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Sandman (Pacesetter)

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453 views122 pages

Sandman (Pacesetter)

Uploaded by

Francisco Dos Santos Loureiro
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Otte Entertainment Game rin TUR BE TT NG playing games before, you'll soon discover this one is very different. It's quick and easy to learn. It has more story and fewer" statistics.” And it’s set in ‘a world more wondrous and bizarre than any you've known before... I f you've ever played role- WHATS IN THE BOX? © | introductory folder 48 cards 1 Storyteller’s Screen © 2ten-sided dice © 1 Prop Book © 1 Adventure Book WARNING: Do not look at the Adventure Book, Prop Book, or cards unless you plan to “run” of referee this game, LEARNING TO PLAY ‘Step One: If you've never playéd a role-playing game before, read page 7. Then come back to this section. ‘Step Two: Pick a “Storyteller.” The Storyteller leads the game, much as the “Game Master” or'‘referee” leads traditional role-playing games. Who should be the Storyteller? The owner of the game is a good choice, But as the name implies, the best Storyteller is someone who can read fiction well out loud, improvise stories, and be an “on the spot” actor or actress. From now on, when the word “players” is used, it refers to every player except the Storyteller. Step Three: If you're the Storyteller, read the Storyteller's Guide. players need something to do while you read, give them the section for new role- players (page 7), or read the Story- teller’s Guide out loud, ‘Step Four: Get out the Adventure Book and get ready to play. THE STORYTELLER’S GUIDE usually determine what a person can do, or what hap- pens to him. In this game, the adventures determine what hap- pens, supported by the rules below. Anything the players might try during the game is covered by the Adventure Book or one of these rules. Take out the Storyteller's Screen and look itover, you'll need it to lean the rules. Don’ttry tomemorizeevery- thing you see and read; just gain a basic understanding for now. During the game, use the screen and this rules booklet as reference tools. If you can’t remember some- thing, look it up. Don’t be afraid to “bend” the rules ali I 1 the real world, physics THE BASICS 1. the Storytellershouldneverleta rule get in the way of the players’ fun. The pointof this game is role-playing, not rules. 2. Pcs, of player characters, are characters played by everyone except the Storyteller. 3. NPCs, or nonplayer characters, are characters (or creatures) played by the Storyteller. 4. Att characters may have... SKILLS, which represent some- thing a character does better than the average person—or something few other people can do at al. WOUNDS, which represent any kind of physical injury—punctures, bruises, breaks...whatever. Both wounds and skills are de- scribed more fully below. 5. PCs begin each adventure with- ‘out knowing who or where they are. They dohave as much general knowl- edge as most people in 1985 do, how- ever. (NPCs, it seems, don’t always suffer from this “amnesia.”) ACTIONS—THEIR CHANCE OF SUCCESS 6. Whenacharactertriestodosome- thing, he or she is performing an “action.” ‘Example: John, a character, may decide to chase a villain, look for a hideout, or shoot a tin can. All of these things are actions. 7. When a character attempts an action that’s fairly easy, that char- acter automatically succeeds. ‘Example: John can order lunch, ride his motoreyle to the train station, even swim across a small lake, Unless an earthquake or something unusual happens at the same time, he can do any of these things automatically. 8. Not every action succeeds auto- matically, however. The Chance measures a character's likelihood to do something difficult without failing. (Chance" is short for “chance of success.”) Q. This pameuses two basic formsof Chance (others exist, but don’t worry about them now) a) 40% = the standard Chance Whenacharactertries an action that's difficult, but not exceptionally diff- cult, his or her Chance is 40%. Example: Ichabod tries to leap out of a window onto a horse that's stand- ing below. His Chance to land on the horse is 40%. b) 20% = the reduced Chance. ‘When a character tries an action that's exceptionally difficult, his or her Chance is reduced to 20%, Example: Ichabod tries to leap out ‘of a window onto ahorse that’s canter- ing below. His Chance to land on the horse is 20%. 