Hunger, Hatred, Domination, Oblivion, and Ruin. The world is dying, poised on the brink of falling to one of these great dooms. Factions pursue their own interests, as likely to be the heralds of the world’s destruction as they are its saviours. Horrors – monstrous abominations that defy logic, science, and nature – roam the land. Bands of hunters follow bold leaders, seeking out and destroying Horrors, gaining fame as word of their deeds spreads amongst the desperate survivors. Rival bands compete for prestige, clash over ideology, and pose as much of a threat to each other as the Horrors they hunt.

Onyx Path Publishing and Eschaton Media Announce the Release Dystopia Rising: Evolution, a New Tabletop Role-Playing Game.

Rich Thomas, founder and creative director of Onyx Path Publishing, in conjunction with Eschaton Media announced the release of Dystopia Rising: Evolution. Dystopia Rising: Evolution is a tabletop RPG based on Eschaton Media’s popular post-zombie apocalypse themed Dystopia Rising live-action scenarios. The game was designed using the Storypath system.

Onyx Path Publishing and Eschaton Media Launches the Kickstarter to Fund Dystopia Rising: Evolution, a New Tabletop RPG

Rich Thomas, founder and creative director of Onyx Path Publishing, in conjunction with Eschaton Media announced the Kickstarter to fund Dystopia Rising: Evolution has launched today. Dystopia Rising: Evolution is based on Eschaton Media’s popular post-zombie apocalypse themed Dystopia Rising live-action scenarios.

Jeremy Penter is the lead developer of AfterEarth: The Fall, a RPG currently on Kickstarter. This RPG offers a mash-up of post-apocalyptic setting with dark fantasy elements. It also offers the chance for all backers to have a say in the development of the game.

Flames Rising sat down to talk about the game and its unique development.

What is the elevator pitch for the game?

AfterEarth: The Fall is a unique mix of post-apocalyptic action and magical fantasy based in the chaotic birthing years of a new era on Earth that is backed up by a unique card-based rules system that allows the role-players to control how the game plays.

The direct inspiration for curse the darkness was a song. My brother sent me a link to A Perfect Circle’s cover of John Lennon’s “Imagine” some years back. I like the original well enough, but the cover really got my brain moving. I tend to see scenes and characters and stories when I hear music anyway, and when I heard that song (which you can find easily enough on Youtube, if you want to give it a listen before buying it), I saw a man standing on a balcony looking out over the ruined world. The ground was blasted and blackened, and he — whoever he was — stood there thinking, “Yes, this was the right decision. I did the right thing.”

Who was he? What had happened? I didn’t know. I did know that the message of the song felt different with the cover. Instead of “let’s all get along,” it was “get along, and that’s not a request.” I let that sit in my brain for a while, not really knowing what to do with it.

curse the darkness is a roleplaying game set in a post-apocalyptic version of our world.

In 2012, a mysterious, unnamed individual conquered the world, leveling cities and destroying institutions of finance, religion, nationality and other ideology. He demanded that the people of the world take care of each other, with no promise of reward in the afterlife and no monetary compensation. Anyone who dissented and tried to hold on to their ideological identity was executed. The man wielded a force that no one on Earth could match – the creatures from the Between.

Romark Entertainment has acquired the film and television rights to the critically acclaimed Role-Playing Game, SLA Industries, from publisher Nightfall Games. As part of the acquisition, Romark and “SLA” creators Dave Allsop and Jared Earle are also announcing a partnership that will see the two sides come together under one banner to focus exclusively on the expansion of the 20-year running series into the comic book, video game and art worlds.

Independently released in 1993, SLA Industries is set in a futuristic dystopia where players, wielding advanced weaponry and arcane abilities, take on the roles of Operatives working for an omnipresent and ruthless corporation hellbent on controlling the universe. In the game, appearance, style and branding are emphasized just as much as combat, politics and subterfuge.

