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Road Trip Credits
Written By: Dale Elvy Art By: Doug Royson
Edited By: Andrew Smith
PLAYTESTERS
Glenn Bellam, Marcus Bone, Igor Divjak, Andrew Millar, Andrew Smith.
Road Trip Copyright Dale Elvy, 2012. Art: Copyright Doug Royson, 2012.
EPOCH Copyright Dale Elvy, 2012.
All rights reserved. Reproduction without the without the prior written permission of the publisher is expressly forbidden, except for the
purposes of review.
What is EPOCH?
EPOCH is a roleplaying game of character-driven survival horror. EPOCH identifies the
main challenges to running a genuinely tense and suspenseful horror game and sets out
strategies and techniques to overcome them. This is supported by a simple, card-based
system:
In EPOCH players generate their own characters at the table, using a range of randomly
dealt elements which establish relationships, traits and strengths and weaknesses. They
gradually turn a character outline into a sketch, and a sketch into a portrait during play
through a structured opening scene, flashbacks, secrets and complications.
An EPOCH scenario is divided into a number of Tension Phases. At the end of each
Tension Phase there is a potentially deadly or sanity-shattering challenge -either mental
or physical- which is survived by playing an outcome card during the Challenge Round
and narrating the effect on their character. If a player has no cards remaining, their
character is eliminated. Players begin the game with 4 Outcome Cards.
Each Challenge Round there is a secret vote for the most interesting character with the
winner recovering an outcome card, enhancing their chances of survival.
Surviving characters have a chance at securing a happy ending by scoring points on the
horror track, which is laid out face down by the GM at the beginning of the game.
TABLE OF CONTENTS
Road Trip 1 EPOCH Quick-Start Rules 21
Trailer 1 Introduction 21
Type 1 System Overview 21
Script Overview 1 Character Creation 21
Tension Phase and Challenge Round Overview 2 The Opening Scene 22
Characters 2 The Tension Phase 22
Introduction 3 The Challenge Round 22
Opening Scene 3 Running a Challenge Round 22
Tension Phase Detail 3 The Audience Ballot 23
Locations and People of Interest 12 Flashbacks 23
End Scenes and Horror Track 14 The Horror Track 23
Facilitation Notes 15 The End Scene 23
Run Sheet 18 EPOCH Overview 24
Horror Tack Cards 19 EPOCH Quick-Start Cards 25
Maps 20
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Trailer
The open road stretches out before you; a half-heard
whisper of freedom in the wind. Its time to escape
the grind and stress of everyday life. You deserve a
break after all, and where better then a picturesque
mountain cabin with the people closest to you, farfrom all those modern pressures. As they say,
sometimes it's about the journey, not the destination.
EPOCH is a game of character-driven survival horror.
The goal is to deliver a tense and scary experience in a
single game session. EPOCH players are active
participants in the creation of the game atmosphere
and have complete control over the creation and
ultimate fate of their characters.
Type
Road Trip is a Sand-Box scenario. There are no fixed
locations, although the first 4 tension phases contain
a series of events and suggested settings. The final
two tension phases are entirely open to the
characters actions. The characters begin the scenario
travelling together, so the opening scene for each
character takes place in the same location. Adjust
subsequent Tension Phases to suit the actions of thecharacters.
Script Overview
One hundred and twenty ago Christopher Fairchild
was cursed by a woman he had swindled. She swore
that he and his bloodline would forever be as abased
as beasts, and be consumed with hunger, no matter
how much he devoured. On the next night Fairchild
became a Beast and fell on his neighbours, killing and
devouring many of them. He was soon driven away
from the towns and cities and hunted across the lands
until, exhausted and wretched, he sought refuge in a
cave high in the icy peaks of a mighty mountain range.
There he froze, and his body became little more than
a fleshy husk, trapped in the ice.
Flash forward one hundred and twenty years.
Brothers Jake and Michael Lachlan have never walked
the straight path. Growing up in a broken home, thebrothers were always in trouble, first with teachers,
then with the law. Their interest in motorcycles saw
them join the Apocalypse Riders motorcycle gang as
soon as they were able, then branch out to establish
their own chapter. Jake, the elder of the two, was a
natural leader, while younger brother Michael thrived
on danger and rapidly developed a reputation for
being an enforcer.
For nearly a decade the brothers worked together,running small amounts of drugs over a series of rocky
mountain passes, selling small quantities in alpine
towns to fund their lifestyle and then moving on
before the police got too suspicious. They made their
headquarters in a run-down hotel near the tiny alpine
settlement of Millars Crossing. Jake was careful to
ensure the gang didnt cause too much trouble with
the locals, and that they spent a good amount of
money during the summer months when there were
few tourists passing through.
Everything was going fine until Crystal Jones entered
the brothers lives. The daughter of the owner of a
large ski resort and manager of a tavern in Millars
Crossing, Crystal fell in with the biker gang and soon
became involved with Jake. Her presence was a
catalyst for trouble between the brothers as Michael
struggled to cope with feelings of jealousy. This
eventually culminated in Michael going on a drunken
rampage and assaulting the local police officer when
he tried to intervene, leaving him in a coma.
Enraged that Michael had violated the rules of the
gang, Jake stripped him of his membership. In
response, Michael and half a dozen of the members
who were most loyal to him formed a breakaway
gang, the Renegade Riders, and established a new
base in a disused hut on the slopes of Big White.
Since the schism there has been an uneasy trucebetween the two gangs. Most of the bikers assume
that the brothers will eventually resolve their
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differences and reunite. In the interim Jake and his
gang have kept a low profile, fearing retribution from
the authorities. Michael and his gang have been living
large, drinking heavily and causing trouble. Two of
their number have already been arrested for
Michaels assault on the local police officer.
Three days ago, while relieving himself outside the hutafter a particularly heavy drinking session, Michael
discovered a small cave. Within, he found the
mummified remains of Christopher Fairchild. Thinking
this a great mascot for his new gang, Michael dragged
the frozen corpse to the hut and nailed it over the
door. In doing so he inadvertently came into contact
with the dried blood of Fairchild. The curse passed
with the blood and Michael became a Beast the next
night, attacking his gang as they lay in a drunken
stupor, and devouring several of them. Those who
survived became subject to the curse.
Since that night, the Renegade Riders have hunted as
a pack, killing wild animals and people who make their
homes in isolated areas. Tonight, however, one of
Michaels pack encountered several members of the
Apocalypse Riders buying a consignment of chemicals
for the manufacture of methamphetamine in a small
clearing near the road. Overcome with bloodlust, the
Beast attacked and slew several of the terrified bikers.
The sole survivor tried to flee, but collided fatally with
an oncoming car.
The characters, planning a relaxing vacation in the
mountains, first encounter the grisly aftermath of the
accident and then discover the scene of the massacre.
Learning of the killings, and the presence of strangers
in the area, distraught members of the Renegade
Riders seek them out for vengeance. A momentary
reprieve allows the characters to enjoy the beautiful
scenery before a badly injured hunter leads the Beasts
to their door.
Source of the Horror: In this scenario the initial source
of the horror is the terrible inhuman beasts, who are
consumed with an overpowering hunger and gorge
themselves on the flesh of their victims. However, the
true source of the horror is the curse which is passed
through the exchange of genetic material when a
Beast injures, but does not kill their victim. This leads
the unfortunate victim to undergo the excruciating
transition to a beast the next night and become
subject to the terrible, driving, hunger.
Tension Phase and Challenge Round Overview
Tension Phase 1: The Winding Road
The characters encounter a fatal road accident then
stumble upon the scene of a massacre. Challenge:
Mental [No Hero/Zero Cards allowed]
Tension Phase 2: Thicker than Water
The characters are confronted by several distraught
bikers who accuse them of being responsible for the
massacre. Challenge: Physical or Mental
Tension Phase 3: Quality Time
After a peaceful day the characters witness the Beasts
attack a hunter who begs for their aid. Challenge:
Mental or Physical
Tension Phase 4: The Hunting Party
The characters are hunted by a trio of Beasts.