10. A very specific action (hitting a particular body part, grabbing hold of something, or breaking an attacker's gripon you, ete.) is acalled shot. Ita called shot seems very difficult to the Storyteller, always use the reduced Chance. 2 Characters may make called shots to inflict less than normal injury— purposely grazing a victim with a bullet, for example, instead of shoot- ing to wound or kill. Called shots never inflict extra injury, however. MAKING CHECKS 11. You can use a Chance in two ways, when determining the result of some act a) The success check answers the question, “Does the character suc- ceed or fail?” Use it when you need simple, yes-or-no answers. ‘To make a success check, roll two dice (see sidebar: ifthe result is less than or equal to the Chance, the char- acter succeeds. Ifthe result is higher than the Chance, the character fails. Example: Lara’s character tries to untie a knot with her teeth. Her Chance is 40% (the standard Chance). Lara rollsa'*23”. The character succeeds; she unties the knot. 'b) The Q-check (Quantity or Qual- itycheck) answers the question, “Does the character succeed—and ifso, then how well does he or she do?” Use it when you need to know exactly how well a character's action succeeds. To make a Q-check... Step 1) First, make a regular suc- cess check. If the character fails, go no further. ‘Step 2) If the character succeeds, subtract the result ofthe dice roll from the Chance. The difference is called the “Success Margin.” (See the Q Table on the Storyteller’s Screen.) ‘** Success Margin = Chance ** minus Dice Roll ‘Step 3) Read the headings above the Q Table from let to right, and use the first column that fits the situation at hand. Step 4) Follow the row containing the Success Margin across, until you reach the appropriate column (“cross- index”), ‘Siep 5) Interpret the code using the Key below the table (or the special key for that skill, if appropriate). ‘Step 6) Apply the results. Example: Your character, Rutgar, is boxing with a killer orangutan Both Rutgar and the beast are wear- ing brass knuckles; it's a tough fight, Rutgar tries to land a punch; his Chance is 40%. You roll “23”; that’s less than or equal to 40, so the punch strikes home. But how much harm does the blow inflict? ‘Step 1) Makea success check. You did that— “23” was successful ‘Step 2) Find the Success Margin: 40 (the Chance) - 23 (the dice roll 17. The number 17 lies in the row marked “10-29. ‘Step 3) Which column? A punchis hand-to-hand attack: use column E, on the Q Table. ‘Step 4) Cross Index: follow the “E” column down until you reach the row for “10-29.” Steps 5) and 6): Decode and apply results, Rutgar wears brass knuckes— that’s an armed attack, 80 use the letter in the circle: M. The orangutan suffers a medium wound, Further- more, there’s a “burst” in the results, square. That means the orangutan is, knocked down by the punch. 12. Make Q-checks whenever— 8) wounds (injuries) are the pos- sible result of an action: ib) a skill is used (unless the skill card says otherwise), c) youwishto determine the degree of success for some action. SKILLS 13. Ptayer characters discover which skills they have during an ad- venture, not before. Before an adventure begins, the Storyteller selects skill cards for the PCs, according to instructions in the Adventure Book. Then, if PCs try © 4o things relating to their skills, the Storyteller gives them the appropriate skill cards. Example: The Storyteller knows Rutgarhas Medical skil, but Rutgars player does not. During an adven- ture, Rutgar attempts to bandage a wound, The Storyteller gives Rutgar's player the Medical skill card; Rutgar has discovered he’s a doctor! 14. there are three levels of skilk one star (lowest) Kk wo stars (mid-level) #4 three stars (highest) Characters start with skills at one- star level, and advance as they pro- ress from one adventure to another. 15. skits raise a character's stand- ard Chance to perform agiven action, ‘The increased standard Chance varies according to skill level: 60% 70% Ik 95% Example: Average, unskilled Joe has a 40% Chance to hit a nearby target with a handgun. But Tex has one-star Handgun skill; his Chance to hit a nearby target is 60%. 16. stitis also raise a character's reduced Chance for some action. A character's reduced Chance when us- ing a skill is always 20% less than his or her standard Chance. “4 40% 1k 50% ek 75% FIGHTS AND CHASES 177. During fights and chases, use rounds to measure time. A round lasts about 5 seconds. (Note: Time is meas- ured in the characters’ lives, not yours. So 5 seconds is a fictional amount bears no relationship to the time you actually spend playing.) 