doyle. If all goes
well it will appear in late 1994 or early 1995. If this isn't possible
the third collection may be based on William Hope Hodgson's "Karnacki
The Ghost-Finder". None of this is final!

Beyond this things are fluid; if you want to suggest something, please
mention it when you send in your registration form (a little hint).



APPENDIX A: Units, Currency, and Dates
======================================
Units
-----
The source material for this game mostly originates in Britain and
America in the nineteenth and early twentieth centuries. Distances and
other measurements are often given in Imperial units (feet, miles,
pounds, and so forth), rather than the greatly preferable metric
system. For readers unfamiliar with the older systems, here are a few
of the principal units; most of the more obscure variants are omitted:

1 inch  (in) is roughly 2.5 centimetres
  The most commonly used subdivisions of an inch were halves,
  quarters, eighths, sixteenth, thirty-seconds, and sixty-fourths.
1 foot  (ft) is 12in is roughly 30 centimetres
  On plans feet and inches are often indicated by single and double
  quotes; for example, 5' 4" = 5ft 4in.
1 yard  (yd) is 3ft is 36in is roughly 0.9 metre
1 mile  (mi) is 1760yds is roughly 1.6 kilometres
1 fathom is 6ft or 1.8 metres, usually a nautical measurement

1 acre is 4840 square yards, roughly 0.4 hectares

1 horsepower is roughly 0.75 Kilowatt

1 ounce (oz) is roughly 28 grams
1 pound (lb) is 16 oz is roughly 450 grams
1 ton (English or "long" ton) is almost exactly 1 metric ton.
1 ton (American or "short" ton) is roughly 0.9 metric tons.

1 pint  (pt) is roughly 0.45 litres
1 quart (qt) is roughly 0.9 litres
1 gallon (UK gallon) is roughly 4.5 litres
1 gallon (US gallon) is roughly 3.8 litres

Zero degrees Fahrenheit is approximately -18 degrees Celsius
32 degrees Fahrenheit is zero Celsius
212 degrees Fahrenheit is one hundred degrees Celsius
Body temperature is 98.6 degrees Fahrenheit

The A.B.C. world uses British Imperial units.

Currency
--------
Until 1972 British currency was based on the Pound Sterling, divided
into shillings and pence. This form of currency is used in most
British scientific romances.

One pound    = 20 shillings = 240 pence
One shilling = 12 pence
Abbreviations used are # for pound (see below)
                       s for shilling
                       d for pence

The # symbol is NOT normal British usage; unfortunately the correct
symbol (IBM character 156) is not part of the standard ASCII character
set. Here are the main units of currency; some other coins have been
used, but were comparatively uncommon.

Copper coins:
 1/4d  (farthing)
 1/2d  (ha'penny)
 1d    (penny)

Silver coins:
 3d    (threepenny bit, "Joey", replaced by a bronze coin in 1937)
 6d    (sixpence or [slang] "a tanner")
 1s    ("a bob")
 2s    ("two bob", "Florin")
 2s 6d (Half crown)
 5s    (Crown - uncommon)

Gold coins
 10s   (Half sovereign, "ten bob" - rare)
 #1    (Sovereign, "a quid". Purchasing power roughly $5 in 1900)
Britain went off the gold standard in the 1920s, and gold coins ceased
to be legal tender.

Bank notes:
 #5    ("a fiver") - very rare.
 10s and #1 notes were introduced in the 1920s; larger notes were
extremely rare, but did exist.

Another currency unit, the guinea, worth 21s, was used for legal and
other professional fees, and by the most expensive shops. Although
there were no coins or notes for this amount after 1813, prices were
often given in guineas, and cheques can be written for guineas. The
abbreviation "gn" is occasionally used.

There is very little standardisation of the way prices are written;
here are a few examples:
 #2 6s 6 1/2d = Two pounds, six shillings and sixpence-ha'penny
 2s 6d = Two shillings and sixpence = half a crown
 19/11 = 19s 11d = Nineteen shillings and eleven pence
 10'6 (with the "6" raised and printed smaller) = 10s 6d
 Half a guinea = 10s 6d
 25s = #1 5s
 5gn = 5 guineas = #5 5s

In the A.B.C. world Britain does not use decimal currency.