Challenge: Mental or Physical [The most seriously
injured character must play a physical outcome]
Tension Phase 5: The Beast Within
The characters may go wherever they wish, but they
carry the curse of the beast with them, and the Beast
strikes the next night. Challenge: Mental or Physical
Tension Phase 6: Ravenous
The characters may go wherever they wish, but they
carry the curse of the beast with them, and the Beast
strikes the next night. Challenge: Mental or Physical.
Characters
Friends: This close group of friends used to travel to
an isolated cabin to spend time together every year.However, in recent years, their lives have moved in
different directions, so they have had trouble making
the time. This year they have made a special effort to
get away together, to catch up. They are travelling in
two vehicles (during the opening scene clarify what
sort of vehicles these are, and who they belong to).
Family: A road trip to the cabin is an ideal way to start
a new family tradition, bond the family together and
get some quality time. Free from the distractions ofthe modern world, both the trip and the isolated
cabin should allow the family to just focus on being
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together. They are travelling in a large four wheel
drive or recreational vehicle (during the opening
scene ask the players to clarify some details about the
vehicle).
Colleagues: The West Investments stock brokerage
firm has had a particularly good year, and to
celebrate, the top performing brokers and portfoliomanagers from across the firm are being treated to a
weekend away in the CEOs cabin. A mini-van with
GPS has been hired for the purpose.
Introduction
Build the following points into an introductory
narration:
The road. The characters have been travellingtogether for some time. The road is gradually
beginning to climb into foothills and there is
little other traffic. The characters expect to
reach their destination; a remote cabin near
the settlement of Millars Crossing, by
nightfall.
The mountains. The White Mountains are arange of impressive height, popular in the
winter months as a skiing destination. Snow
is still visible on the upper peaks.
The weather. Its a perfect, hot, summersday and the forecast for the coming days is for
more of the same.
Opening Scene
The opening scene is combined for all of the
characters, as they are all travelling together, however
each character short have a short vignette, as the
camera focuses on just them alone.
The scene is a petrol station, which has a large display
of snacks, drinks, sunglasses, books, maps and other
general items likely to be of use to a passing motorist.
The characters should introduce their characters in
these surroundings, specifically:
Where are they? (shopping, at the pumps, inthe car or camper, emerging from the
bathroom etc.)
What are they wearing?
What are they doing?
A suggested minor conflict could be another motorist;
or perhaps a group of teenage boys making
disparaging comments about the characters clothes or
vehicle, or a trainee cashier making several errors in
ringing up the characters charges, leading to an
inflated price that he initially believes is correct.
Descriptive terms: faded, dilapidated, dusty, isolated,remote.
Tension Phase Detail
Tension Phase 1: The Winding Road
The opening Tension Phase begins with the characters
travelling on a winding mountain road in the midst of
a mountain range. The road has been cut into the
side of the mountain, and there are trees on either
side, above and below the road. Beyond a simple
guard rail the characters are treated to a breathtaking
vista of thickly forested mountain peaks in the
distance. The weather is fine and bright sun streams
through the trees, the thick canopy overhead
transforming the road into a dappled patchwork of
light.
As they drive along the winding road, the characters
should take the opportunity to interact to help
establish their characters. Below are some events
which occur as they drive. These should act to spur
further interaction:
1. A group of three bikers with gang patches roarpast the characters, overtaking them at speed
on a blind corner. The roar of their choppers
startles the characters. One of the bikers
wears a German militarystyle helmet.
2. They pass (or stop at) a rest area on the sideof the road, which affords a magnificent view
of the surrounding mountains and valleys.
3. A hatchback piled high with campingequipment passes in the other direction. Two
children in the back make faces at the
characters as they pass.
4. A deer falls awkwardly onto the road ahead,causing the characters to brake hard to avoid
a collision. As the characters watch the deer
limps off the other side of the road,descending the slope. There is blood visibly
dripping from a wound to the deers leg.
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Should the characters exit the vehicle they
note the deer navigating the nearly sheer
slope beside the road, they may also notice a
complete lack of other wildlife.
As the day progresses the characters approach their
destination. They are treated to a stunning sunset.
Just on dusk, when they are less than an hour from
their destination, the characters encounter a road
accident. A car has slammed into a tree and is now on
fire, and partially blocks the road. The twisted
remains of a motorcycle can be seen beneath the
wheels. There are no people immediately visible.
Exploring the accident, it swiftly becomes evident that
there is a charred corpse surrounded by flames in the
front seat. A second corpse, that of a biker, is
beneath the car, twisted amidst the remains of the car
axle and ruined motorcycle. One denim clad leg, still
wearing a black boot, protrudes from beneath the car.
It has been severed from the rest of the body through
the force of the impact and lies in a pool of congealed
blood.
Examining the marks on the road, illuminated by the
flickering light of the flames, will give an indication of
what happened. The bike seems to have emerged
from the forest somewhere near where the crashed
car now rests. There are dark traces revealing that it
accelerated rapidly and travelled on the wrong side of
the road. There are heavy black marks of braking 100
yards from the cars wreckage, and fragments of both
car and bike, as well as the dark stain of blood where
the motorcycle initially impacted the car. The impact
seems to have sent the car off the road and into a
tree, where it caught fire from a rupture to the fuel
tank.
The characters may seek to help the victims of the
accident, but they are far beyond any help the
characters can offer. Those involved in the crash died
at least twenty minutes before the characters arrived.
The Build-Up: A short distance from the wreck, in the
shadow of the trees, lies a severed head wearing a
German military-style motorcycle helmet. The face is
milky white, all the blood having been drained away,
but can still be recognised as one of the goateed
bikers who passed the characters earlier that day. The
characters may initially believe the head belongs to
the biker who crashed into the car, but this is not the
case.
In a small clearing, visible from the road, two
motorcycles are parked against the trees. A pickup
truck is also visible. There are no lights on, and no
movement. A deathly stillness hangs over theclearing; there is no sound of wildlife anywhere within
the area. The characters should spy the clearing as
they investigate the crashed vehicle.
The Climax: Investigating the scene of carnage forms
the climax of this tension phase. In the clearing, the
characters will discover the following:
1. The clearing is stained with blood which hasleeched into the forest floor.
2. The remains of several men. These are almostunrecognisable chunks of meat, with clothing
still attached. The flesh has been chewed,
gnawed and even partially regurgitated in
places. The largest remains are rib cages, hips
and heads. Very little of the victims is
recognisable, but several of the bodies appear
to have been wearing bike leathers, and in
places gang patches are still visible.
3. The remaining bodies have been gouged withclaws and bitten with large jagged teeth. The
pattern of teeth marks resembles the serrated
bite of a shark, and in some places triangular
teeth can still be found embedded in the
flesh, although this is difficult to determine
without detailed examination.
4. Careful searching will reveal half a dozenspent shell casings and even a few handguns,
with severed hands still gripping triggers.
Some of the trees to the south of the clearing
have bullets lodged in them (although these
are difficult to spot in the dark).
5. The canvas cover has been torn off the backof the pickup truck, and hangs limply nearby.
The bed of the truck is filled with a dozen
large bags each containing hundreds of small
white pills (these are contact NT, a flu
medication and precursor for the production
of methamphetamine).
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What Happened Here?
The pickup truck belongs to a local importer
connected with organised crime. He smuggles large
quantities of contact NT, mass produced in Asia, and
on sells these to a variety of customers who
manufacture methamphetamine. The clearing is a
regular meeting place for sales of these
consignments for the biker gang.
The bikers who passed the characters earlier,
arrived and were about to conclude their business
when they were attacked by three of the beasts.
They desperately tried to fight their way to freedom,
but only one of the gang members managed to get
to his bike, while the beasts fed on his friends.
Terrified he accelerated at speed right into the
path of an oncoming car. Their hunger momentarily
sated the beasts left.
The Challenge Round: The horror of the discoveries,
compounded by the sense that the animals
responsible may still be in the area, is unnerving
enough to provoke a mental challenge.
If the characters find the accident horrific enough and
do not investigate the clearing at all, then that alone is
sufficient for a mental challenge.
