dust devils corebook

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A TRULY GRITTY OLD WEST ROLE-PLAYING GAME



A TRULY GRITTY OLD WEST ROLE-PLAYING GAME

WRITTEN BY MATT SNYDER

Cover art by Jon Hodgson [email protected]

http://jonhodgson.net/

Interior Art by Rod [email protected]

Layout and graphic design by Matt [email protected]

Copyright © 2002 Chimera Creative / Matt Snyderhttp://www.chimera.info

Introduction"There comes a time when you got

to shoot or give up the gun.”

DUST DEVILS is a role-playing game set in the dust-ridden Old West. Players portray gunslblers, cowboys and outlaws who survive in a rugged land, and conquer their own Devils,

secrets that keep them from being honest decent folk. Dust Devils asks, "Can a no-good son of a bitch make right with his ugly, evil past and be a

God-fearin’ people of the West respect and admire? Or, will the Devil get the best of him, andcovers that he’s a cheat, a liar or a no-good killer?”

Or, as we might say nowadays, “Can a person reform his dark past and become a hero, or whaunt his actions until death?”

Or, perhaps simpler, “What does it take to be a hero in a lawless place where it’s hard to juOr, simplest of all, “Can a person change?”

Dust Devils is a game in the tradition of films. The Outlaw Josey Wales and Unforgiven are

In the former, Josey Wales—played by Clint Eastwood—is a real son of a bitch; yet he’s a heroreform his killin’ ways. He makes use of ’em right up to the end of the film, at which point wWales may be one helluva gunfighter, but he ain’t the outlaw he used to be.

Unforgiven is very much the inverse (in fact, the inverse of Westerns in general). William Muplayed by Clint Eastwood—is an outlaw, and makes no bones that he was a no-good son of a bmovie, though, he’s reformed. “I ain’t like that no more,” he says. Yet, he’s terrible at reform. Hhe can barely ride his old, sway-backed horse, and he can’t shoot worth a damn. He finally sna



Characters



♠ Hand represents physical action, i.e. anything a character does with his hands or body. Haeverything from the brawn needed to knock a fella into next week to the finesse required toutlaw. Hand is associated with the playing card suit of Spades.

♦ Eye measures a character’s senses and intellect. Eye might test a character’s ability tocanyon ambush or challenge his knowledge of Apache traditions. Eye is associated wiof Diamonds.

♣ Guts reflects a character’s vigor and health as well as his courage and cool. It take Guts the whole Bolivian army, and it might take a lot of Guts to keep your shootin’ hand stea.45 round in your thigh. Guts is associated with the suit of Clubs.

♥ Finally, Heart gauges a character’s social competence as well as his heroic—or perhapsnature. Heart makes the ladies swoon, and it sure comes in handy when you’re trying tthe town to fight the railroad’s thugs. Naturally, Heart is associated with the suit of He

These attributes are a means for players to compare characters with their compadres, but morthe attributes are the central mechanic in determining how characters perform when the bull lea

TraitsIn addition to the four attributes above, all player characters have two figurative descriptor

their most obvious qualities. In true Western style, these are written as similes. “Tough as nailas a post” are two examples. When a character tries to overcome a conflict, he earns an extra Deal if he overcomes it in a way that emphasizes one of his two descriptors.

Example: Dylan “Bang” McCreedy has the following traits “Strong as an ox” and “Craz popcorn on a hot stove.” Should McCreedy need to free himself from underneath his fallehe’d get an extra card because using brute strength in this way matches his “Strong as adescriptor perfectly. Similarly, if ol’ Bang McCreedy decides to rob a bank with a lit stick

mite in each hand, he’d get a card for his obviously crazy action (and perhaps his last!).

KnacksPlayers also select several Knacks—skills or talents at which their characters are proficient. K

rating ranging from 1 to 4, with 1 being a novice and 4 being an expert. Players distribute 11 their selected Knacks ratings, but the total number of Knacks may not exceed the total of the cHand+Eye attributes or 6, whichever is higher.

Knacks can be any suitably narrow skill. For example, Thievin’ is probably too broad, but

ing cattle) is probably just fine.Knacks are useful in conflicts by helping players improve their hands (see THE DRAW, pageExample Knacks include: Ambushin’, Dancin’, Drinkin’, Gamblin’, Politickin’, Shootin’, Re

Writin’, ’Rithmatic, Ropin’, Safe Crackin’, Trappin’, Ridin’, and so on. Players and the Dealerto create any number of Knacks well suited to their character concepts.

Devil



might be that he’s a “Wanted man.” Whether the character committed the original crime or nafter him, and he’s always looking over his shoulder and doing what it takes now to get by.

These two examples—drinkin’ and being a wanted man—are a fair start for a Devil, but tha little more meat to the story. What’s missing is why the character is a drinker or a wanted mhe find himself in that situation? How does that troublesome past keep affecting him currentl

For example, after tracking down an escaped slave, bounty hunter Zeke Munroe prefers world from the inside of a whiskey bottle. This is important because it demonstrates Zeketer. Zeke isn’t about the drinking; he’s about issues of freedom and captivity, and innocen

guilt. That is, Zeke’s Devil reflects the important issues the player should explore with thter in game play. Whenever Zeke enters conflicts related to these issues—like capturing thman, for example—his Devil affects the outcome of the conflict.

One way to create backstory details for a character’s Devil is to narrate flashback scenes duplayer needs only the basic framework for his character’s Devil; he (and his fellow players) cadetails as he goes along. These in-character vignettes can reveal bit by bit what haunts a charwhat motivates him now.