Dates
-----
American readers may sometimes need to be aware of the British
convention on the writing of dates, and vice versa. The difference is
simple: in Britain the day is put before the month, in America the
month is put before the day. For example:

   British: 11/2/93 = 11th February 1993
  American: 3/4/55  = March 4th 1955

In the A.B.C. world both countries still use their own notation.



APPENDIX B: Some Other Role Playing Games
=========================================

Unusually paranoid legal note
-----------------------------
During play testing a legal case made it clear that it was not
advisable to include suggestions on conversion between the Forgotten
Futures rules and other game systems. Nevertheless, it IS possible to
use the background material from this collection with ANY game, given
enough ingenuity. The following are suggested as particularly
suitable, but it should be made clear that this collection is not an
approved playing aid for any of these games.

Games
-----
Call of Cthulhu (Chaosium Inc.) is designed for horror campaigns, but
is readily usable for any 19th or 20th century genre. It has all the
skills needed for a scientific romance setting, and a huge body of
published adventures and source material. It is relatively easy to
learn and play.

The Adventures of Luthor Arkwright (23rd Parallel Games) is based on a
well-known comics series, and part of the original story was set in a
world whose technology is very like that of Kipling's A.B.C. stories.
The rules include psionics and travel between dimensions, as part of
an ongoing struggle between rival groups who want to save or destroy
all universes. At present no adventures or additional material are
available for this game.

Space 1889 (GDW) is a scientific romance game. Set in an alternate
universe where the "Luminiferous Ether" (their spelling) exists and
Edison invented a space drive, it features forgotten civilisations on
Mars, the Moon, and Venus, flying ships, and some useful rules on
weird science and inventions. Several supplements and associated war
games and board games are available, but support from the publisher
now seems very limited.

GURPS (Generic Universal Role Playing System: Steve Jackson Games) is
a multi-genre game intended for use with any campaign setting. A
forthcoming source pack is set in the world of The Difference Engine,
an important SF novel which has many of the features of scientific
romances. Other supplements cover time travel and parallel worlds, and
there are "high-tech" dirigible rules in a supplement based on Philip
Jose Farmer's "Riverworld" novels. GURPS can be expensive, since it's
sometimes necessary to buy three or four books to get everything
needed for a campaign, but it is by far the most comprehensive RPG in
print, with a huge range of supplements and adventures.

The Amazing Engine (TSR Inc) is a generic role playing system for SF
and fantasy adventures, published with a series of world books for
these genres. One of the first is be "For Faery, Queen, And Country",
a Victorian fantasy campaign. TSR's games are usually well-supported
and reasonably easy to learn, but it should be emphasised that the
author has not yet seen this game, and mentions it purely on the basis
of its advance publicity and relevance to the genre.

Time Lord (Virgin) is based on the TV series Doctor Who, which has
featured many stories with a Victorian setting. The rules are easy to
learn, and the time travel background makes it easy to move characters
to any game world. Unfortunately no support material has been
published. An earlier Doctor Who game was published by FASA, but is no
longer in production.

Finally, TWERPS (The Worlds Easiest Role Playing System: Gamescience)
may be useful for anyone who thinks that Forgotten Futures is much too
complex; its rules fit on a small piece of paper!

ALL GAMES MENTIONED IN THIS DOCUMENT ARE COPYRIGHT BY THEIR RESPECTIVE
PUBLISHERS, AND USE OF THEIR NAMES ETC. IS PURELY FOR ILLUSTRATIVE AND
INFORMATIVE PURPOSES, AND TO ADVERTISE THE MERITS OF SEVERAL EXCELLENT
SYSTEMS.