Descriptive terms: severed, gnawed, chewed,
mangled, massacre, carnage, slaughter.
Tension Phase 2: Thicker than Water
In the aftermath of the accident, the characters are
likely to want to summon help, or notify the
authorities. Mobile coverage in the mountains is
sporadic at best; this should be an early opportunity
to highlight this element of the scenario. Coverage
can be secured if the character climbs high enough, or
enters an area with clear line-of-sight to a repeater
station. Characters that have been in the mountains
before (or consult a map) are likely to know that the
small settlement thirty minutes drive away has both
land lines and mobile coverage, as well as a small
police station.
Characters knowing of this limitation in advance may
also narrate that they have other means of
summoning help (such as satellite-based locator
beacons). Alternatively, perhaps they are willing to
brave the wooded hillside in the darkness to get a
mobile signal. In either case, the arrival of the
emergency services should be summarised as a
montage of flashing lights, police statements and
people taking photographs of the scene. The NPC
authorities are not a major feature of this scenario, so
this interaction should be glossed over as much as
possible.
The police simply arent willing to speculate to the
public as to what took place, but clearly believe the
victims were killed by an animal. If the scenario is set
in a place where there are no large wild carnivores,
the police dig up reports of a lion which escaped from
a travelling circus in the area several months ago.
In either event the characters are likely to proceed on;either to seek help, or to travel directly to their cabin.
They should have ample opportunity to interact,
express their reactions and trigger flashbacks as they
travel the winding road in the darkness.
Approaching the settlement, the characters see that
the bright and welcoming lights of the local bar
against the darkness. There are a handful of other
lights, from nearby houses, but most buildings are in
darkness. There are no street lights. A more detaileddescription of the town is available in the Locations
section.
The local police office is closed and locked. The only
place that seems to be open is the tavern. Inside, half
a dozen locals look up from their drinks to eye the
characters curiously. Most of those present are over
forty and live in the town all-season round.
The tavern seems to be at odds with its clientele. It is
a large building with every modern convenience; a
huge bar, bright neon beer logos hanging on the walls,
and a large mechanical bull sitting idle in one corner.
During the winter the taverns is packed most nights
with young skiers, but in the summer only the locals
visit the bar for a meal and quiet drink.
The Build-Up: Outside the characters hear the sound
of two motorcycles arriving. Moments later, two gang
members wearing patches enter the bar and scan the
faces of those present. Lewis, the shorter man, has
short black hair and wears a battered leather jacket.
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The second man, Wade, is taller with shoulder length
blonde hair and wears a leather vest with a patch. As
soon as the pair spy the characters, they move to
confront them. Both men are visibly upset.
If the characters have not stopped at the town, they
will see the headlights of two bikes behind them.
These will roar alongside and angrily gesture for thecharacters to stop. If the characters dont stop, they
will follow them to their destination and the following
encounter will take place on the roadside.
Specifically how events play out depends on the
actions of the characters, but the suggested events
are as follows:
The bikers will accuse the characters of beingresponsible for the deaths of the men in the
clearing. This will be exacerbated should the
characters have any blood on them.
Lewis is particularly upset, and will get in theface of anyone who challenges him. His
brother was one of the victims, and he is not
thinking rationally. Wade is also upset, but
doesnt actually think the characters are
responsible. He will, however, back up Lewis.
Crystal will tell Lewis and Wade to get lost,and remind them that they arent supposed tomake any trouble in here. Once she realises
that Lewis brother has been killed, she will go
quiet and carefully reach for the sawn-off
shotgun under the bar.
Other bar patrons will get out of the way,although watch on with interest. They may
helpfully inform the characters that there are
no local police as the sole officer in the area
has been incapacitated.
The Climax: The climax of the scene comes as the
confrontation becomes a violent outburst. Lewis will
attack the characters with a tire iron. Wade will not
immediately attack, but if Lewis is attacked in turn by
the characters, he will join in. Otherwise he will pull
Lewis off the characters once theyve had enough.
The Challenge Round: Adult male characters, or any
who involve themselves in the brawl, must play a
physical outcome card.
Other characters have a choice of playing a physical or
mental outcome to represent accidental contact or
shock at the sudden violence. Lewis and Wade wont
deliberately attack women or children, but if they
involve themselves in the fight, the bikers lash out
without bias.
Descriptive terms: angry, irate, distraught, accusing,aggressive, furious.
Tension Phase 3: Quality Time
In the aftermath of the confrontation the characters
should be left bloodied and possibly traumatised by
the unprovoked violence. Lewis and Wade are
defeated: the characters either subdue them in the
melee, and can choose what to do with them, or,
Crystal produces the sawn-off shotgun from under the
bar and orders them to leave, or Wade drags Lewis
away and they roar off into the night. The specific
details depend on the characters actions, but in either
event, the characters have survived, and seen off the
challenge.
Crystal will immediately offer any injured characters
first aid. She works as a mountain rescue skier during
the winter and is a proficient medic. The bar has a
well maintained first aid kit, and she quickly and
efficiently treats any injuries. The following
information can be conveyed in the immediate
aftermath of the fight by any of the locals or Crystal:
The local police officer has been injuredrecently in a fight with bikers and is in
hospital.
It is very unusual for the bikers to maketrouble in the tavern and the town, but
recently there has been trouble as one gang,
known as the Apocalypse Riders has split into
two factions due to a rift between two
brothers.
The cause of this rift is Crystal. The Apocalypse Riders have a club house in an
old hotel out of town.
In recent weeks there has been evidence of alarge carnivore in the area, although nobody
has seen it.
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If the characters are seriously injured and insist on
more rigorous medical attention, it may be necessary
for them to wait for paramedics and a doctor from the
nearest town. This should also be treated largely off-
screen with the spotlight focusing on the actions and
interactions of less injured characters.
At some point, the characters should continue theirjourney on to their cabin. In either event this should
be a slightly surreal experience; the tranquillity and
calm of the wilderness around them is at odds with
the recent carnage and violence they have witnessed.
If the characters have proceeded on shortly after the
encounter at the tavern it should be close to
midnight. If they have waited for medical assistance
from further afield, it is soon after dawn.
The cabin should be just as they remember it. A smallprivate road off the highway terminates in a wide
track, which leads to four small, simple cabins, built
far enough away from each other to ensure privacy.
None of the cabins are currently occupied.
The actual layout of the characters cabin should be
narrated in conjunction with the players this is, after
all, a place their characters have been before. It is
important to emphasise that the cabin is a simple
structure, intended to act as a getaway from the paceof modern life. It has a rainwater tank, a composting
toilet, a log burner for heating, but no telephone line
or generator for power unless the characters
specifically describe this. The characters might
describe;
1. How is it furnished?2. How many rooms?3. What reminders of their characters past visits
are in evidence?
The weather is fine and the day passes without
incident. The characters should have plenty of time to
engage in some of the activities they came here for.
The players should set the pace as much as possible
during this tension phase, with ample opportunities
for flashbacks.
The Build Up: As it gets dark, the build up begins. At
dusk, there is a migration of much of the birdlife that
has been present during the day. Characters outside
may notice birds taking flight in the forest all around.
Those who linger outdoors may also hear the distant
pop of gunshots; three in relatively short succession,
which sound like they are a mile or two distant. The
characters may conclude that it is not unusual for
hunting parties to traverse the nearby ranges.
Inside, the characters should go on with their evening
activities. You should start working to increase thetension through a number of ominous scenes, and
false alarms. Did the characters remember to bring in
enough firewood? The sound of pinecones dropping
on the roof during a sudden wind gust might
momentarily sound like somebody walking up there.
Perhaps a racoon, squirrel or possum has sought
refuge in a cupboard and knocks items off shelves
before suddenly bursting into the room and trying to
escape.
Just before midnight there is a sudden hammering on
the door, followed by a heavy thump. Outside is a
hunter, he wears a bright orange vest over dark green
shirt and pants. One arm has been severely injured,
and hangs loosely. Only strips of flesh seem to be
keeping the limb attached. There is blood
everywhere. The hunter is pale, wide-eyed and
drenched in sweat. He only has time to say Theyre
coming! before a beast attacks. The beasts will
deliberately delay their attack until at least one of the
characters tries to come to the aid of the hunter; they
want the fear their sudden appearance causes to
startle and disturb their next prey.