A poor example of a Devil is something the player might be able to resolve neatly in one or play. For example, it might be just too easy to say a character’s Devil is “Get revenge on the s

that killed his wife.” Should he do just that, he might just as well settle down and see what alorder bride hubbub is all about.



Instead, the Devil should be something dark and disturbing—some poor choice the charactpast that he now has to live with as it factors into every important decision in his life. In the “example above, the Devil isn’t something troubling the character did. Rather, it’s something tehappened to him. While getting revenge might be entertaining for a short time, there isn’t reaelse to challenge the character.

With a little twist, however, this Devil could work. The player might expand that Devilish hthat the character is a federal marshal whose wife was killed by a band of outlaws. The charato walk the line between revenge and justice (as seen in the film Hang ’Em High), and this straffect every action he makes. His dilemma shouldn’t be limited just to the murdering outlaws

everyone he interacts with. Even if the outlaws are captured or killed, the Devil haunts him st

The Devil’s DueEach character’s Devil has a rating from 1 to 3 that the player can change from session to s

rating indicates how much the Devil haunts the character. A rating of 1 means the Devil is suflaw kept mostly under control, and the character is able to go about his business for the mosof 2 indicates seething tension as the character’s past begins both to enliven and spoil day-to-Finally, a character with a Devil rating of 3 is a tempest of dramatic activity; the Devil infects

decision he makes, resulting in spectacular success almost as often as is does terrible loss.At the beginning of each session, the player decides what his character’s Devil rating will be.into account the events of a previous session—a particularly devastating encounter with a figurcriminal past in the previous session might encourage the player to set his Devil rating at 3 as tback to haunt him. Conversely, someone playing a character for the first time may simply opt character’s Devil rating at 1 and let the Devil stew quietly until things build up in subsequent s

It really is up to the player and how much he wants to “dance with the Devil” in play. Just that the Devil is a forked-tongue snake—the rating can work for or against a player! The Devinto play as part of any given conflict. When it does, the Devil results in a modified number o

Deal for that player. For example, Zeke Munroe’s Devil is that he’s a “mean drunk,” and Zeke’s player has serating at 2 for the current session. Zeke might lose two cards whenever he’s involved in cinvolving liquor—or just the temptation to drink it—comes along. Say he’s trying to imprat the saloon. Thanks to the pint of whiskey Zeke just downed after losing $50 at the rouwheel, Sally’s not likely to go upstairs with a mean drunk like him, at least not without adollars. The Dealer decides to deal two fewer cards in that conflict.

Conversely, our boy Zeke might earn a couple more cards in the Deal should he need tacross the same saloon when a knock-down, drag-out fight breaks out. A little liquid counever hurt the old Guts attribute.

The Game

IN DUST DEVILS, all players are expected to take part in narrating the game. This ain’t no oni hi h h “G M ” h l l A h f l



game as other players do the same. Players can set the mood of a scene with their narrative contributions. With some thoug

description, a player can set the scene for any number of moods—tension, irony, fear, mand so on. For example, if a players senses tension that might erupt later into a brawl odescribe it as a “cold-staring, finger-twitching affair.”

Remember, players should feel free to create elements outside their character when helping scene. This might be as simple as coloring details of the scenery and locale, or it might be as ithe introduction of other non-player characters without input from the Dealer.

The Dealer’s Role

AS PLAYERS contribute to the creation of the shared narrative, the Dealer acts as a director, keparts of the multi-character story coherent. He adds details and narration of his own, and h

or revises details offered by other players to keep things consistent and focused. The Dealer shoustory, keeping players focused on their characters and the issues directly related to their charactejob is more to react to the actions of player characters than it is to single-handedly guide the players through a narrative of his own crafting. The Dealer’s role is not to tscenarios or linear plot lines at the characters to see if they can worm their way out and “solve

This is not to say the Dealer cannot create elements of a scene. He can and should do this amuch as the other players do. The Dealer should create a host of non-player characters, incluand special figures that act as important people in the life of the player characters. They mighter’s darlin’, maybe his ma and pa, his archrivals, partner or some other crucial personalities.

In addition to creating important non-player characters, the Dealer’s most important role isflict. If players act through their characters as they should (that is, motivated by their Devils and bad deeds), the Dealer will find himself handling conflicts often. Players will get themselv

What is a conflict?

Just what in God’s creation is a conflict? A conflict is any risky situation in whichcharacters have something to lose while trying to meet their goals. They might ri

all sorts of things about their character. When characters lose in the Deal, they mighlose their temper, lose face in embarrassment, lose their nerve, or lose all common

sense. Or just plain ol’ lose some blood! All kinds of results are possible as characterdeal with conflict.

But, remember that conflict need not be physical confrontation. Conflict could be atest of a character’s Cheatin’ Knack as he gambles. It could be social interaction like tering for horses. Or, indeed, conflict could be out-and-out brawling and gunfighting

All conflicts could result in Difficulty, which diminishes the losers’ attributeswhen characters fail to win the Deal.



with little or no nudging from the Dealer.Still, the Dealer should introduce conflicts to stir the pot and keep things interesting. Thesebe any challenge for the characters ranging from subtle social provocations over a game of cafledged gun battle in the town streets. Ideally, the Dealer should introduce conflicts as a challquence of decisions made by the player characters. Similarly, the conflicts should provoke at lacter’s Devil. Conflicts that do both work best of all!

For more advice on being the Dealer, see RAW DEALER, page 16.