APPENDIX C: About The Author
============================
Marcus L. Rowland is a London-based technician. In his spare time he
has been writing for games magazines and publishers since 1979.
Notable works include the following game supplements and adventures:

Golden Heroes
 Queen Victoria And The Holy Grail (Games Workshop)

Call of Cthulhu
  Trail Of The Loathesome Slime (Games Workshop)
  Nightmare In Norway (Games Workshop)
  Bad Moon Rising (in The Great Old Ones, Chaosium) *
   * Joint winner Origins Award 1989, best role-playing adventure
  Honeymoon In Hell (in Blood Brothers, Chaosium)
  Fear Of Flying (in Fearful Passages, Chaosium)
  El Tigre, y la Piramede de Destruccion (Blood Brothers 2, Chaosium)

Judge Dredd
  Judgement Day (Games Workshop)
  High Justice (Games Workshop, unpublished)

Space 1889
  Canal Priests Of Mars (Game Designers Workshop) *
   * Published in a heavily abridged form not approved by the author

Software
  World Generator *
   * Shareware, later freeware; user registrations no longer accepted

Magazine credits include articles, adventures, and games in numerous
issues of White Dwarf, Challenge, Different Worlds, Dagon, Concepts,
The Dragon, Dungeon Magazine, 2000 AD (board game, uncredited),
Fantasy Chronicles, Red Giant, Space Gamer, Games Trade Monthly, Games
Review Monthly, New Scientist (not game-related), Strategy Plus, Role
Player Independent, The Last Province, numerous computer magazines,
and various other magazines and fanzines.

His short fiction has appeared in shared world collections edited by
the Midnight Rose collective and published by Roc Books; Temps, Euro
Temps, and The Weerde 2. These books have only appeared in the UK at
the time of writing.

His hobbies include reading (especially fantasy and science fiction),
writing, SF fandom, gaming, computing, and trying to find time to
sleep. He doesn't usually talk about himself in the third person.



APPENDIX D: Sources
===================

Recommended Reading (Non-Fiction)
---------------------------------
Brian Aldiss & David Wingrove: Trillion Year Spree [1986]
An excellent history of SF, focused primarily on origins and early
work in the genre. A previous version (Billion Year Spree [1976], by
Aldiss only) contains most of the same material on early SF and
scientific romances; the revisions were mostly concerned with improved
coverage of modern SF.

Brian Aldiss (ed): Science Fiction Art [1975]
A good large-format collection of SF art from the late nineteenth and
twentieth century, very useful for "futuristic" machines and cities.

Kingsley Amis: New Maps Of Hell [1960]
An excellent source on early science fiction. Currently out of print.

Felix Barker & Ralph Hyde: London As It Might Have Been [197?]
An interesting book of artist's impressions of a range of proposed
architectural and engineering projects that never came to fruition,
featuring such wonders as monorails over Regent Street, mausoleum
pyramids in North London, and dirigible mooring towers almost
everywhere.

I.F.Clarke: Voices Prophesying War [1966]
Study of future war stories, from the eighteenth century to the
present day.

John Clute & Peter Nicholls: The Enclopaedia of Science Fiction [1993]
The Orbit second edition (1400 pages, soon to be released on CD-ROM by
Nimbus) is expensive, but an excellent source for information on
scientific romances. The first edition [1980] can occasionally be
found second hand, but is not as useful.

Chris Morgan: The Shape Of Futures Past [1980]
A scholastic study of speculative fiction from 1800 to 1945.

David Pringle: Imaginary People [1987, revised 89]
An interesting but occasionally infuriating study of the career of
fictional characters in a wide variety of genres.

Brian M. Stableford: Scientific Romance In Britain 1890-1950 [1985]
A study of this genre and the features which distinguish it from
Science Fiction, which may sometimes be somewhat blurred in the
Forgotten Futures game.

Leonard De Vries: Victorian Inventions [1971]
A coffee-table book of ingenious Victorian gadgetry, from airships to
theatrical illusions. Profusely illustrated, highly recommended.

Recommended Reading (Fiction)
-----------------------------
This is a necessarily brief listing which can only cover a few
personal favourites from hundreds of relevant stories and novels. It
includes authentic scientific romances, and a good deal of modern SF
and general fiction which relates to the field, or seems to derive
style from it.