The Climax: The beast springs from the darkness, lean,
pale and sinuous. It is the size of a large man,
although its forearms are much longer, terminating in
paws with finger length-talons. It wears the tattered
remains of jeans. Tufts of wiry hair or fur sprout from
the skin, which gleams with an unhealthy sheen. The
face is vaguely human, with dark, beady orbs for eyes
which glint green under artificial light and an
elongated snout with a dog-like nose. The mouth is
truly the worst part; a maw with dozens of triangular
shark-like teeth, which extends and flexes unnaturally
as the creature dives forward to gorge on the injured
man. In an instant the shredded arm is swallowed
and much of the flesh stripped from the mans
shoulder as he screams and begs for help.
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The Challenge Round: The sight of the beast
consuming its prey is sufficiently disturbing to warrant
a mental challenge. Any character that wants to try
and save the man may also elect to play a physical
outcome as the beast attacks, devouring flesh rapidly.
In this case (assuming the character is not eliminated
during the challenge round), the character is able to
save the hunters life, and either close the door, or
drive the creature off.
Descriptive terms: screaming, pleading, crying,
begging, gnawing, feasting, consuming.
Tension Phase 4: Hunting Party
How this tension phase plays out is entirely up to the
characters. There are 3 beasts prowling in the forest
outside the cabin. They are hungry (they are always
hungry), but not ravenous as they have recently fed
on a hunting party. They plan to attack the characters
at some point, but will wait and see if the characters
split up, or move away from sources of light (which
hurts their eyes).
If the hunter, Larry Ponder, has been saved, and
received sufficient medical attention to bring him to
his senses, he can tell the characters the following:
1. He and four other men, all experiencedhunters, were hired by the Police yesterday to
hunt down a lion that had attacked some
people near the road.
2. They found tracks that led them to believethere was more than one animal.
3. They followed the tracks to a run-down shackwith motorcycles parked outside. They were
attacked soon after by the beasts.
4. The beasts were terrifying, fast and hungryand consumed the other hunters. Larry only
managed to escape because they were busy
feeding, but they were soon on his trail.
5. Several of the beasts were shot with high-powered rifles, and this seemed to have little
effect.
Whether Larry begs for help to alleviate his
excruciating agony, or simply lapses into a coma is up
to the GM. As an NPC, Larrys plight should serve to
heighten the drama of the characters, but not be the
centre of attention. If the characters elect to remain
barricaded inside the cabin, Larry will have a further
role to play in the challenge round.
The bulk of this tension phase is the reactions of the
characters to the presence of the beasts and their
discussion about what they plan to do about it.
The Build-Up: If the characters sit tight, the beasts will
bide their time. At some point during the night they
will break into the characters vehicle and eat anything
remotely edible (and a few things that arent these
are messily regurgitated inside the vehicle). The noise
of the creatures forcing doors of their hinges, or
peeling back metal with their talons should be an
unnerving and persistent reminder of the characters
predicament. They may also leap onto the cabins
roof, or pound on the door.
If the characters venture outside, initially there is no
sign of the beasts, only a thick trail of Larrys blood
leading up to the cabin. The race to the vehicles
should be frantic, with the simple act of locating a key,
unlocking the vehicle and starting it all proving much
more challenging then normal.
The Climax: The climax for this scenario comes when
the beasts attack the characters. If the characters
make a break for it, the survivors manage to escape,
and can drive away, or run off into the night.
If the characters choose to remain barricaded in the
house, then the creatures will force their way in just
before dawn, smashing through doors and knocking
aside furniture before feasting on the characters.
Moments later they are gone, fleeing as the thin grey
light of dawn replaces the inky blackness of night.
Surviving characters are alone as dawn breaks.
If the characters save Larry Ponder, then they will
witness his transformation during the night. He stops
whimpering in pain, and begins to retch. Black veins
stand out against his skin, and he sweats profusely as
his eyes change until they are entirely black.
Suddenly, growths sprout all over his body, and new
muscles and sinew elongate his form. Larrys face
distends and rows of triangular teeth sprout into a
newly widened mouth. A new beast is born.
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The beast will then attack ravenously
provoking either a physical or mental
challenge from all characters. As soon
as he has fed, he flees into the night.
Challenge Round: The Beasts dont
attack everyone, rather, the single out
the characters they perceive as theweakest. This is reflected through
card play. Any character who has
previously suffered a physical injury
must play a physical outcome card, as
they are targeted by the beasts, who
smell their wounds.
However, the beasts arent especially
fussy and will leap on any character
who is a hero or target any charactersubject to a zero card.
Other characters can choose to play
either physical or mental cards.
Be sure to take a careful note of which
characters suffer a physical injury in
response to this challenge, and narrate
this as the claws or (more likely) bite
of the beasts, as this will be significant
for the next challenge round.
Characters that are eliminated in this
challenge are consumed by a hungry beast. Beasts
favour the internal organs and fleshy parts of the
body, so it is likely that other parts will be strewn
around in a wide vicinity.
Descriptive terms: stalking, leaping, lunging, tearing,
gnawing, feasting.
Tension Phase 5: The Beast Within
The characters who survived the attack of the night
before are now free to act as they please. The specific
circumstances of this tension phase will depend on
the action of the characters. A number of possible
options for how the phase might play out are
provided:
If the characters choose to flee the area: The
characters are not compelled to investigate the
situation any further, or involve themselves directly in
the feud between brothers. The focus of this game is
how the characters interact with the horror, not with
NPCs, and they cannot easily escape it although they
may not realise this yet.
If the characters witnessed Larrys transformation,
then they should have an inkling that if the source of
the horror is not rooted out, the number of beasts is
likely to grow and spread. If the characters did not
witness this, then they will soon have further
evidence of the power of the curse, and may even
choose to return.
In this case, the characters may leave the mountains
in haste. On the road they see two pickup trucks,
apparently empty, parked by the side of the road with
doors open. Their occupants were early victims of the
beasts the previous night (as their blood spattered
interiors reveal if the characters stop).
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Depending on their speed, the characters should
reach the petrol station which featured in the opening
scenes that afternoon or evening. If they are seeking
help from the emergency services, this might be a
good setting for the encounter (having perhaps called
them via mobile phone as soon as reliable coverage
was restored). Equally there might be several police
cars parked at the petrol station by happenstance,
fuelling their cars before travelling to meet with the
hunting party. Otherwise, once past the petrol
station, they should reach a mid-sized town or city by
dusk.
If they speak to the local police, their stories will be
taken seriously. The police believe there is a lion on
the loose, and will assume that injuries or reported
fatalities are a result of encounters with the lion.
They will assume any other accounts of monsters, or
multiple creatures, as hysteria induced by shock, but
dutifully record the details to humour the characters.
The characters will be gently questioned, particularly
about the people who fell victim and the last known
attack location, offered counselling or medical
treatment, and assured that a team of police
marksmen, supported by helicopters and dog teams is
being assembled to hunt down the lion.
Characters who have suffered serious injuries may be
hospitalised. Those suffering serious mental trauma
may be diagnosed as suffering PTSD and sedated at
the same hospital, for their own protection.
If the characters choose to remain in the area: Medical
assistance can be obtained from Crystal in the tavern.
Once Crystal learns what happened to the characters,
she calls Jake. He and the Apocalypse Riders show up
at the tavern soon after, armed and ready for a fight.They will readily accept the characters story (Man,
we gotta put those fuckin werewolves down!), and
suggest seeking out the den of the beasts before
nightfall.
Guns are fairly plentiful in the town. Most residents
have access to rifles or shotguns, and the Police
station can be broken into and yields a surprisingly
large stash of handguns, shotguns and semi-automatic
weapons (with plenty of ammunition), as well asradios and other, emergency equipment.
If the characters have made the link to the beasts
vulnerability to silver, the small local antique store has
a number of solid silver pieces, including a solid silver
dagger.