The DealWHEN A CONFLICT erupts during play, all players declare what their characters’ goals are iate conflict. The Dealer then deals a number of playing cards (from a U.S. regulation p

including the two Jokers) to each player involved. He also usually deals himself a hand becaueither a non-player character or represents another challenge (see FIVE CARD STUD below). Suplayers hinges on beating the Dealer at his game. The highest Poker hand in a conflict is the progressively better poker hands indicate increasingly extraordinary success. The winner succdeclared goal, though exactly how he succeeds is up to the narrator (see FASTEST TONGUE IN T

11). Losers may or may not succeed in their goal; this is up to the narrator of the scene.The number of cards dealt depends on the conflict. With the Dealer’s approval, each player

number of cards in the deal equal to his two most relevant or most interesting attributes for tPlayers should size up the conflict situation and determine which two attributes work best forter, or perhaps which pair might make the scene most entertaining.

It’s down right common for a single character to have three or even four relevant attributesconflict. Players might easily imagine how Hand, Eye, and Guts apply in a gunfight, for examonly two are allowed for the Deal. The player must choose, and that decision might be based of factors, including which attributes are highest, which might be temporarily lowered throug(see DIFFICULTY, page 12), or which pair gives his character the best swagger!

Five Card StudFor conflicts in which the Dealer does not control or involve an important non-player chara

non-player character with his or her own Devil), the Dealer typically deals himself a “Five Cahand. This means the Dealer gives himself five cards to challenge the players’ various hands. card stud hand may represent any game conflict—from a rampaging, driverless stagecoach tothugs in a bar room brawl. The dealer can not discard and redraw any cards from his Five Ca(though he may award a Chip to each player to do so; see WHEN THE CHIPS ARE DOWN, page

Here’s an example: While running from a posse after making a big score on a train heist Jack Kerrigan and Luke Johnson are trapped in a clever ambush. They have a choice in lenge—face the posse hot on their trail or leave their horses and jump off a cliff into a rastream below. Quite a conflict. The Dealer deals cards, giving himself five cards because the posse members is a significant character. Should the Dealer have the high hand, the might indicate the posse surrounds and captures Black Jack and Luke. Alternatively, the



Here’s an example of a minor conflict: After escaping the posse, “Black” Jack Kerrigan, Luke and their newfound partner in crime, Dylan “Bang” McCreedy query the regulars in a town sing to find out when the mine company payroll will arrive at the bank across the street. The Ddecides getting folks to talk about the financially important event isn’t difficult, but the localssuspicious of a bank robbery in the making (quite rightly!). So, he deals himself three cards. Smeager hand win, the consequences are slight. The locals might be a bit suspicious or less frieif Black Jack, Luke and McCreedy overcome the Three Card Stud hand, they don’t really des

greater reward than the information they coax from the saloon patrons.On the other hand, for exceptionally hazardous conflicts, the dealer may take a “Seven Card Stu

ing himself seven cards with no option to discard and redraw (without awarding chips to each playcoming such difficult conflicts, the Dealer should usually reward the players with Stakes of at least

For example, if our trio of outlaws scouting out the bank in the previous example find oupayroll arrived that same damn morning which is why everyone’s at the saloon drinking



The DrawPLAYERS can improve their characters’ initially dealt hands with character Knacks. For each

can discard up to a number of cards equal to one of his character’s relevant Knack ratingsmay choose to discard any number or combination of cards, so long as he does not exceed the lby his Knack rating. The Dealer then deals to the player an equal number of new cards from thCharacters without a relevant Knack for a given conflict may not draw additional cards, unlesschips (see WHEN THE CHIPS ARE DOWN, page 13).

Players are welcome to use their characters’ Knacks creatively during conflicts. For exampl

Knack may not seem like much use during a shoot out, but Reggie Spencer might effectively kstockyard fence and cause a stampede to save his skin from crack shot bounty hunters. The Dauthority to decide whether an unusual use of a Knack like this is permissible in a given Deal

Call

WHEN ALL PLAYERS and the Dealer settle their hands, the Dealer calls and everyone shows his h

may have several cards in his hand (as many as 7 or 8 or more), but he can “lay” only up toPlayers ignore excess cards; only the five cards a character lays at Call count toward resolving a cowith fewer than five cards in their hand simply lay all the cards in their hand, all of which count tothe conflict.

Note: Just as in Poker, without a pair or better in any player’s hand, high card wins. Also, JoWild Cards. See POKER HANDS, Page 24.

Players should consider carefully which five cards to lay. Players should seek to win the conflicthe best poker combination possible. Players should also consider the importance of earning narrwith the high card (See FASTEST TONGUE IN THE WEST, page 11), which may or may not be part

combination. In rare extraordinary hands—especially a Full House or any kind of Strait or Flushshould consider whether to include a high card or maintain the five-card combination.

For example, the sharp-witted “Black” Jack Kerrigan has managed to get himself and all h padres in an ugly shootout. After the Dealer dealt him 3♥, 3♣, 7 ♦, 7 ♣, 9♦, Q♦ in the initialused his character’s Shootin’ Knack to draw back an additional two cards. He discarded theQ♦, and redrew the 3♦ and K ♠. Now Black Jack has a Full House! But, if he lays the full hothis conflict, he likely won’t have high card for control of narration, which might be importahelping out his buddies. He’s got to choose between laying the Full House or laying Two Pai

good hand) and having that K ♠

for a good shot at high card.

Shuffling

ONCE A CONFLICT has been resolved, play resumes. Sometimes, however, conflict begets conh t ft i fi ht h t k i ki it ll t b th l t t di



Know When to Fold ’emWHEN A CONFLICT just looks too damn tough, players can Fold and remove their character

ation. A player must declare Fold before the Dealer Calls. Doing so likely means the issunresolved, and the situation will rear its ugly head again in the future. Folding requires a plaChip or the Dealer to award Chips to each player (see WHEN THE CHIPS ARE DOWN, page 13).