John Brunner (ed): Kipling's Science Fiction [1992]
A useful collection, including the A.B.C. stories featured in the
first Forgotten Futures compilation (but not the accompanying poetry
or advertisements from With The Night Mail). A companion volume covers
fantasy.

Karel Capek: R.U.R. (play) [1920, trans 1923]
Humanoid robots (literally "workers") are created, but eventually
rebel and destroy the human race. One of the first depictions of
robots (actually androids, chemically synthesised human replicants)
and the consequences of their mass-production. Capek's novel "War With
The Newts" [1937] tackles similar issues.

G.K. Chesterton: The Napoleon Of Notting Hill [1904]
A future Britain split into tiny warring nations.

Sir Arthur Conan Doyle: The Lost World [1912], The Poison Belt [1913],
 The Disintegration Machine [19??], When The World Screamed [1929]
 The Horror Of The Heights [1913]
Four of the Professor Challenger stories, plus a notable story of
monsters in the stratosphere. A fifth Challenger story, The Land Of
Mists [1926] is possibly Doyle's worst novel, and recommended only to
fanatic completists. The five have been collected in one volume. All
of Doyle's Sherlock Holmes stories are essential reading for
background detail and characterisation.

E.M. Forster: The Machine Stops [1909]
The collapse of an over-mechanised Utopia.

George MacDonald Fraser: Flashman (& sequels, various dates)
The exploits of Flashman, the villain of the novel "Tom Brown's
Schooldays", a coward who receives the Victoria Cross (V.C.) and
becomes one of Britain's most respected soldiers. Although recently
written, they are highly recommended for research into Victorian
period detail and descriptions of the attitudes and notables of the
era.

William Gibson & Bruce Sterling: The Difference Engine [1990]
A modern novel exploring an alternative 19th century in which there
was a Radical revolution, information technology arrived early, and
"our lady of the engines" (Ada Lovelace, a mathematical genius and
associate of Babbage) is creating the first artificial intelligence.

Colin Greenland: Harm's Way [1993]
An excellent modern recreation of a scientific romance in the style of
Dickens and Jane Austen. Featuring clipper ships sailing to Mars and
Venus, iron moons, angels, and mysterious assassins. Highly
recommended.

George Griffith: Honeymoon In Space [1901]
An interplanetary adventure, originally published as a series of short
stories in 1899*, which seems to have influenced a surprising amount
of early SF. The hero, his bride, and dour engineer Murgatroyd set off
for a honeymoon cruise in space, visiting various worlds and meeting
hostile and friendly aliens. Echoes of these stories can be found in
space operas and stories by many authors including E.E. "Doc" Smith,
Ray Bradbury, John W. Campbell, and C.S. Lewis.

* This story cycle will be the background for the second Forgotten
Futures Collection, 'The Log Of The Astronef', to appear in 1994.

Harry Harrison: A Transatlantic Tunnel, Hurrah! [1972]
Can George Washington, descendant of the famous traitor, complete the
tunnel that will link Britain to her American colonies? Who is trying
to sabotage the work? Will Washington reach England in time to join
the first train through the tunnel? These and many other questions are
answered in a wonderful evocation of the Victorian adventure novel,
set in a world where America lost the War of Independence. Also known
as "Tunnel Through The Deeps".

William Hope Hodgson: Karnacki The Ghost-Finder [1913]
An excellent collection of period stories featuring a scientific
psychic detective and his brushes with real and faked supernatural
events.

Aldous Huxley: Brave New World [1932]
The classic novel of genetic manipulation and thought control.

Rudyard Kipling: Actions And Reactions [1909], A Diversity of
 Creatures [19??]
Two excellent collections, which between them contain the A.B.C.
stories and some of Kipling's best writing.

C.S. Lewis: Out of the Silent Planet [1938], Perelandra (aka "Voyage
To Venus") [1943], That Hideous Strength [1945]
This trilogy is probably best described as ANTI-Scientific Romance,
but still includes some powerful writing and vivid descriptions of
excellent aliens.