18. During a round, a character can do the following: move and/or perform one action. Usually, that action is an attack or use of a skill, Use the Movement Guide on the screen to determine how far a char- acter can move in a round, ‘Example: In one round, a char- acter could make an attack’and then run about 75 feet. Or the character could move to a new location and then use a skill. 19. To see which side goes first— the PCs or NPCs—roll dice at the start of each round, The Storytellerrolls one die for the NPCs or creatures involved. The players choose a delegate to roll one die for the PCs. Whichever side rolls highest gets to goffrstin the round. (In ‘case of a tie, roll again.) 20. ‘The Storyteller decides in which order the NPCs act. The players decide the same for PCs (they can rol dice to resolve disputes). 21. A character must complete everything he or she wishes todo in a round before another character acts, ‘Example: Rutgar cannot get up from the floor, waitunilastrageler™ joins him, and then throw the smoke- ‘bomb, He must get up and throw the bomb before the second character moves. WOUNDS (CHARACTER INJURY) 22. wounds result from fights and dangerous actions. The Storyteller should mark wound boxes on the char- acter roster (located in the Prop Book) a called for by a Q-check HOW TO USE THE DICE ‘Aten-sided die produces numbers from 1-10. (Rea die for ones Sample character roster: DO Critical wounds Heavy wounds ‘Medium Wounds Light wounds Scratch wounds oooo oooo 23. tryoumust mark a wound box, ‘and that level is already filled, then mark the next higher wound’ box, instead Example: If Amy suffers two ‘scratch wounds, a third scratch wound counts as alight wound. 24. 1 one critical wound box is marked, the character has a 40% Chance of passing out atthe begin- ning of each round. The Storyteller rolls the dice: ifhe or she rolls 40 or less, the character passes out for 1 to 100 minutes, or Until another character revives him. (lf you'd like, rol dice tofind out how Tong a characteris unconscious.) 25. irbothcritical wound boxes are marked, the character dies.* ‘The character is out of the adven- ture. (In some adventures, however, death is not final.) 26. Player characters are special; they have a 40% Chance to cheat death—and be unconscious, instead. If'a PC receives 2 eritical wounds, ask the player ofthat character to roll dice. A result of 40 or less means the PC appears dead but is merely un- conscious for 1-100 minutes. The Storyteller erases one critical wound mark, 27, To heal one wound (the most severe), a character must rest for 8 consecutive hours. To rest, the character must cease all travel or fighting for the entire 8- hour period. Afterward, the Story- teller erases the wound mark. 28. characters suffer catastrophic injury from crashes, explosions, and other such “catastrophes.” The Chance of receiving catastrophic injury always ranges from 100% to 200%, as specified in the adventure. ‘Sometimes, a character does some- thing unwise or unexpected, resulting in a “catastophe.” The Storyteller should assign a Chance between 100% and 200%. Example: Howard sticks dynamite in the tailpipe of a car, and then waits to see what happens. Well, naturally, the car explodes. The Storyteller assigns 150% catastrophic injury. That means the explosion has a 150% Chance to hurt our poor Howard. Howard's player rolls both dice, and the Storyteller subtracts the number rolled from 150 to find the Success Margin. 29, Characters have a40% Chance of being wounded by fire if nothing protects them from the flames. (In other words, the fire has a 40% Chance to harm the unprotected characters.) If “successful,” fire inflicts 1 medium wound per round until ex- tinguished. It takes at least 1 round to extinguish flames on a burning character. STORYTELLER'S TIPS D Have fun, Relax. This is only a game. Ifyou’re having fun, you're not doing anything wrong, even if you forget some rules or completely botch a situation. D Ham it up. You really are asort ‘of actor or actress. No, you don’t need special training; just do your best to bring the characters tolife. Give them accents and personalities if you can. And don’t forget the PCs have five senses—not just sight Tell them what they smell and feel. Use simple