Characters may wish to melt down silver to treat their
bullets or create silver buckshot. The kiln at the back
of the pottery shop across the road provides a goodplace for a montage style summary of this action,
although this action should have an associated time-
penalty for the characters involved.
If the characters decide to prepare an ambush,
barricade themselves, or otherwise ready themselves
to fight the beasts, they have the day to prepare.
If the characters choose to seek out the Beasts: If the
characters decide to hunt down the beasts during
daylight, they are easy enough to track, but it will take
several hours unless the characters are proficient
trackers, or spoke to Larry and know about the hut
where the hunting party was attacked.
If they relay this information to Jake and the
Apocalypse Riders, they will learn that this is the
clubhouse of the rival gang and be led straight there
during the hours of daylight.
The Renegade Riders make their headquarters in a
rundown shack, nestled in a small clearing a quarter
of a mile from the main road. Six large motorbikes sit
outside the shack (one belongs to Michael, three to
those who are now Beasts and two to Renegade
Riders who were consumed by Michael). Scattered
around the clearing are the remains of the hunting
party, a now familiar collection of human remains and
a few broken and twisted rifles.
Nailed to the front of the shack, above the door, is the
grisly mascot of the Renegade Riders, a mummified
corpse, blackened and almost unrecognisable as that
of a person. These are the mortal remains of
Christopher Fairchild, and the source of the curse
which has infected the Renegade Riders.
Climax: The source of the climax is likely to be one, or
more, of the characters who have been infected with
curse. This manifests soon after nightfall and the
characters transform into Beasts and ravenously
attack the other characters without mercy.
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The Nature of the Beast
The blood of Christopher Fairchild contains a highly
infectious strain of a dysmorphic genetic mutation. This
manifests through the body of an infected party
spontaneously producing additional growths. These are
both external, and internal, and while intensely painful,
have the effect of altering the physiology and structure
of the body. The side-effects of these changes include
increased strength, heightened senses and a toughening
of the skin.
To produce these growths the metabolism of the
infected person is massively increased, leading to an
overpowering hunger, and need to consume massive
amounts of nutrition and protein. Changes to the
digestive system and mouth include the growth of
additional muscles, making the beast more flexible and
adaptable at consumption, as well as the spontaneous
growth of roughly sixty teeth in a similar size and
configuration as a great white shark. These teeth are
easily shed, and regrow constantly.
Only exposure to concentrated doses of Vitamin D (such
as that found in the rays of the sun) can cause the
mutation to become dormant. When this occurs the
excess exterior genetic material sloughs off the infected
person, and they seem to be no longer infected.
However, as soon as the Vitamin D levels reduce (in
periods of prolonged darkness) the dysmorphic genetic
mutation manifests once more.
A further side-effect of this mutation is the sudden
development of an acute allergy to silver and silver
compounds. Inhalation or the introduction of silver to
the bloodstream results in anaphylaxis and death almost
instantaneously.
Should any genetic material from an infected person
enter the bloodstream of another person, they will begin
to suffer the effects of this mutation.
In this case the attack should be foreshadowed, as the
cursed characters initially feel a remarkable feeling of
wellbeing. Their wounds seem to heal and any pain
disappears. Then the transformation begins, and they
are wracked with agony, veins filling with black as
growths sprout all over their body.
It is possible that the characters may also have to fightthe other beasts. The three members of the
Renegade Riders, if not already dealt with, will be
roaming the night in search of new victims. If the
characters barricade themselves, the beasts will try
and get in to attack them, and if they cant, they will
impatiently wait for a victim to emerge.
If the characters have prepared silver weapons, these
are remarkably successful at killing the Beasts,
although, the Beasts will attempt to savage thecharacters before they are killed (possibly coinciding
with the transformation of a character into a beast).
If the characters have elected to confront the
Renegade Riders, the three gang members who
attacked them last night can be found within the
cabin. Michael is not at the cabin; he sleeps alone in
the cave where he found the corpse of Christopher
Fairchild, which is thirty meters away and concealed
by thick undergrowth.
The interior of the cabin is an abattoir; decaying meat
and the remains of at least two men are strewn
around the inside of the cabin. The three men inside
appear to be normal humans, although their clothes
are ripped and covered in gore. The only trace of the
curse is the pitch black colouring of their eyes (both
pupil and iris). They conceal this under sunglasses.
During daylight hours the men are vulnerable to
ordinary weapons, however, if any are alive at dusk
they will heal even the most grievous damage as they
transform. The men are insane, their minds broken by
the horror that has befallen them, and they operate
almost entirely on instinct now. If they have any
warning of an attack during daylight hours, they will
defend themselves with the small collection of hand-
guns and shotguns stashed inside the cavern (a
gunfight may lead to a physical challenge).
The Challenge Round: As darkness falls characters
which have been exposed to the curse, transform and
attack the other characters. Those who become
Beasts must play a mental outcome to grapple with
the horror of the experience. If they cannot play a
card in response to this challenge, they lose all
remembrance of their former lives and become slaves
to the all-consuming hunger of the beast.
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Other characters must play a physical outcome card
as they are partially devoured. Take note of those
characters who suffer an injury as a result of this
challenge, as these characters will now also suffer the
curse.
Characters that are eliminated in this challenge are
consumed by a hungry beast. Beasts favour theinternal organs and fleshy parts of the body, so it is
likely that other parts will be strewn around in a wide
vicinity.
Descriptive terms: ravenous, starving, staring,
scenting, tearing, transforming.
Tension Phase 6: Ravenous
The specific circumstances of this tension phase
depend on the actions of the characters, and what has
transpired in the previous tension phase. However,
the nature of the threat facing the characters should,
by now, now be very evident.
If the characters have left the area, then the principle
source of the threat is the characters who have been
exposed to the curse though suffering an injury to
the Beasts. Although there is no physical
manifestation of the curse immediately or during the
hours of daylight, the character may start to
experience a foreshadowing of what is to come.
Animals are nervous around the character, and panic
if approached. The character starts to feel a hunger
building deep inside, leading to an insatiable appetite
for high protein foods. As it gets dark, their senses
become more acute and they are intensely aware of
the presence of any people around them.
If the characters have remained in the area, and killed
the Renegade Riders, then in addition to the threat
posed by other characters there is one final beast to
contend with: Michael Lachlan. Michael will stalk
Crystal by night, clearly fascinated with her, but
unwilling to attack. He will exhibit a similar reticence
to attack his brother Jake as some vestige of his
personality momentarily overrides the hunger of the
Beast.
If the characters have not killed the other Renegade
Riders, then, in addition to the threat posed by other
characters as above, there is one final all-out assault
by the Beasts to contend with.
The Build Up: As day fades into night the tension
should build as the characters anticipate an attack in
much the same way as during the previous tension
phase. If the characters have no inkling that those
who have been injured are likely to transform into aBeast, then the tension for all characters should
amplify as the cursed characters start acting strangely,
their hunger getting more and more intense, their
reflexes and senses growing ever more heightened,
and their ability to think and reason becoming
increasingly diminished.
The Climax: As darkness falls, characters which have
been exposed to the curse transform and attack the
other characters.
The Challenge Round: Those who become Beasts must
play a mental outcome to grapple with the horror of
the experience. If they cannot play a card in response
to this challenge they lose all remembrance of their
former lives and become slaves to the all-consuming
hunger of the beast.
Other characters must play a physical outcome card
as they are partially devoured. Take note of thosecharacters who suffer an injury as a result of this
challenge, as these characters will now also suffer the
curse.
Characters that are eliminated in this challenge are
consumed by a hungry beast. Beasts favour the
internal organs and fleshy parts of the body, so it is
likely that other parts will be strewn around in a wide
vicinity.
Descriptive terms: ravenous, starving, staring,
scenting, tearing, transforming.
Locations and People of Interest
Setting: This scenario is intended to take place in an
isolated mountain range known as the White
Mountains. However, you could easily set this
scenario anywhere with similar terrain.
Big White: The main peak of the White Mountainrange is 12,316 feet tall. The upper slopes are
covered in snow all year round. The lower slopes are
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thickly forested and rocky, and are a popular site for
hiking and climbing.