We know you are here, our brothers and sisters . . .
Pressia barely remembers the Detonations or much about life during the Before. In her sleeping cabinet behind the rubble of an old barbershop where she lives with her grandfather, she thinks about what is lost-how the world went from amusement parks, movie theaters, birthday parties, fathers and mothers . . . to ash and dust, scars, permanent burns, and fused, damaged bodies. And now, at an age when everyone is required to turn themselves over to the militia to either be trained as a soldier or, if they are too damaged and weak, to be used as live targets, Pressia can no longer pretend to be small. Pressia is on the run.

Burn a Pure and Breathe the Ash . . .

All zombies are created equal. All zombie stories are not.

From its humble beginnings as an indie comic book, The Walking Dead has become a pop culture juggernaut boasting New York Times–bestselling trade paperbacks, a hit television series, and enough fans to successfully take on any zombie uprising.

Triumph of The Walking Dead explores the intriguing characters, stunning plot twists, and spectacular violence that make Robert Kirkman’s epic the most famous work of the Zombie Renaissance.

Flames Rising is proud to present an exclusive excerpt from this book. The Walking Dead novels’ co-author Jay Bonansinga provides the inside story on translating the comics into prose.

In Ashes of the Earth Eliot Pattison pieces together a new society after global annihilation. While most novels set in the future offer heavy doses of imagined science and technology, in his new novel Pattison constructs a more realistic society out of the ashes of apocalypse—with characters who sometimes became a little too realistic for the author.

A little known fact of my life: when I was 5 my parent decided to vacation in Florida for the first time, and they picked the later half of October for this family outing. Of course, when I was 5 the year was 1962, and if you do a quick search on The Google you’ll discover in the last half of October, 1962, Florida was probably the last place in the world you wanted to be, since the odds of experiencing a live reenactment of Alas, Babylon, were pretty high.

Now, I remember none of this, but my parent often told me the story of how, right in the middle of the stuff about to go down, they decided the place to hang was a motel in Clearwater, Florida, which is about a 10 mile jaunt across Old Tampa Bay from MacDill AFB, a huge Strategic Air Command base and, at that moment in time, a target that was going to get whacked out in short order should the Cuban Missile Crisis have decided to go hot.

While at PAX East this year, I had the pleasure of sitting in on a panel on developing independent RPGs. Vincent Baker was among the panelists, and I was incredibly excited to see the man who had created the well-known and critically acclaimed Dogs in the Vineyard. Immediately after the panel I went to his booth and saw that he had another game for sale, Apocalypse World. Its cover, featuring a nude, ambiguous form in a gas mask, haunched over and lit from behind, intrigued me– I had just finished my thesis on Cormac McCarthy’s The Road and was on an apocalypse kick, so although I had gone to the booth expecting to pick up DitV, I came away with a game I hadn’t even heard of before.

With Apocalypse World I didn’t really know what to expect. I admit, I don’t have very many systems under my belt– I’ve read far more games than I’ve actually played, and I don’t like to pass judgment on a system without actually playing it. But just from the get-go, Apocalypse World had a lot going for it.

I woke up today without any power which is a large part of the reason as to why this review is a day behind. Not that you needed to know that little fact, or really even, not that my day to day is all that relevant to the review itself. We are living in the 24/7 digital world here, so it shouldn’t matter when I do the reviews, right?

No, wrong. This was the perfect setting to nearly blow all my battery power and candles on writing a review. Especially a review of Survival Horror/ Zombie Apocalypse superstar writer David Moody’s latest book in the autumn series by Thomas Dunne St Martin’s Griffin press. In fact it was probably the most perfect setting to write the review in. Picture it.

2010 was the Year of the Zombie (again). In fact, the first 10 years of the new millennium can safely be called the Decade of Apocalyptic Fiction. Movies, books, comics — you name it. There was a surge in interest in the sub genre that has never been seen before. And the interest shows no signs of slowing down.

Movies and television shows have managed to incorporate some form of zombie feature. Whether an alien virus taking over the world (in Smallville) or a demon unleashing a plague of the apocalypse (in Supernatural), writers and directors found something to draw in the zombie crowds.

There have also been numerous articles trying to explain the appeal of the zombie culture. Deep sociological analysis, fun fluff pieces, and even courses on respected college campuses.

This and that and everything …

I hate the New Year.

Ok, I get it, you’re probably thinking “get on with it old man, you hate a lot of things,” but if you’ll indulge me here for a brief moment, then you’ll see that I have something to really say about the New Year.