sound effects, too. A knock at the door? Wrap on the table. A how! in the night? Go ahead and howl. Your players will enjoy the story and have ‘more fun if you help them see, hear— really sense what their characters experience. In fact, they'll start “hamming it up,” too. i Improvise. The adventure text is a foundation, not an anchor. Go ahead and make up things the NPCs 4 say and do. For instance, during a fight, the text may describe how an NPC attacks PCs, but not which PC he attacks. You must decide who the NPC would logically attack O Try notto restrict theplayers. A PC is free to try whatever action ap- peals to him or her; that’s part of “make believe.” But while the adven- tures cover a character's most likely choice of action, they can't cover every contingency. So just use com- mon sense and a bit of imagination to handle a “straying” PC’s adventure. Ask yourself," What would probably happen if someone did this?” Then improvise a solution that’s compat ible with the adventure’s story line. For example, what if one PC de- cides to search for a cure for his amnesia while his friends continue the main story? You might handle the main story for a while, putting the stray PC on““hold” until you think of what todo. Then you could make upa minor NPC—a psychiatrist, perhaps— ‘who tries to cure the stray PC’s am- nesia. Of course, the psychiatrist fails; creating a past for the PC would be incompatible with the adventure and the game. After letting the stray player try this “goose chase,” you should encourage him to join the others. Don’t worry too much about rules. For the most part, the SANDMAN game is just a lively, free-form conversation, enhanced by a little ‘make believe” and mystery solving. It’s not an “it's my turn,” or “what's that rule?” kind of game. The only time you need to keep some order is during a fight or chase, when you use rounds—or when players are So animated you can’t tell what any- ‘one is saying anymore. STARTING TO PLAY If you're the Storyteller, separate the cards now and set them aside (in order). Then open the Adventure Book and follow the instructions there. ‘After you have finished the first adventure, read the rest of this book- let at your leisure. AFTER THE ADVENTURE. CHARACTER ADVANCEMENT ‘As your PCs move from one adven- ture to the next, they find their know!- edge and powers increased: 1. Characters who survive an ad- venture can remember everything about it in their subsequent SAND- MAN adventures. (For instance, if the sameNPC appears intwoormore adventures, the PCs can remember having met him before.) 2. Memory is not the only thing PCs retain after an adventure: some- times, they may keep an item they have acquired in one adventure, and in the next. 3. Characters also retain skill eards throughout the SANDMAN series. Of course, a new setting may make use of anexisting skill impossible—or atbest, worthless. (Handgun skill, for instance, would be of no use in a world without gunpowder.) 4. After each adventure, characters have a chance to select new skills or improve existing ones. (See below.) AWARDING AND SPENDING POINTS At the end of each adventure, the Storyteller should award points to ‘each player as follows: 1, One point if the player's char- acter survived the adventure (is still living at the end) 2. Two additional points if the PC helped obtain the Poem card for that adventure. Players must “spend” these points immediately, before the next adven- ture starts. Here's what they can buy” 1. Newskillsfor their PCs. Players can “buy” any skill if 1)it originates from an adventure they've already Played, and 2)there’s a card available. ‘New skills cost one point each. Players who buy new skills for their characters should receive the appro- priate skill cards. 2. An upgrade of existing skills— ones they had before or during the adventure. The standard Chance for skills is 60%—the percentage listed by a““&” on the skill card. Players can improve their characters’ Chances by spending points. Two points raise a skill to “two star” level (i). Three additional points raise a skill from leveltwoto level three (+ *). (To show the level your character has in a skill, just circle the correct num- ber of stars on the card—lightly witha pencil.) CHARACTER DEATH When a PC dies, that character is usually out of the game. The player must start “fresh” in the next adven- ture, with a character who has no skills or memories from other ses- sions. Of course, other PCs could tell