Devils Peak: Part of the White Mountains range, a
smaller mountain at 7,608 feet but considered ideal
for skiing. It boasts an extensive ski-field which is
closed during the summer months.
Divjak Cone: Part of the White Mountains range, a
heavily forested and sheer mountain at 7,308 feet
which affords amazing views and is popular with
climbers.
Millars Crossing: A small settlement with a
few shops and a few hundred permanent
residents. In the winter months the
population of the town swells to several
thousand. Key locations in the town include:
The Barrel: a large building with every
modern convenience; a huge bar, bright neon beer
logos hanging on the walls, and a large mechanical
bull sitting idle in one corner. During the winter the
taverns is packed most nights with young skiers, but in
the summer only the locals visit the bar for a meal and
quiet drink.
Tiny Treasures: A dusty antique and souvenir shop
which sells a wide variety of mountain related
souvenirs as well as housing the extensive
personal antique collection of the elderly
owner, Shelly Croft, who has a particular
affinity for silver candlesticks.
Mountain Store: A store which sells everything
from canned good to mobile phones. The
proprietor, Clifford Windsor, proudly boasts he
can have almost anything delivered to the store within
a week. The store currently has several shotguns and
rifles in stock.
Windsor Winter Apparel: A large store which sells skis,
snowboards and a wide range of related equipment
and clothing. This store is run by Cliffords sister
Mary, but is closed during the summer months.
White Mountains Police and Rescue Station: A small
office which is closed and locked. It contains a cabinet
with a surprisingly large range of weapons and a fullset of battery powered radios and GPS locators and
medical supplies. During winter many rescues are
coordinated form here, but during summer only a
single police officer is stationed here (he is currently
miles away in hospital). Crystal has a key to the
station.
Bellams Gallery: A small pottery gallery run by elderly
artist Bellam Smith. The gallery has a large workshop
and operational kiln in back.
Apocalypse Riders: A motorcycle gang with roughly
thirty members. They ride large, expensive
motorcycles and live in a large
former hotel on the main
road. The Apocalypse Riders
are led by Jake Lachlan and
usually try and maintain good
relations with residents of
Millars Crossing. Three oftheir number die on the first
night of the scenario, tow are eaten by Beasts while
one collides with a car. They can be identified by their
distinctive patches, usually worn on the back of
leather jackets.
Renegade Riders: A small off-shoot of the Apocalypse
Riders. The 7 original members took over a small
mountain shack on Big White. They are led by
Michael Lachlan. Michaeland the three surviving
members are suffering from
the effects of the curse. Two
others were killed by
Michael during his first night
as a Beast, while a further
two are in police custody
following the assault on the
local police officer. They sport the same patch as the
Apocalypse Riders, only with the top banner
Apocalypse replaced with Renegade.
Crystal Jones: A slim, pretty woman in her mid
twenties. Crystal is the daughter of Chase Jones who
owns the ski resort on Devils Peak. Although their
relationship is strained, Crystal manages the Barrel,
one of the family businesses on the mountain. In
winter she manages a dozen staff, but in summer she
is often the only staff member present. Crystal lives in
a small chalet in Millars Crossing and recently broke
up with Jake Lachlan.
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Jake Lachlan: A tall man with rugged good-looks, short
cropped hair and permanent stubble. Jake is naturally
charismatic and often defuses conflict with a few well
placed words. He has been running a successful
criminal enterprise manufacturing and selling
methamphetamine, although he is careful to maintain
good relations with the nearby towns, and tires to
avoid undue attention. Although he has been
investigated several times, the police have never
managed to bring a major case against either Jake or
the Apocalypse Riders.
Michael Lachlan: A tall, muscular man with long,
greasy black hair and a permanent smirk. Michael is a
born risk taker, and has been an enforcer for the
Apocalypse Riders for many years. After the fight with
his brother, Michael founded the Renegade Riders,
although the off-shoot gang has failed to keep the
same low profile as the Apocalypse Riders. Michael is
suffering from the curse, so if see by daylight seems
pale and sweaty, hiding his eyes between thick black
sunglasses. Michael shuns the other Renegade Riders
after he initially killed two of their number and
cursed three others during his first night as a Beast.
He now sleeps in the cave where he found the
mummified body of Christopher Fairchild.
Terrance, Rick and Ryan: The Renegade Riders, all
suffering from the curse. All bear large scars visible
in daylight where they were attacked by Michael
when he was a Beast. They live almost entirely by
instincts now, having lost their minds. By day they
lurk in the run-down hut which was the home of the
Renegade Riders.
Lewis and Wade: Members of the Apocalypse Riders.
Lewis is short with black hair and wears a battered
leather jacket. Wade is taller, wears a leather vest
with a patch and has shoulder length blonde hair.
End Scenes and Horror Track
To achieve Total Victory the characters must destroy
all of the Beasts including characters who have been
infected. This is only likely to occur if the characters
learn of the nature of the Beasts, their vulnerability to
silver, and are able to exploit this knowledge and risk
their lives in the process. Failing this, here aresuggestions for other end scenes:
Defeat: If the characters either do not tell the
authorities about the Beasts, or cannot furnish
sufficient details about the nature of the Beasts to be
believed when the police hunting teams do not
return, the authorities do not act swiftly enough to
quell the rapid increase in Beast numbers. Before
long, cities are overrun and the military is in desperate
retreat as hordes of beasts threaten to overwhelm the
country. The characters meet a grisly end in their
homes or as they try and flee amongst a sea of other
refugees.
Optionally, the Renegade Riders from the mountains
may continue to hunt the characters, travelling by day
on motorbike to track their quarry across the country
and attacking by night as Beasts.
Hollow Victory: A Hollow Victory might manifest inseveral ways:
If the characters tell the authorities of the Beasts and
can reveal enough information to assist with their
efforts (e.g. the beasts are also people, they only
attack at night and some of those attacked also
become Beasts) then the authorities conduct a
thorough sweep of the mountains, destroying the
Beasts.
However, unless the characters are personally
involved, the authorities miss one of the Beasts
either Michael Lachaln is able to escape, or one of the
characters who has been subject to the curse is not
detected. In either case the characters narrate their
happy endings, perhaps believing they have safely
escaped the horror. The post script occurs the
following night (or several nights later) when the
Beast manifests or arrives unexpectedly.
Horror Track Cards and Values:
Gaining the support of Jake Lachlan and theApocalypse Riders [1 point]. The characters
may seek the support of the Apocalypse Riders
after they learn of the Beasts. Crystal is likely
to act as an intermediary. Jake is particularly
likely to help if he learns that Michael is one of
the Beasts.
Befriending Crystal [2 points]. Crystal is likelyto offer help to the characters should she see
any of them are upset or injured, and is
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generally friendly and eager to chat with
people passing through.
Learning of the Renegade Riders [1 point].Crystal or any member of the Apocalypse
Riders can tell the characters of the rival gang.
Alerting the authorities to the nature of theBeasts [4 points]. This can be achieved by
calling the authorities after the characters
have witnessed the Beasts from a place where
there is good coverage, or travelling to the
nearest town to report in person.
Ranged Weapons [2 points]. Assuming thecharacters do not already have them, the
police station has a large supply of weapons
which can be looted. Most NPCs in this
scenario also have access to a firearm of some
sort.
Obtaining a source of Silver [3 points]. Theantique shop in town is a ready source of
silver, equally the characters may decide they
already possess silver jewellery or other items.
Determining the Beasts are also people [2points]. It is likely that the fact that the beasts
are humanoid and wear the remains of clothes
will lead to this conclusion. Equally identifying
the Renegade Riders as the Beasts should
confirm this fact.
Determining the Beasts are allergic to Silver [4points]. This might be suspected given the
similarities between the Beasts and
werewolves who share this weakness. Equally
the characters may inadvertently discover this
during a struggle with one of the beasts.
Killing all the Beasts [8 points]. To achieve thisgoal the characters will have to kill all of the
Renegade Riders, including Michael Lachlan,
and anyone else who has been exposed to the
curse, including characters.