Fastest Tongue in the West IT WOULDN’T BE the Old West without some tall tales to spice things up. In every conflict situ

every Deal), narration of the event falls on the single player with the highest single card laimeans only cards that are part of the five cards players lay down count toward determining hIgnore all other cards.

In many cases, the player with the highest winning hand will lay the high card. However, eranking hand can the yield the high card—the A♠, for example.

The “winner” of a hand succeeds in his declared goal, and the narrator describes just how hi

filled. The “loser” of a conflict may or may not have succeeded in his goal. It is the narrator’s cmine this.The narrator should take into account not only who “wins” and “loses” the conflict, but als

won or lost. This should color his description. Extraordinary hands—like a Full House (Threecoupled with Two of a Kind)—indicate dramatic and exceptional events, while winning a hansingle high card indicates a relatively mundane or routine success for the character.

Being the narrator has distinct advantages. The player who narrates gets exclusive rights tolution of the single conflict at hand. While his authority is shorter lived than a Texas tornadoreally stir things up at critical moments. Often, the player will narrate that future conflicts an

right into his hands. This tremendous power is flexible, too. The player might, for example, dlosing hands deliver Difficulty to winner (see DIFFICULTY, page 12).

Stakes

AT IMPORTANT dramatic moments, the Dealer may declare Stakes for a crucial conflict. Thiplayers can earn should their character win the important challenge. The Dealer offers re

Chips; players are encouraged to use actual poker chips to represent these. The Dealer generaat one Chip, but he may offer two or three Chips for especially important moments in game p

The Dealer should offer Stakes for any conflict situation that he thinks will be a dramatic tthe game. For example, if the players finally get into a shootout with the notorious outlaw theSt. Louis to Santa Fe, the Dealer should offer Stakes. Such dramatic moments may also be mneous. For example, a player could show a love interest in a heretofore unimportant dancehall the Dealer didn’t expect it, he should react accordingly and offer Stakes when the character tr

lk h f d d l f ll h C l f Th D l l h ld d h



DifficultyCHARACTERS who lose conflicts lose attribute points. Simple as that. Conflicts are dangerous t

have a way of whittling a poor soul down until the only thing he’s got left is to make a deaDevil.

When a character loses a conflict, he subtracts a number of attribute points equal to the nuin the Poker combination that beat him. The player subtracts the points as desired from the aed to the suits played in the winning Poker combination.

An example: “Lucky” Luke Johnson isn’t living up to his name. A rival gunslinger shootsa conflict, playing three of a kind in the hand to do it: 5♥, 5♣,and 5♦. Therefore, Luke l points from his Heart (Hearts suit), Guts (Clubs suit) and/or Eye (Diamonds suit). Luke’ssubtracts the three points of damage as he sees fit. He can subtract 3 from a single attribsubtract 1 point from all three attributes if he chooses.

When Jokers constitute part of a hand, subtract damage only from the suits played in otherexample hand above, if the 5♦ had instead been a Joker, Luke would have lost 3 points from (Hearts suit) and/or Guts (Clubs suit) in any combination.

It’s important to remember that while a character loses attributes, the Difficulty inflicted mbe actual physical harm. It’s up to the describing character to explain the injury or reason for

For example, if Luke’s player decided to subtract one point from each attribute “hit” in th ple above, the narrator of that scene might say the gunslinger’s wild shot grazed Luke’s foThe blood trickling into his eyes explains him losing a point of Eye. Getting shot at makesreluctant to fight on, which explains the loss of Guts, and the ugly, though not down rightcious, wound makes him a gruesome sight to everyone, hence the loss of Heart. He may loworse for the wear, but maybe Luke is lucky after all—the wound could be a lot worse.

Alternatively, the same hand could be described a bit more comically: The narrating playerslinger’s wild shot knocks down a chandelier that falls on poor Luke’s head. The loss of a poinattributes is a reflection of his being a bit dazed by the event (loss of Eye and Guts), not to mthan a little embarrassed (loss of Heart).

RecoveryCharacters recover all damage to attributes at the end of each game session. The Dealer ma

damage carries over into the next session if he thinks events are unfinished or so closely tied thave little chance for rest and recovery.

Characters reduced to zero in any single attribute do not recover Difficulty in that attributeROAD TO HELL, page 14.

Characters may recover lost attribute points during the course of a session. This requires theof Knacks in a conflict to heal, console or otherwise aid the poor cuss, and the treatment must tion of the damage. See the table below to determine the difficulty of the recovery.



For example, after a shoot-out, the narrator described Dylan McCreedy’s Difficulty as actuainjury. To recover, he’ll need the help of Doc Samuelson, who could use his Doctorin’ Knack McCreedy up. However, if the narration described the damage as an embarrassing encountein a loss of Heart and Guts for McCreedy, then the solution for recovery may be a little lovin“Red” Sally (and her Entertainin’ Knack) upstairs in the Red Roof Saloon, or maybe just a sof whiskey downstairs (using McCreedy’s own Drinkin’ Knack) to get back to his old self!

When the Chips are Down

IN THE COURSE of the game, players will win stakes presented after challenging conflicts. Theopt to give players a small number of chips to begin play. Players can use the tokens to var

improve their character’s abilities, assume narration of a conflict and improve their chances odecent hand in a Deal. Players may spend earned Chips for the following:

Improve Attributes—Players can spend Chips to increase their characters’ attributes. Ian attribute costs a number of Chips equal to twice the new rating. Individual attributehigher than 5.

Improve or earn additional Knacks—Increasing a Knack costs a number of Chips eqnew Knack rating. Knacks may be increased only one point at a time. Purchasing a newNovice level (1) costs two Chips. Characters may have a maximum number of Knacks etheir Hand + Eye attributes or 6, whichever is higher.