the newcomer about previous adven- tures, and diminish some of the loss. ‘When a character dies, his skill cards become available for purchase. ‘At times, the SANDMAN takes place in a setting where magic works and the impossible can happen. In such worlds, a dead character may “come back to life”; the adventure will describe this possibility. IMPROVISING A STORY LINE Players are never completely predict- able; with a few poor decisions or strange moves, they can stray from an adventure’s story line completely. ‘That's okay—players should be free to make decisions for their charac- ters, even if they're not the best de- cisions, are a little unconventional. ‘So what do you do when players stray? The best thing is not to break the flow of the adventure, but use common sense and a bit of imagin- ation to gently steer them back on track, Forexample, inthe first adventure, the PCs are in Casablanca during ‘World War II. What would you do if they decided to ride through the streets shooting every Nazi in sight? The ad- venture text makes no provision for this action, but it could happen. As the Storyteller, you don’t have to 5 interrupt the flow of the game. Just improvise, using your own knowledge of the world, and a dose of common sense. Play along with the PCs for a while, buying time tocreate a solution that’s compatible with the adventure. For instance... ‘What would happen in real life if someone began to kill victim after victim? The police would start a man- hunt. To handle this in the game, you might make up a few police char- acters. Two outcomes would be likely ‘One, the PCs would escape Casa- blanca alive. (The adventure would end, but they could start another. ) Or ‘two, the PCs would die (this is WWII, remember). Don’t be afraid to let characters arrange their own funerals, if players make unwise decisions. Of course, you can often prevent players from straying too far by drop- ping a few verbal hints. You might say, “Okay. Plenty of Nazis roam the streets of Casablanca, and if you want to go Nazi-hunting you can. It will be a challenge to get them all, however. Police forces in these kinds of'states are usually very efficient and equally brutal...” CREATING YOUR OWN ADVENTURES The INSTANT ADVENTURE ‘game system is designed especially for use with the SANDMAN series; several elements of the rules are actually embedded in the adventures themselves. However, experienced role-players can easily adapt the basic rules for use in adventures they design themselves. And because the rules are simple, you could devise an adventure with just about any setting. We strongly recommend, however, that characters who participate in the SANDMAN adventures not take part in adventures you create. This would destroy both continuity and balance in The SANDMAN adven- ture series. Creating your own characters re- ‘quires nothing more than imagination. As Storyteller, start with an idea of the setting you wish to use, and the general plot of your adventure, Then, create characters and give them to your players, following the style of the SANDMAN series. Or, you ‘could tell players a bit about the set- ‘ing, and let them create characters themselves. DESIGNER'S NOTES An INSTANT ADVENTURE game is unlike any other role-playing game ‘currently on the market. Infact, we at Pacesetter have debated whether this system really qualifies as a role- playing game—as the hobby defines it—or whether it’s a close relative, totally new. (That's one reason we tagged it “dramatic entertainment.”) Traditional role-playing games, or RPGs, have their roots in miniatures ‘wargames (games played with mini- ature figures). In wargaming, the rules attemptto create a very realisticmodel ‘of battle conditions. They cover as many contingencies as possible, giv- ingaprecise, realistic structure toany possible event. Consequently, war- ‘game rules tend to be long, complex, and very detailed. Most role-playing games share this, ‘emphasis on detail. Like wargames, they include rules to cover “all the angles.” Their rule books are 60 ages or more, filled with scores of charts and tables that help to regulate and create most every situation e.2., does it rain today, or merely drizzle?). Such detailed’ rule systems have much to their advantage. But they have obvious drawbacks as wel: 1. Newcomers must spend hours (or even days) learning a new game system. Some systems are so filled with charts, tables, and numbers that people who might enjoy role-playing are often “tumed off” before they begin. 