Facilitation Notes
This scenario is about isolation. Although the
characters begin the game as a tight-knit group
travelling for pleasure, they become increasingly
isolated. The first stage of isolation is geographic as
the characters leave behind the comforts of themodern world, and become increasingly self
sufficient. The second stage of isolation manifests as
the characters are cut off and hunted through the
night by terrible, ravenous, Beasts who attack without
mercy. The final, and most profound stage of
isolation, occurs as some of the characters fall victim
to the curse and realise that they are threat to the
others.
In order for the impact of the loss at each stage ofisolation to be felt by the audience, the story of each
of the characters, and their relationship with each
other, must be well developed during the game so
that the final, terrible realisation of the nature of the
curse is truly harrowing.
This scenario takes place over several days and nights,
so the GM, like a film director, must decide the best
place to change scenes in order to keep things as
interesting as possible while also advancing thetimeline. Ideally there will be a natural lull in the
interplay between characters, which will allow you to
frame a new scene at a later time, but in order to
encourage the characters to transition scenes to
encompass the passing of time you might also want to
ask questions like okay, so how does everyone else
spend the evening? or what else do the characters
do before lunch? Pace the scenario to fit the time
constraints of your game, but remember the early
tension phases need the most time, to allow for
character development.
The first tension phase should be an opportunity for
an extended introduction to the characters and a
chance to establish their relationships with each
other. Be sure to ask a lot of questions to help
establish the mood of the scene; how fast are they
driving? Who is sitting in front? Whats playing on
the car stereo? Ask each character how they respond
to each of the encounters on the road, prior to the
accident. Leave the characters plenty of time to talk.
Awkward silences might well be another feature of
their journey and you shouldnt shy away from
allowing the players to experience this.
The initial climax of the first tension phase should
suddenly and shockingly change the character
dynamic. This may serve to bind the characters
together against the visceral evidence of the horror,or drive them further apart, spurring disagreement
about what to do, or whether to linger. Although
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there is no specific threat in the woods during Tension
Phase 1, this exploration should be made as tense as
possible, playing up the unnatural quiet and terribly
mutilated body parts.
The rest of the scene should be either concluded after
the meaningful information has been conveyed, with
the next scene being the arrival at the town, or dealtwith as a narrative montage of the emergency
services arriving, people giving statements etc. before
moving straight to the arrival at the town. Shift the
focus away from a blow-by-blow detail and back to
the characters together in the next scene.
In the second tension phase its important to spend
some time describing the town, specifically what
shops and buildings are present, even though many
are closed, as the characters are likely to return to thetown at least once, and may end up barricading
themselves inside to try and escape the Beasts.
Assuming the characters enter the tavern, Crystal
should be a sympathetic and friendly NPC whose
medical expertise and knowledge of the local area,
and the biker gangs, should make her a useful
resource.
The subsequent confrontation with the Lewis and
Wade of the Apocalypse Riders should seem both
unprovoked and unreasonable to the characters it is
both of these things, as it is driven by the raw grief of
Lewis. As GM it is important to separate the depiction
of the NPCs from your own responses as much as
possible to ensure the players can tell the difference
between the irate bikers and your facilitation of the
scene.
If the characters took weapons, motorbikes or
anything else from the massacre site, their guilt will
be sealed in the mind of Wade and Lewis. The way
this encounter plays out should ultimately reflect the
level of aggression displayed by the characters so if
the characters are conciliatory then the challenge is a
simple fist-fight (with any serious injuries likely being
accidental rather than deliberate), whereas if the
characters are hostile, or produce weapons of their
own, the encounter rapidly escalates in kind.
The lack of any Police presence following the brawl
should emphasise the isolation of the location.
Crystals double barrelled sawn off shotgun is enough
to secure the situation, although if the characters
insist on calling the police, and are willing to wait for
several hours, this can again be played as a short
montage of the characters giving statements before
cutting to their arrival at the cabin well after dark.
Optionally Crystal can call the police and arrange
them to call on the characters the following day to
take statements. This also allows the characters the
chance to learn from the police about the rival
motorcycle gangs, and the dispatch of the hunting
party to catch the rogue lion.
The third Tension Phase represents a lull in the horror
and an opportunity to do the things their characters
made the trip for. The pace should once again be
largely directed by the characters, with the tranquil,
idyllic surroundings seeming at odds with the events
of the day before. If the characters have been to the
cabin before, encourage them to narrate specific
places in and around the cabin where they spend their
time. As day turns into night it is important to check
on what each of the characters is doing, and their
nightly routine, to get a last chance to define the
characters before the action escalates.
At the climax of the third Tension Phase the
characters get their first look at the Beasts. Its
important to convey the monstrous appearance of the
creatures, while emphasising their graceful and
purposeful stalking of the characters. It is especially
important to convey the terrible appetite of the
creatures. Like sharks, they gnaw, tear and bite with
terrible strength tearing through flesh and muscle
with ease, and often leaving their own saliva and
teeth buried in the victim. They are hunger
personified, and characters who suffer injuries at theirhave large sections of their flesh, or perhaps even
whole limbs consumed before their eyes.
If the characters save Larry Ponder, the GM can
remind them of his terrible suffering, emphasising his
agony at moments when the characters may be
planning or talking calmly. For saving Ponder the
characters are rewarded by potentially learning of the
creatures lair, and also by witnessing his
transformation into a beast; so they have an inkling ofwhat might be in store for them in the future.
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The fourth Challenge Round is pivotal. It is essential
that at least once character survive the challenge
round, and suffer the curse by playing a physical
outcome. You may want to take a more active hand
in suggesting outcomes for the characters to ensure
this result. This way the story can move in any
direction for the final tension phases, as the source of
the next challenge is the cured character(s).
From the fifth Tension Phase the characters are free
to choose any course of action. It is important to note
that the story of Crystal, Michael and Jake and their
rivalry leading to the split between the bikers is a
background element only. If the characters choose to
explore this further, seek out the bikers as allies, or
unravel Michaels fate, then it should move into the
foreground. However, the characters are under no
compulsion to learn any of these details. They may
simply ignore the bikers altogether and leave the
area.
If the characters do leave immediately then it will be
necessary to improvise the specific details of the fifth
and sixth tension phases. The cabin is so remote that
the characters will need to spend most of the next day
travelling to reach another location, meaning that the
fifth challenge round should take place soon after
they arrive.
Depending on the circumstances of the characters,
and the time remaining you may decide to eliminate
the sixth tension phase entirely. However, if you have
the time, and feel that the knowledge of the
impending transformation of characters subject to the
curse is likely to cause more great drama, then let
the game run on to the final conclusion, improvising
scenes as necessary.
The Beasts also have a movie-science explanation as
outlined in The Nature of the Beast. This has been
added for two reasons; first if the characters are
scientists or researchers (or think to consult some)
they should be able to determine an explanation for
the manifestation of the Beasts (perhaps explained as
the basis for the legend of the werewolf). Secondly,
this analysis should reveal that by simply taking a
Vitamin D supplement the extreme dysmorphic
effects of the genetic mutation can be permanently
suppressed. Deducing this should prompt the award
of a genius card worth 8 points, as it effectively
removes the need to exterminate all of the Beasts.
This should mean that even infected surviving
characters can have a happy ending.
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Permission
granted to
reproduce
this page
for
personal
use
Befriending
Crystal
2 Points
Tension Phase 1Day 1
Characters travel the road,
climbing into mountains. They
are passed by 3 bikers, and
witness an injured deer.
Climax: Soon after sunset they
come across a fatal accident
then stumble upon the scene of
a massacre.
Challenge: Mental [No Hero/Zero]
Tension Phase 2Day 1
The characters travel on, and
reach Millars Crossing. They
can seek help from Crystal at the
Barrel, a local tavern.
Climax: The characters are
confronted by bikers Lewis &
Wade who accuse them of being
responsible for the massacre.
Challenge: Mental or Physical
Tension Phase 3Day 2The characters reach their cabin
and spend that night and the
next day in any way they wish.
Let the characters set the pace.