Peter Martin: Summer In 3000 [1946]
An interesting example of a socialist Utopia, whose science is based
largely on bioengineered plastics and gene modification, drawn into
conflict with a horrific religio-fascist USA. Long out of print and
very difficult to find, and a little too inclined to lecture its
readers.

Michael Moorcock: The Warlord Of The Air [1971], The Land Leviathan
[1974], The Steel Tsar [1981] (Collected in one volume as The Nomad Of
Time [1982])
The "Oswald Bastable" stories; the narrator literally walks into
alternate worlds, derived in part from the work of Wells and Kipling.
Very highly recommended.

Kim Newman: Famous Monsters (story) [1990]
Modern homage to H.G. Wells, in which one of the tentacled survivors
of the War of the Worlds takes up a career in B-movies.

Kim Newman: Anno Dracula [1992]
Dracula infects Queen Victoria with vampirism, and becomes ruler of
Britain... Suddenly vampirism is the height of fashion, but a
desperate resistance organisation has a cunning plan. Modern, not
really a scientific romance, but fun and useful for details of
personalities of the late nineteenth century.

Christopher Priest: The Space Machine [1976]
A light-hearted romp based loosely on H.G. Wells' fiction, in the
style of a scientific romance.

William Rushton: Dr. W.G. Grace's Last Case [1984]
Another (very) light-hearted Victorian romp. After the War of the
Worlds, Dr. Watson and Dr. W.G. Grace (the World's Greatest Cricketer
and all-England croquet champion) team up to solve a murder, and
stumble across a diabolical plan to destroy the human race. With guest
appearances by Dr. Jekyll, Moriarty, Queen Victoria, A.J. Raffles,
Buffalo Bill, Picasso, and many others. Not recommended as a source,
unless you want to get VERY silly, but LOTS of fun!

A. Kingsley Russell (ed): The Rivals of H.G. Wells [1979]
Anthology of late Victorian and early Edwardian short fiction by a
variety of authors, reproduced (with illustrations) from British
magazines of the period. Includes work by George Griffith, Jack
London, Fred M. White, and others, and several examples of the
ever-popular British catastrophe story, in which London is destroyed
by gas explosion, flood, ice, fire, and volcano.

George Bernard Shaw: Back To Methuselah [1921]
Play studying the consequences of immortality.

Mary Shelley: Frankenstein [1818]
Despite its early date, this novel is a fascinating discussion of
scientific responsibility and morality.

Olaf Stapledon: Last And First Men [1930]
A panoramic history of the future, extending from the 1930s to the
death of the solar system.

Olaf Stapledon: Odd John [1935], Sirius [1944]
The first is based on the evolution of a mental superman, and the
consequences of his attempts to found a new civilisation. The second
deals with the creation of dogs with human intelligence.

Jules Verne: From The Earth To The Moon [1869], Journey To The Centre
 Of The Earth [1872], Twenty Thousand Leagues Under The Sea [1872],
 Master Of The World [1914]
Despite appallingly bad translations, and some occasional lapses in
science which are primarily translation errors, all of these stories
are scientific romances at their best.

Thea Von Harbou: Metropolis [1926]
The book of the film; Von Harbou was Fritz Lang's wife and co-author
of the script.

Edgar Wallace: The Four Just Men [1901]
Not a scientific romance, but an excellent turn of the century
thriller with some interesting sidelights on British attitudes to
foreigners. The later sequels are less useful.

H.G. Wells: When The Sleeper Wakes [1899]
Mankind under the rule of immensely rich capitalists.

H.G. Wells: The War Of The Worlds [1898]
The classic novel of alien invasion.

H.G. Wells: The First Men In The Moon [1901], The Time Machine [1895]
Two definitive journeys, whose impact on science fiction can't be
overestimated.

John Wyndham: The Day Of The Triffids [1951], The Kraken Wakes [1953],
Trouble With Lichen [1960]
Three rather late scientific romances; two catastrophe stories (always
a popular theme with British authors) and a novel about the discovery
of immortality.

Yevgeny Zamiatin: We [1924]
Life in a world socialist state where personal names and the word "I"
are forbidden.