Assume Narration of a Hand—By spending one Chip, a player can assume the narrathand, pre-empting narration by the player with the high card as described in the rules Should another player or players attempt to spend a Chip to assume narration, the playfor narrative control of the scene. The player who spends the most Chips narrates. Notethat the player with high card may bid in this process; the player with high card need o

the highest Chip bid to regain narrative control of the scene.Assuming narrative control by spending a Chip (plus any required to win bidding) althe player to restore one point of any Difficulty his character suffered in the conflict (seDIFFICULTY, page 12). If a player suffers Difficulty that reduces an attribute to 0, then sChip restores his attribute to a rating of 1, regardless of how much Difficulty he sufferecan not go lower than zero).

For example, A Zeke Munroe has a Guts rating of only 2 after experiencing Difficulty prior conflict. In this latest harrowing conflict, he’s hit with another round of Difficultime, the hand that beat him is a potent Flush of Clubs, which delivers five points of to his Guts attribute. However, Zeke’s player needs to spend only one Chip (plus anyto win bidding) to restore Zeke’s Guts attribute rating back to 1. The Player does nocannot spend multiple Chips to get his attribute rating restored to 1. Players may re1 point of Difficulty per conflict in this way.

Receive an Extra Card—Players can receive one extra card in the Deal by spending onPlayers may draw only one extra card per hand



Dealers must award chips to do the following: Receive an Extra Card—The Dealer may award one chip to each player and receive o

card in the Deal.

Draw an Additional Card—The Dealer may award one chip to discard a card and redone from the deck in a hand.

Fold—The Dealer may award one chip to each player present in a conflict to Fold. JustPlayers fold, the conflict ceases without resolution. Character participants, including ththe Dealer, are immune to Difficulty once the dealer folds, and Players receive no extra

even if their Devil came into play before the Dealer folds. The Dealer should only fold iinvolving important non-player characters.

The Road to Hell“We all got it comin’, kid.”

WHEN A CHARACTER reaches zero in any single attribute, his time of reckoning has come, wready or not! Now, reaching zero may indeed mean the character will be dead and gone

character’s actual fate is up to the player. He may die, retire, go mad, settle down, move on o



in addition to any relevant cards re-drawn using Knacks.In addition, the player automatically receives rights to narrate the conflict. If two or more ca conflict with zero-rated attributes, the controlling players must bid for control of the scene uremaining Chips. Other players, including the Dealer, may not bid in this case.

Players and the Dealer should be keenly aware of the importance of this crucial moment. Tshould make every attempt to enter such a final conflict in a way that involves his Devil. Playto Fold or otherwise skirt conflicts while they have a zero-rated attribute in order to reach a mfinal conflict.

The player should carefully consider the results his character’s last stand. For example, if th

draws a winning hand (i.e., if the character wins the conflict), it could indicate that the Deviltaken hold of the character. Only his desperate effort to fall back on the support of Devil allowter to win out. Conversely, a character might use his Devil as a terrible means to a heroic endamong much infamy and derision, as a Devilish soul, all while earning the safety or redempti

This is really a chance to go out in style and steal the show as narrator. Players should makto make their characters’ last conflicts memorable and dramatic.

How the West is done

PLAYING DUST DEVILS is a different experience than playing many other role-playing gamesdifference is recognizing who is in control of the game. In many role-playing games, the g

in control; he controls the narration, the conflicts and rewards for success. Dust Devils takes aIn this game, the Dealer has nowhere near that level of authority. In times of conflict, the gamitly pass the control of narrating a scene from player to player (including the Dealer) throughmechanic.

Outside these tense moments of conflict, the players still maintain a lot of control over howceeds. As a player, you shouldn’t sit in the saddle, waiting for the Dealer to present some kindor “adventure” or some other ripfire reason to interact with non-player characters and get yointo whole messes of trouble. Instead, you should jump right into action, with your character’guide. Rather than wait around for trouble from the Dealer, you should be raising hell yourseDealer react to you, rather than the other way around! With your partners doing the same baown Devil-ish backgrounds, your game sessions will be wilder than a turpentined cat.

This is not to say the Dealer won’t inject some conflict. He’s going to bring some by-god hesure enough. But, by and large, he’ll introduce conflict and developments directly related to yand their Devils. The conflicts and struggles of game player should be for your characters andcharacters. You should not be a bystander to action and intrigue generated by the Dealer. If thintroduce seemingly unrelated conflicts, don’ let him get away with it. Get involved. Stick youbelongs—in the game.

Raise hell or die tryin’That leads us to another crucial difference between many other games and Dust Devils. Typ

games encourage players to survive and improve their resources and abilities. Beat the monsterfi h h l ld h h i l d b k li d fi h



vide ample opportunity for players with zero-rated attributes to go out memorably. Your job arecognize that, and live up to your character’s good or bad name.

Raw Dealer

PLAYERS aren’t the only ones who have a different role in playing Dust Devils. The Dealer is facsometimes uncertain task tugging on the reins of many narratives created by all the players. B

Dealer in this game is unlike the game master’s role that is so familiar in many role-playing game

often follow a fairly predictable sequence in which players encounter a problem presented by the investigate the problem, and solve the issue in some climactic scene, usually a battle.