Ranged
Weapons
2 Points
Learning of
the
Renegade
Riders
1 Point
Gaining the
support of
Jake Lachlan
and the
Apocalypse
Riders
1 Point
Alerting the
authorities
to the
nature of
the Beasts
4 Points
Obtaining
a source
of Silver
3 Points
Determining
the Beats
are also
people
2 Points
Determining
the Beasts
are
allergic to
Silver
3 Points
Killing All
the
Beasts
8 Points
Run Sheet
ROAD TRIP
Tension Phase 5Day 3
The characters set the pace, and
may leave the area, or choose toremain and seek the help of
Crystal or the Apocalypse Riders
Climax: Injured characters carry
the curse of the beast with
them, and the Beast strikes the
next night.
Challenge: Mental or Physical
Player:
Character: Cursed
Description:
Home/Job:
Past:
Challenge: Mental or Physical
Character: Cursed
Description:
Home/Job:
Past:
Tension Phase 4Day 2
The Beasts now turn theirattention to the characters. Will
they flee or try and hold out
until dawn?
Climax: The characters are
hunted by a trio of Beasts. The
most seriously injured character
must play a physical outcome.
Challenge: Mental or Physical
Character: Cursed
Description:
Home/Job:
Past:
Climax: After dark the
characters witness the Beasts
attacking a hunter who begs for
their aid.
Tension Phase 6Day 4
The characters set the pace, and
may leave the area, or choose to
remain - they need to deal with
the Beast Michael Lachlan.
Climax: Injured characters carry
the curse of the beast with
them, and the Beast strikes the
next night.
The Horror Track
Player:
Character: Cursed
Description:
Home/Job:
Past:
Character: Cursed
Description:
Home/Job:
Past:
Player: Player:
Player: Player:
Character: Cursed
Description:
Home/Job:
Past:
Crystal
Sympathetic,
Capable
Lewis
Short, upset
hostile
Wade
Tall,
threatening
Jake
Charismatic,
diplomatic
Michael
Cursed,
regretful
Opening Scene: The characters are travelling to a cabin
in the Mountains. The weather is fine. They are at a
petrol station, filling up what are they each doing?
Ballot Votes
1:
2:
3:
4:
5:
6:
Ballot Votes
1:
2:
3:
4:
5:
6:
Ballot Votes
1:
2:
3:
4:
5:
6:
Ballot Votes
1:
2:
3:
4:
5:
6:
Ballot Votes
1:
2:
3:
4:
5:
6:
Ballot Votes
1:
2:
3:
4:
5:
6:
Challenge: Mental or Physical
NPCs
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The Horror Track for Road Trip
Road Trip Horror Track
Alerting the
authorities to the
nature of the Beasts
[4 Points]
Road Trip Horror Track
Gaining the support
of Jake Lachlan and
the Apocalypse
Riders
[1 Point]
Road Trip Horror Track
Obtaining a
source of Silver
[3 Points]
Road Trip Horror Track
Determining theBeasts are also
people
[2 Points]
Road Trip Horror Track
Determining theBeasts are allergic
to Silver
[4 Points]
Road Trip Horror Track
Killing all theBeasts
[8 Points]
Permission granted to reproduce this page for personal use
Road Trip Horror Track
Ranged
Weapons
[2 Points]
Road Trip Horror Track
Befriending
Crystal
[2 Points]
Road Trip Horror Track
Learning of the
Renegade Riders
[1 Point]
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Road Trip Maps
WHITE MOUNTAINS
MILLARS CROSSING
Road
Road
Divjak Cone
7,308 ft
Big White
12,316 ft
Devils Peak
7,608 ft
Millars
Crossing
Apocalypse
Riders
Renegade
RidersCharacters
Cabin
Massacre
20 40 60
MILES
Key Locations
1. The Barrel
2. Tiny Treasures
3. Mountain Store
4. Windsor Winter Apparel
5. White Mountains Police and
Rescue Station6. Bellams Gallery
1
2
3
4
5
6
N
N
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EPOCH Quick-Start Rules
Introduction
These rules are intended to allow you start playing
EPOCH immediately. They set out how to create and
introduce characters, how to conduct a Challenge
Round, run an Audience Ballot, use the Horror Track
and conclude the game through end scenes. More
detail on all of these elements, as well as advice on
how to run Tension Phases and overcome the main
challenges of running a genuinely tense and
suspenseful horror game can be found in the full
version of EPOCH.
System Overview
Characters are created at the table. The creation
process begins by establishing a group which defines
the relationship of the characters to each other.
Characters then get dealt a relationship, trait and
Strength/Weakness card which they may use to flesh
out some details during the opening scene for each
character
An EPOCH scenario is divided into a number of
Tension Phases (usually six). In each phase, theplayers develop their characters by interacting with
each other and NPCs or investigating the source of the
horror. At the end of each Tension Phase the players
are confronted with a potentially deadly or sanity-
shattering challenge -either mental or physical- which
they must survive by playing an outcome card during
the Challenge Round. If they have no cards remaining
the character is killed or suffers a total mental
collapse. Players can also play a Hero/Zero card for
their character which may increase their interest to
the audience through a selfless or selfish act.
Once the challenge has been resolved the players and
GM vote for the most interesting character. That
player recovers one of the played outcome cards,
enhancing their characters chance of overall survival.
Players who do not win the Challenge Round get a
flashback token, which can be spent during
subsequent Tension Phases to narrate a flashback andincrease the interest value of their character.
Characters are generally assumed to have sufficient
competence and skill to overcome most activities that
are not part of the Challenge Round. Where
complicated activities are initiated players are
allocated a time-cost which will lessen their screen
time and thereby potentially reduce interest in the
character.
Survival is the primary objective of EPOCH, however it
may be possible for the characters to defeat or
weaken the source of the horror. Success allows the
surviving characters to narrate a happy ending of their
choice. Failure means that the GM can add a sting to
the tail of the scenario for the surviving characters.
To defeat the source of the horror, players uncover
scenario specific Horror Track cards during play.
These cards must be of sufficient value to secure
either total, or hollow, victory.
Character Creation
Determine whether the characters will be a Group of
Colleagues, Friends or Family, or Strangers and place
the appropriate card on the table (in the quick-start
rules only a limited selection of cards for the Friends
group are included).
Randomly deal each character a Relationship card
from the appropriate card deck. These are shown to
all players and may require decisions from the players
as to which other character shares the relationship.
Also ask each player to write a Secret their character
has that relates to the group and place it face down
under the group card before the end of the opening
scenes.
Each character is also randomly dealt one Trait card
and one Strength/Weakness card. These cards are
kept secret by the players unless revealed by the
character during the game.
Give the players a set of four outcome cards (3
physical/mental outcomes and 1 Hero/Zero Card).
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The Opening Scene
EPOCH begins with a series of scenes where we get to
meet the characters. There is one opening scene per
character. Each player helps frame the scene, sharing
some of the narrative duties with the GM. During
these scenes the GMs should focus on prompting the
player to provide more detail. The scene should beginwith an opening question, for example:
Its 8:00am on a Wednesday, where is your character?
What do they look like? What are they wearing? What are they doing?
After answering these initial questions, its important
for the players to add more detail to the characters. If
theyre at home, what is the house like? Is it clean ormessy? How expensive does it look? If theyre at
work, what sort of workplace is it? How many people
are employed? What is staff morale like?
After we have established some detail, the scene
needs a conflict or difficult situation to allow us to
learn more about the character. The purpose of the
scene is not the detail of the conflict, or the NPC, but
to explore the character further. You may wish for
the opening scene conflict to foreshadow a key
element of the scenario. Feel free to improvise your
own difficult scene; ideally it should be a minor, but
potentially aggravating twist. No outcome card is
played as part of the opening scene.
The Tension Phase
Each EPOCH scenario is broken into a number of
Tension Phases. Each Tension Phase represents a
concentrated period of action, investigation or
interaction in the game. For more information onhow to run Tension Phases see the full version of
EPOCH. At the end of each Tension Phase conduct a
Challenge Round.
The Challenge Round
The Challenge Round represents a test, mental or