I really (emphasis is clearly my own) hate the New Year because it forces me to think about the fact that another twelve months of my life has flown by, in what seems to be an ever increasing and perilous amount of speed. It forces me to acknowledge that I am one more year closer to death, one more year removed from the awesomeness/horribleness (not really a word, I’ve slammed two industrial sized Red Bull’s, three pots of coffee and possibly enough over the counter truck stop speed to kill a small battalion of polar bears, so go easy on me) that was my twenties and the foulness that is the onset of my thirties.

Before I go off on how wonderful I thought the season finale of AMC’s The Walking Dead was, how the series has changed television, how it may or may not be one of the most relevant social commentaries of the 21st century in media right now, I want to thank all of you who have read and shared these reviews. You make typing these little posts something to look forward to.

Now that, that is out of the way, let’s begin.

So, here we are, we’ve come to the end, that was it, for now. I hope you paid attention. because if you didn’t then this is going to be a little confusing. I want to talk about the “reality” that is portrayed in the series, especially in the the season finale. It’s a sticky subject, reality that is, as everyone produces to a certain extent their own version of it. Not in the way that they can interact with the physical world on a scientific level, you couldn’t interpret the laws of physics in your own way. Say with a suspension in the belief of Gravity, and live to tell about it. No matter how many happy thoughts you think, you’re going to plummet off the top of a building if you jump, you simply can not get around that reality.

Enter a world rich and strange – even the cover art suggests this even before you read a word! But it’s stranger – and scarier – that you might imagine. The opening piece of fiction sets the scene: a heady mix of warfare, implacable enemies, fighting machines… and yet at the core human beings, maybe a bit different but still real people who care, who love, who hate… and have nightmares afterwards.

Then Chapter 1 bids us Welcome. Welcome to a near-future alternate world in which giant mecha, magic, technology and unspeakable horror are melded together mixing That Which Should Not Be with hopes, harbored by all who go to war, that better times are just around the corner. It begins by explaining unfamiliar terms, both those of role-playing and those specifically for this setting. Now obscure references in the opening fiction become clear – not, alas, the sidebar text, small black text on a strident and messy dark pink background is not conducive to clarity: rather a shock in a work where excellent design is otherwise evident. Many of the references are familiar if you happen to read Lovecraft – Cthulhu himself, and many of the cults and dark gods that lurk around – and others if you care for anime and mecha in general.

After the other reviews, I don’t really have much to say concerning this episode of AMC’s, The Walking Dead. In fact, I don’t know how much more I can say, which brings me at a place that I never thought I could really be. A place where zombies, walkers, shamblers, runners, etc, etc have sufficiently taken their toll on my psyche.

I know, I know-you’re thinking, “Surely Eric, you jest.”

I can assure you that I don’t, and to prove my point, well, OK, not so much to prove my point but more to keep these posts going, I will explain why. Also I may have signed a contract while drugged, you never know about such things, as they are (contracts and random druggings) arcane in nature.

Flames Rising reviewer and Survival Horror fanatic Eric Pollarine had the chance to talk to author David Moody for Zombie Week.

We had previously posted the first chapter of David’s novel Hater here on Flames Rising. In this interview David tells Eric about his work on the Autumn and Hater series.

Zombies: the kids love ’em. Now you can have your very own zombie film soundtrack album thanks to the good folks at Nox Arcana; their Zombie Influx album is just the ticket to put a person in a brain-chomping mood.

All kidding aside, Nox Arcana has done some great work producing albums of evocative background music suitable for gaming and often inspirational for writing – whether fiction, gaming adventures or scenarios, or what have you. With Zombie Influx, Jeff Hartz of Buzz Works and Joseph Vargo of Nox Arcana explore new musical avenues of horror. There is a fairly solid level of cohesion at work on this album’s 19 tracks; however, many of the cuts do not necessarily evoke zombie sort of horror. Most evocative here of a mob of zombies wandering aimlessly in search of food are the tracks “Ground Zero” and “Flesh Eaters,” with a chorus of hoarse, moaning voices winding through the opening strains of both.