2. Players must wade through rules to resolve conflicts and tricky situ- ations. Before long, players are con- centrating on the game mechanics, not on the story or the feelings of their characters. 3. Preparing to play the traditional RPG can take as much time as play- ing it does—even more. OF course, some people really enjoy detailed, regulated creation of characters and settings. But most people, if honest, would rather just play—or at least spend more time imagining, and less time looking up rules. ‘The INSTANT ADVENTURE sys- tem offers a different approach to role-playing, an approach that stems from years of collective hobby exeri- tence shared by the folks here at Pace- setter. Our goals were to create a game that held true to these ideas: 1. The adventure is all important. Nothing should interfere with the en- Joyment it brings to the players. The story, created by the scenes in the adventure and the actions the PCs take, must be “full-bodied” —filled with enough wonder, excitement, and intellectual challenge to merit the time that players invest. 2. The game mechanics—the rules, charts, tables, and so on—should never dominate or control the game. ‘They should only further the adven- ture created by the players’ inter- action, providing a reasonable way to handle surprises and conflicts that arise. Viewed in this light, the mech- anics don't have to create a detailed ‘model of a world, like those in many traditional RPGs. 3. The game should be easy to play. The Storyteller shouldbe able to start ‘game with minimal preparation, and the players should be able to start with none. Experienced players may be shocked at the relative lack of rules in this game; we hope they will feel equally surprised and rewarded by the quality and depth of the story experience the ‘game attempts to provide. ABOUT THE SANDMAN SERIES SANDMAN adventures are really a series of interconnected stories. Like pieces in a jigsaw puzzle, the adven- tures fit together to create a larger picture—one that answers the ques- tion, “Who are the player characters?” This boxed set contains four adven- tures. The complete SANDMAN series will consist of several more boxed sets (up to six), plus one final edition. Even though the boxed sets are re- lated, they can be played in any order. (In fact, you can even mix and match adventures from setto set) The final edition, however, is just that— final. You should play it only as an “end” to the entire series, FOR INEXPERIENCED ROLE-PLAYERS WHAT IS A ROLE-PLAYING GAME? As children, most of us played “make believe.” We played cowboys and Indians, soldiers and doctors, Tar- zans and Janes—whatever we wanted to be. Together with friends, we took fon the roles of these characters, creating their stories as we played. Occasionally, a disagreement broke ‘out: you'd shoot the Bad Guy, but the Bad Guy would refuse to fall down. But aside from the occasional spat, “make believe” was a lot of fun. Role-playing games are an adult version of "make believe.” You still pretend to be someone else. But the result is more like improvisational theater or an interactive story. You start with a setting and a situation; part of the “drama” is already com- plete. Then you add a referee to de- seribe the setting and guide play. Last, youuse rules and dice to resolve conflicts—such as who shot whom, and how much injury was inflicted. (In arole-playing game, the Bad Guy falls when he’s shot; the rules make sure of it) THE STORYTELLER In a role-playing game, one player acts as a sort of leader or referee. In the SANDMAN” game, that person is called the “Storyteller.” Unlike other players, the Story- teller doesn’t take on just one char- acter role. Instead, the Storyteller plays everyone the other players’ characters meet: villains, creatures, and the entire “supporting cast.” The Storyteller also reads the “story” textto the players, deseribing what their characters see, hear, and sense. The story text is really only a foundation, however, itis by no means complete script. When the players describe their characters’ actions, the Storyteller may have to improvise a reaction in tum, Lastly, the Storyteller applies the rules of the game. He or she tells players when something is impossible ‘or doesn’t fit the rules, or how it should be done. In this game, how- ever, “rules referee” isthe Storyteller’s east important role. ADVENTURES Anadventure is one story in the life of the