Dust Devils doesn’t work well under that model. The Dealer has to be quick on the draw anplayers. Don’t waste time creating scenarios or complex plots. Don’t create plots at all. That’sone’s job during play; the players and the Dealer will craft engrossing plots as the game unfol

Wanted!Instead, the Dealer should create a handful or more of non-player characters that are linke

to the player characters. This connection could be a close relationship, like family or romantior it could be some other motivational conflict. Either way, important non-player characters spotential to affect or trigger a player character’s Devil. The Dealer should avoid creating charjust plain interesting, and instead think about how the non-player characters relate to the pla

Just as player characters have a Devil, so too should some of the Dealer’s most important ncharacters. Often, these bedeviled souls will act as antagonists, villains, or rivals to the playerHowever, allies and love interests with Devils make game play more interesting as the player non-player characters alike seek to reckon with Old Scratch. By giving a non-player characteDealer creates for himself a motivation for that character to act.

The Devil mechanics for non-player characters operates just as it does for player charactersshould set a Devil rating (though he may do this from the hip during play as players introducimportant characters through narration). This rating affects the Deal in relevant conflicts justplayers. Non-player characters may, therefore, receive more or fewer cards as part of the Deal

Note that when the Dealer may be controlling a number of characters or hazards that affecflict, he may deal himself more than one hand. It often works best to hold a single “stud” haninvolving multiple hazards. Simply think of all the factors as one complex conflict, rather tharate elements. However, when important non-player characters are involved (i.e. those with DDealer should Deal separate hands for their role in the conflict.

Here are a few guidelines that will greatly help a Dealer direct a game session of Dust Devi

Howdy, s trangerFirst of all, the Dealer should make every effort to weave player characters’ problems toget

n’t mean that the player characters have to be together in every scene. In fact, whole sessions without the player characters ever meeting! Don’t force players to keep the group together Th



Rope ’em inSecondly, the Dealer must keep players focused on the crucial issues as they relate to the D

best done by manipulating the actions of influential non-player characters.There are many common Western issues for characters to explore: bravery, independence, v

ownership, the law to name a few. All of these are well suited to Dust Devils play. All can easidown to a crucial decision: shoot or give up the gun? Characters should ultimately struggle wviolence is a good or a bad thing in different situations. It may be easy to pull out your .44 anmatter, but is it right? Player characters should walk the murky border between law and morDealer’s role to emphasize this struggle in play.

String ’em upOnce the Dealer’s got the players focused on the issues at hand, it’s time to hang ’em high.

Dealer’s best tool for introducing such complications is through important non-player charactthink about how a non-player character can make it more difficult for a player character to agoal. Think about how a non-player character can complicate the matter with ethical challen

Complications, whether introduced by non-player characters or otherwise, shouldn’t be scenobvious or “canned” solution. Rather, they should be dilemmas handled in any number of waers. Present a problem, not a puzzle to be worked out by the players. The problem should be many interpretations and many solutions (or sometimes no solutions at all!).

For a sample of how a Dealer might prepare a game session, see THE HANGED MAN, page 1

Cut ’em looseRemember that the Dealer should let go of the reins a bit and let the players drive the game

right fixin’s in place, the Dealer can cut the players loose and let them steal the show. His jobto the players, and guide them along to the final deal.

One thing to keep in mind, however, is pacing. If players seem to be drifting or aren’t focusissues in a particular scene, it’s time to move on. The Dealer should help the players recognizhappens and cut to another meaningful scene straight away.

Hell comes to townAll of these Dealer techniques and advice are meant to do one thing—help the Dealer recog

resolve the ultimate moment of redemption. Like the players, who must not “play it safe” in areckon with the Devil, the Dealer must keep in mind that Dust Devils is about one thing: Forc

to that Come-to-Jesus moment when they must decide to shoot, or give up the gun. Always kemind, and be aware of those crucial moments when your players must decide between redempdamnation—how they deal with the Devil is what this game is all about.



The Hanged ManTHE HANGED MAN is a sample scenario to be used as an introductory session or simply as a

Dealers crafting their own Dust Devils games. This scenario takes place in Last Oak, Kantown along the Santa Fe Trail in early 1870s. Players may substitute their own characters in provided here, but the Dealer should make sure the players have similar relationships with otand events in this scenario.

Last Oak, Kansas, is a waypoint along the Santa Fe Trail. Cowboys and all manner of travthrough the town on their way to and from the American Southwest. The dusty prairie town h

of a lot of trouble lately with a rash of shootings as raucous cowboys and wild gunslingers contown looking for an easy dollar.

But nothing compares to the most recent commotion.The town had a public lynching led by Mayor Merrill Randolph and sheriff “Long” Tom M

outside the Red Roof Saloon, they strung up a man they believed to be “Gentleman” Jim Harer and known murderer.

But, the lynching covered up something far less noble than justice. The man they hanged halove affair with Clara Hardin, Merrill Randolph’s own sister-in-law, whose husband died last ypeculiar circumstances. Clara had hoped she could convince the hanged man, whom she too be

Gentleman Jim, to shoot dead her brother-in-law Merrill. Merrill has stolen Clara’s inheritance advantage of her numerous times since taking her under his roof to “care and provide for the phis dead brother.”

Clara’s love affair with the well-dressed stranger, which was the gossip of the town, enraged Merrmotion a plan to rid himself of her lover. He urged his long-time friend, the heavy-h

Tom Meredith to organize a posse to hunt down “Gentleman” Jimthe well-dressed fellow, along with some other unknow

hung him up on the gallows after an impromptu triapublic as jury.

Now, Merrill Randolph has rid himself of Clarno one suspects his real motive.

There’s only one problem. The hanged man was nJim. Fact is, no one seems to know just who the hell

And “Gentleman” Jim Harris just rode into town

Running the scenario“The Hanged Man” situation is rip

diate conflict. The key is getting thacters involved in the troubleSeveral issues are left intenti

solved in this scenario so playersin play the actuality of events. T

The identity of the hanged



If play starts to stall, the Dealer might highlight these unresolved issues as a means to keeptrack. This should be done, of course, through the non-player characters. For example, Claraapproach the real Gentleman Jim to help her get revenge, or maybe just to get her out of town

Player CharactersPlayers of this scenario can use any of the following four player characters. Anywhere from

the characters can be used, depending on group size. In all cases, one player should run the ch“Gentleman” Jim Harris.