Recommended Viewing
-------------------
The First Men In The Moon [1964]
Professor Cavor's antigravity ship flies to the Moon, where Selenites
are preparing to invade Earth. Wells played somewhat for laughs, but
still an interesting adaptation of an important early work. Special
effects are poor by today's standards.

Just Imagine [1930]
A man from the thirties is transported to 1980s New York, and can't
cope with the changes. A musical, notable for lavish sets but poor
dialogue and acting.

The Lost World [1925]
One of several adaptations of the Conan Doyle classic, featuring Ray
Harryhausen's early stop-frame model animation and effects, including
a Brontosaurus loose in London. Silent, but better than the subsequent
remake.

Metropolis [1926]
Workers in a hellish underground complex provide luxuries for the rich
bosses, who panic when they see signs of revolt. An important
precursor of many later films including Bladerunner.

The Time Machine [1960]
Reasonably faithful enactment of Wells' classic story, let down by
poor acting.

Things To Come [1936]
World War 2 lasts from the thirties to the sixties, ending in the
formation of a world government run by scientists. Biased heavily
towards Wells' notions of politics and history.

Comics
------
Brian Augustyn: Gotham By Gaslight [1991], Master of the Future [1992]
Two 'graphic novels' starring Batman, set against a Victorian
background. Some interesting characterisation can be found in both
stories; the first pits a Victorian version of Batman against Jack The
Ripper, the second against a villain straight from the pages of Jules
Verne. Period detail is excellent.

Grant Morrison: Sebastian O [1993]
A 3-issue series in which the Victorian era acquired television and
computers somewhat early, with unfortunate results. Extremely violent,
not always faithful to the era, but good for imagery and costuming.

Bryan Talbot: The Adventures Of Luthor Arkwright [197?-89]
Published in several different formats over this period, this is
(usually) a 9-part story of inter-dimensional warfare. Several
sections are set in a world with quasi-Victorian technology. Highly
recommended.

Numerous other comics have attempted an evocation of the style of the
scientific romance, but most have failed dismally.

Old Maps
--------
Replica and reprinted maps are wonderful props for any game, and a
useful starting point for "future cities" as they were imagined around
the turn of the century. It should be possible to obtain them for most
areas; the examples that follow are useful for a British campaign.

Alan Godfrey Maps, 57-58 Spoor St., Dunston, Gateshead, NE11 9BD,
Britain
The "Godfrey Edition" of 15"/mile (1/4224) scale Ordnance Survey maps
are photographically reduced from late 19th and early 20th century
25"/mile originals. They give very clear coverage of London, and
partial coverage of many other areas of Britain, adding a history of
the area and other useful data on the back. Map details include
individual houses, footpaths, tram lines, and so forth. London alone
needs more than a hundred sheets, each showing an area of roughly 1.5
square miles, for full coverage, but most campaigns will only need a
few key areas. Particularly recommended:
63(11) - Whitechapel 1893 - A must for any campaign with echoes of
Jack the Ripper.
K710 - Crystal Palace 1871 - A marvel of Victorian engineering,
including a history of what was once Britain's largest exhibition site
and plans of its interior.
The range includes some 36"/Mile (1/1760) scale plans of especially
important sites, such as the Tower of London and Dublin Castle. A
catalogue is available by post.
 UK orders #1.75 per map, 50p postage per order.
 Foreign orders #1.75 per map, add 10% for surface mail, 25% for
 airmail, minimum order #7.50

David & Charles, Brunel House, Newton Abbot, Devon, Britain
This company reproduces 1"/1 mile scale maps (1/63360 scale) from
19th-century originals. They cover large areas, but this scale is too
small to show much detail, and clarity is poorer than the Godfrey
maps. London is mostly on sheet 72, with outlying areas on sheets 71,
79, and 80. No catalogue available.
 UK #3.95 per map; mail order & foreign details not known.

Small-scale Victorian maps of London can also be found in:
Cthulhu By Gaslight (Chaosium Inc.)
GURPS Horror (Steve Jackson Games)
Chaosium have published maps of 1920s America and the imaginary towns
of Arkham and Innsmouth for the Call of Cthulhu game.