characters. It has a beginning, an end, and a cohesive story line in between. This game has four adventures, all contained in the Adventure Book. Remember—the text in the book serves only as afoundation; youcom- plete the story as you play. Ttusually takes one evening to play a SANDMAN adventure. ACTIONS AND DICE During an adventure, characters try to perform “actions.” For instance, you might decide that your character, Harry, should track a villain into the wilderness. At first, that might be easy: Harry just follows the villain’s trail. (The player describes what Harry is doing.) But what if Harry ‘comes to a ravine, and the villain has ‘cut the rope bridge at the other end, so Harry has tojump across? Now that's a difficult action. When characters attempt difficult actions, players roll dice to determine success. Let's finish the example above. Harry's player decides Harry should risk the jump. The player tries to roll 20 or less on the dice; a suc- cessful roll means Harry makes it across. The player rolls 21. Tough break. Harry now lies atthe bottom of the ravine. (The game rules explain which numbers you must try to roll, and how to do so.) EXAMPLE OF PLAY Here's what you might hear during an INSTANT ADVENTURE game. In an actual adventure, the Story- teller would be reading some things from an adventure text, and using the adventure’s guidelines to improvise the rest. Furthermore, the dialogue would probably overlap at times. The players are not “taking turns”; they're speaking as their characters would naturally, if they were real. 7 It'san ink- black night, and the players’ characters stand before an old, two- story frame house. No lights are on inside. TIM: [ go up to the house, and slowly creep onto the porch. STORYTELLER: The porch is old, and its planks creak a litte...makes creaking sound). ‘TIM: Anything happen in the house? STORYTELLER: Doesn't seem to. SAM: I'm about ten feet behind him, in the yard. AMY: I'm sure the guy is hiding in there, I move behind Sam, taking out my pistol—just tobe ready in case the killer's inside. SAM: Me too. TIM: Not me. Ifhe jumps me, [don't want him to get my gun. You two stay back and cover me; I'll try the front door. (to Storyteller) Y'm trying to tum the doorknob now, gently and quietly. STORYTELLER: Fine. Nothing happens. The door is locked. TIM: Oh, great. Anyone have any ideas? AMY: Try a window. ‘SAM: Yeah. TIM: Okay, walking slowly, as quietly as possible, I'll goup toa window and peek in. STORYTELLER: The porch creaks again, but not loudly. Justas you peek in—BAM!— a powerful arm crashes though the glass right in front of your face and... (rolling the dice) the fist hits you, hard, knocking you back- ward and down! Glass flies every- where, and you hear this strange noise (Storyteller groans weirdly, in the role of the killer in the house). AMY: Can I see and hear this hap- ing? STORYTELLER: Yes. AMY: I'm firing my pistol right at the uy in that window! SAM: Me too! STORYTELLER: Okay, it's dark. ‘You can’t tell where the figure is—or even if its really a man. You each hhave a 20% chance to hit the “target.” Roll the dice and let’s see if you succeed. TIM: Tm staying down and hoping they're good shots... CGoblinoids Games acesetter www.goblinoidgames.com Copyright 1985, 2012 Daniel Proctor. Sandman™, Instant Adventure™, Pacesetter System™, Pacesetter Logo, Goblinoid Games, and Goblinoid Games logos are trademarks of Daniel Proctor. ANH wel Aen Map of Halaal Contents How to Use this Book...... Adventure One ‘The Sandman Comes .. Adventure Two Prophet of Darkness... Adventure Three A Feast for the Eyes .....6.s0006 Adventure Four The Map of Halaal . Credits Design Concepts: Pacesetter Staff Design and Writing: Mark Acres and Andria Hayday Poetry: Michael Williams Cover Art: David Martin Interior Art: Ron Randall and Stephen D. Sullivan Cartography and Graphics: Stephen D. Sullivan Graphic Design: Andria Hayday Production: Goldsberry Graphics Playtesting: Pacesetter staff, Jamie Acres, John Brunelle, Mike Coleman, Carol Koelln, Connie Koelin, Elizabeth Koelln, Lou Mengsol, Gaye O'Keefe, Curtis Smith, Geoff Valley Special Thanks to: Jamie Acres, Troy Denning, Will Niebling, Mary Ramirez SANDMAN", SANDMAN logo, INSTANT ADVENTURE" Goblinoid Games, Pacesetter System™, and Pacesetter logo are trademarks of Daniel Proctor, Copyright 1985, 2012 Daniel Proctor. All rights reserved, How To Use This Book

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