Each of these four characters should have a pivotal role in the way “The Hanged Man” develops. Icharacters to the following startling revelations, or invent other means to strongly link the characters

“Gentleman” Jim Harris: “Gentleman” Jim Harris rides into Last Oak to a gruesome hanged man dangles from the gallows surrounded by flies and a horrendous smell. Aroudead man’s neck hangs a crude sign that reads “Gunfighters beware.” Any inquiry withfolk identifies the hanged man as “that murderin’ Gentleman Jim!”

Zeke Munroe: Zeke Munroe managed to get himself enough drinkin’ money to last a whileing “Long” Tom Meredith bring in Gentleman Jim and his partner. Trouble is, they got the w

“Lucky” Luke Johnson: Luke Johnson’s had better luck. While out on the trail, he camwell-dressed stranger and offered some grub and hot coffee from his campfire. After a cof shooting the breeze, Luke found himself at the barrel of Zeke Johnson’s shotgun. Zekposse soon carted him off to the Last Oak jail. Lord knows why, but they strung up thedead, and Luke’s worried he’s next.

“Black” Jack Kerrigan: After hearing that Gentleman Jim was in nearby Last Oak, “BKerrigan decided to see about hitting up the gunfighter for a friendly game of cards. Blknows Jim is a wealthy man from out east, or at least he was before they strung him upmust be somewhere, like maybe the town jail …

“GENTLEMAN” JIM HARRIS, WANTED GUNFIGHTER

There was a time—before the War of the States—when Jim Harris considered himself a genwas, his woman and his business partner were all a man needed to be happy and successful. Bfound out whom his wife was happier with, he joined the Union army as an officer. That didneither; his unit was killed to a man at Antietam.

Now, “Gentleman” Jim sees himself as anything but gentlemanly. Since the war’s end, he’s tof more than a half a dozen men with his mismatched six-guns. He’s a ruthless killer, or so fomurder if a man is good at saving his own skin?

Devil (3): “Gentleman” Jim is a wanted man. His reputation as a cold-blooded killer followdisease. While it has its advantages in getting what he wants, being a fugitive means he can’t enjoy a good life of money, fine clothes, and finer companions.

HAND: 4EYE: 4GUTS: 3HEART 2

KNACKS:Shootin’ 4Drinkin’ 1B i i ’ 2



though she was almost ready to deliver her baby. He helped turn her in, and got all of $5 for girl got a damn sight worse than that.

Now, Zeke’s much older, but he’s not much wiser. He’s still tracking down crooks and thugsThe frontier provides him an ample supply of bounties to pursue … and ghosts of the pasts toFortunately, it also provides an ample supply of whiskey.

Devil (2): Zeke is a mean drunk. He can hardly keep himself away from a bottle of whiskethe only thing that numbs the memory of that woman and her unborn baby those years ago inDevil comes into play in important conflicts involving liquor.

“BLACK” JACK KERRIGAN, CROOKED GAMBLER

Jack Kerrigan is a gambler whose infamous “luck” is anything but. He’s a damn cheat, throuthrough. When he was younger, he was as talented as any gambler on the Mississippi or New Orgame against a crooked Creole, Black Jack lost everything he had and a finger from his left hanBlack Jack lost all faith in his skill as a gambler, but couldn’t bring himself to quit the game. Heson that day. Cheat or lose.

Devil (2): Black Jack is a damn cheat. When presented with the opportunity to beat the odunderhandedness, he’ll do it. One of these days, Black Jack’s so-called luck may run out, anddecide whether to cheat fate once and for all or just cut loose and let the cards fall where theyknows he’s due.

“LUCKY” LUKE JOHNSON, LONESOME COWPOKESince the long, cold winter of ’66, Luke Johnson’s been alone. That year his wife and two d

of pneumonia on their Kansas prairie farm, and he blames himself for letting them die. Now, the Santa Fe trail hopping from job to job … and from heist to heist to get by.

Devil (2): In a word, Luke Johnson’s Devil is isolation. He’s a nice enough cowpoke; he jushimself to help others or to get close to others. He’d just as soon help himself. After years of down way Luke doesn’t trust much anybody else either!

HAND: 5

EYE: 3GUTS: 3HEART: 2

TRAITS: Strong as an ox.

Meaner than a new sheared sheep.

KNACKS:

Shootin’ 2Wrestlin’ 2Trackin’ 3Ridin’ 1Drinkin’ 3

CHIPS: 3

HAND: 3EYE: 4GUTS: 2HEART: 4

TRAITS: Sly as a fox.

Sharp as a rattler’s tooth.

KNACKS:Gamblin’ 4Lyin’ 3Shootin’ 2Snoopin’ 2

CHIPS: 4



Important non-player charactersHere are the three major players involved in “The Hanged Man” situation. The Dealer is free add to these non-player character statistics.

CLARA HARDIN

Clara Hardin hasn’t known happiness since her husband died. Her brother-in-law, Merrill Ra roof over her head and kept her fed and provided for. But he had his own ideas about what supply in return. Now, part of her feels like she deserved what she got; the other part of her wsoon see Merrill so full of lead he couldn’t walk uphill.

Devil (3): Clara’s Devil is original sin. Since her husband passed on, she’s found the only wshe really needs is to be with a man, whether she likes it or not.

MERRILL RANDOLPH

Merrill Randolph is a two-faced bastard. To the town of Last Oak, he’s an affable man whopretty much status quo. But to the few who know his uglier side, like Clara Hardin, he’s a devbitch who connives to get what he wants. What he wants most lately is Clara Hardin, and he’abuse her if it’s the only way he can get her. But he’ll also do what he can to win her heart, evstringing up an innocent man.

Devil (3): Merrill’s Devil is the incessant need to control others. Merrill manipulates others to

wants. More often than not, that means convincing his old friend “Long” Tom Meredith to do

“LONG” TOM MEREDITH

“Long” Tom Meredith is an imposing figure of a man who keeps the peace in Last Oak thrfear. He and Merrill Randolph are long-time friends, and Merrill has a lot of influence on the sheriff. So much so that Long Tom might make a fella disappear, or even string a fella up to much as a trial. Long Tom’s more interested in keeping Last Oak the way Merrill wants it tha

h ld h l


TRAITS: Pretty as a little red wagon.

Quiet as a mouse.

KNACKS:Teachin’ 2Seducin’ 3Mendin’ 2


TRAITS: Proud as a peacock.

Crooked as a snake.

KNACKS:Politickin’ 3Sweet Talkin’ 2Drinkin’ 1Gamblin’ 2



Other non-player charactersOf course, the Dealer is welcome to introduce more characters. Some other possibilities mignumber of deputies, town doctor “Doc” Samuelson, General Store owner Delmer Barnes, andRed Roof Saloon’s most “experienced” lady. Remember that the players might also introduce non-player characters of varying relevance to the narrative during game play.



Acknowledgements

Iowe a lot of inspiration for Dust Devils and thanks to a whole gang of compadres, including

Greg Stolze, for his design of the Godlike mechanics. Dust Devils card mechanics spranthoughts about his clever, multi-axis dice mechanics for that game.

Ron Edwards, for his brilliant game, Sorcerer , which influenced the crucial Devil mechan

game. Ron also offered up an immensely useful and thorough critique of the Dust Devilsversion, and his comments there shaped this edition greatly.

All the folks at the Forge (www.indie-rpgs.com) and RPG.net who shared their thoughts aI really appreciate all those who took time to download the playtest version of Dust Devespecially those who offered their comments and suggestions.

Michael S. Miller and Adam Jury, for their careful editing that just goes to show how goattributes really are, and how much my Guts gets in the way.

My dad, Jim Snyder, whose generation was dazzled more by six-guns and saddles than

lasers and lightsabers. Dad showed me How the West Was Won (literally—Henry FondaPeck, Jimmy Stewart and all!), and side-splitters like Blazing Saddles and Support You

Sheriff and Support Your Local Gunfighter among other classics.

My wife, Canada, for her patience, editing, and eager ear. Couldn’t have done it withou

—Matt Snyder



POKER HANDS 1. ROYAL FLUSH—The five highest cards in sequence and all of thesame suit. For example, 10♦, J♦, Q♦, K♦, and A♦.

2. STRAIGHT FLUSH—Five cards of the same suit in sequence. Forexample: 5♣, 6♣, 7♣, 8♣, and 9♣. Ace can be counted aslow—i.e. A♠, 2♠, 3♠, 4♠ and 5♠— but in this case the high cardwill be the 5♠, not the A♠.

3. FOUR OF A KIND—Four cards with identical face values. For exam-ple, Q♣, Q♦, Q♥, Q♠.

4. FULL HOUSE—Three cards of one rank and two cards of a differentrank. For example, J♣, J♥, J♠ and 9♦, 9♥. When comparing two ormore Full Houses in a hand, compare the rank of the three matchedcards. Highest of these wins.

5. FLUSH—Five cards all of the same suit in any order. For example,3♠, 6♠, 7♠, 10♠ and Q♠.

6. STRAIGHT—Five cards of mixed suits in sequence. For example,6♣, 7♦, 8♦, 9♥, 10♠.

7. THREE OF A KIND—Three cards with equal rank. For example,

A♣, A♥, A♠.

8. TWO PAIR—Two cards of equal rank coupled another set of twocards of equal rank (but different than the first). For example,A♣, A♦, 8♥, 8♠. When comparing two or more Two Pair in ahand, the hand with the highest ranking pair wins.

9. PAIR—Two cards with equal rank. For example, 5♦, 5♥.

10. HIGH CARD—A hand with none of the above combinations. Whencomparing such hands, the hand with the highest single card wins.

COMPARING SUITS—Suits rank in the following order from lowestto highest: Clubs, Diamonds, Hearts, Spades.

WILD CARDS—Jokers serve as Wild Cards, and count as any cardnecessary to complete any of the above combinations.

N a

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D e t a i L S

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o c a t i on :

e s cr i p t i on :

K n a c k s

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R a t i n g

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r a i t s

DE VI L :

RA T I N G :

1

2

3

a t t

r i b u t e s

B a c k S t o r y

C h i p s

C ur r en t t o t al :

C h i p s e ar n e d :

C h i p s s p en t :

C h a r a c t e r S

h e e t

♠ H an d

♥ H e ar t

♦ E y e

♣ G u t s

©

C o p yr i gh t 2 0 0 2 C h i m er a C r e a t i v e / M a t t S n y d er .T

h e d o c um en t m a y b er e pr o d u c e d f or p er s on al

u s e onl y .

r b r e ak i n

g t i e d h an d s , t h e s ui t s h a v e t h ef ol l o wi n

g pr i or i t y : 1 ) S p a d e s ♠

2 ) H e ar t s ♥

3 ) Di am on d s ♦

4 ) C l u b s ♣

dust devils corebook

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