CREDITS
cHRIS DAVIS AND DOMINIC COVEY
Darwin’s World
CREATED BY
DOMINIC COVEY
COVER ARTIST:
JEREMY SIMMONS
INTERIOR ARTISTS:
JOHN LONGENBAUGH
DOMINIC COVEY
JEREMY SIMMONS
V. SHANE
PROOFREADERS:
DAVID JARVIS
DON KIESLING
ERIC ROUNTREE
JOHN SHAW
LAYOUT:
CHRIS DAVIS
DESIGN CONTRIBUTIONS FROM:
CHARLES BAIZE
DON KIESLING
CHARLES RICE
ETHAN RIPPLINGER
JOHN SHAW
Editing and Playtesting Support:
Charles Baize
Chris Derner
Jay Fitzloff
Thomas Hainlin
Chris Hoover
David Jarvis
WWW.DARWINRPG.COM
Darwin’s World is heavily supported by its oficial web site,
www.DarwinRPG.com. At DarwinRPG.com you will ind many
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products only sold via the web
.
The ‘d20 System’ and the ‘d20 System’ logo are Trademarks owned by Wizards of the Coast and are used according to the terms
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Copyright 2003 © RPG Objects. All rights Reserved.
Visit our web site at www.RPGObjects.com.
DESIGNERS:
Ryan Kelly
CHARLES RICE
Ethan Ripplinger
John Shaw
Aaron Wiggins
TABLE OF CONTENTS
OPEN GAME LICENSE
3
EPIC CLASSES 42
CHAMPION 42
MECH 44
MEDICINE MAN 46
MUTANT HUNTER 47
SCIENTIST 49
TECH LOOTER 51
TRADE MASTER 53
WARRIOR MONK 55
NEW & REVISED SKILLS 56
GENERAL FEATS 63
MUTANT FEATS 66
TECHNOLOGY FEATS 69
CHAPTER 2: MUTANTS & MUTATIONS 71
THE MUTANT TEMPLATE 72
CHOOSING MUTATIONS 72
MUTATION FEATS 73
MUTATIONS 74
DEFECTS 84
CHAPTER 3: ARTIFACTS OF THE ANCIENTS 89
WEAPONS 91
FIREARMS 91
EXPLOSIVES AND SPLASH WEAPONS 103
LASERS 105
MASERS 109
ENERGY FIELD GENERATORS 109
MASS DRIVERS 111
PARTICLE-BEAM WEAPONS 114
OTHER UNCONVENTIONAL WEAPONS 115
POWERED MELEE WEAPONS 120
ARMOR 120
GENERAL EQUIPMENT 122
BAGS AND BOXES 122
CLOTHING 122
COMPUTERS AND CONSUMER ELECTRONICS 122
SURVEILLANCE GEAR 125
PROFESSIONAL EQUIPMENT 126
HAZARD DETECTION DEVICES 128
SURVIVAL GEAR
CHAPTER 1: CHARACTERS
5
BACKGROUNDS
6
FERALS
6
TRIBALS
6
RITUAL PRESERVATIONISTS
6
RESENTFULS
7
RADICALS
8
DEGENERATES
8
RESURRECTORS
8
VISIONARY REINVENTORS
9
GUARDIANS
9
HEDONISTS
9
ADVANCED
10
OCCUPATIONS
10
ACADEMIC
10
CARAVAN GUARD
10
CORIUM PROSPECTOR
11
CRAFTSMAN
11
DEMAGOGUE
11
FURNITURE
11
GUIDE
11
HEALER
12
HERDSMAN
12
MERCHANT
12
MILITARY
12
REPAIRMAN
12
SLAVE
12
SLAVER
12
WANDERER
12
THE POST-APOCALYPTIC HERO
13
ADVANCED CLASSES
15
BARBARIAN
15
GUARDIAN
17
JUJU DOCTOR
19
PSIONIC
21
RAIDER
22
ROAD WARRIOR
24
SCAV
26
128
SCHOLAR
28
WEAPON ACCESSORIES
131
SKULK
30
VEHICLES
131
2
SISTER OF THE DESERT
31
MEDICINE
132
SURVIVALIST
34
MILITARY HARDWARE
135
SYMBIOTE
35
POWERED ARMOR
138
TINKER
38
APPENDIX 1: CHARTS & TABLES
141
TRADER
40
Open game license
OPEN GAME LICENSE Version 1.0a
Open Game License v 1.0 Copyright 2000, Wizards of the Coast, Inc.
System Rules Document Copyright 2000, Wizards of the Coast, Inc.; Authors Jonathan
Tweet, Monte Cook, Skip Williams, based on original material by E. Gary Gygax and Dave
Arneson
The following text is the property of Wizards of the Coast, Inc. and is Copyright 2000
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Modern System Reference Document Copyright 2002, Wizards of the Coast, Inc.; Authors
Bill Slavicsek, Jeff Grubb, Rich Redman, Charles Ryan, based on material by Jonathan
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The Quintessential Fighter, 2001 Mongoose Publishing.
Rokugan, 2001 AEG
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Wrath & Rage, 2002 Green Ronin Publishing, Author Jim Bishop.
Bastards and Bloodlines, 2003 Green Ronin Publishing, Author Owen K.C. Stephens
Darwin’s World 2nd Edition: Survivors Handbook Copyright 2003, RPGObjects; Author
Chris Davis and Dominic Covey
open gaming content
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designated as product identity as outline in section 1(a) of the
Open Gaming License: Darwin’s Word, Twisted Earth, Denizens
of the Twisted Earth, Terrors of the Twisted Earth, Artifacts of the
Ancients, Cave of Life, Ferals, Primitives, Ritual Preservationist,
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Appendix:
This entire section is open content.
15 COPYRIGHT NOTICE
Introduction
What is different about post apocalyptic role-playing than any other form of role-playing? For most players of role-
playing games, the genre brings to mind mutants, monsters, and survival. There are certainly some other important
distinctions somewhat unique to post-apocalyptic games as well: a world of almost total desolation, a poisoned
environment that can be as big a threat as any monster, and usually a lost era of technology and former greatness, an
understanding of which forever remains just beyond the grasp of the game’s characters.
The post apocalyptic genre itself is something of a combination between science iction and horror; set in a world
similar (if not identical) to our own, most post apocalyptic books and movies play upon real-life events, fears, and
nightmare possibilities, and postulate on their ultimate (and universally catastrophic) conclusions.
The scenarios are almost endless, many seemingly ripped from tomorrow’s headlines: reckless brinkmanship by
world leaders, along with the proliferation of weapons of mass destruction worldwide, leads to all-out nuclear war;
careless experimentation by an arrogant and near-sighted scientiic community leads to an outbreak of disease that
brings an era of almost total extinction to the world; or a never-ending abuse and misuse of the world’s resources
leads to hunger, lawlessness, anarchy, brushire wars, and an eventual degeneration of human civilization into chaos.
Post apocalyptic writers and moviemakers often seem to be trying to teach us a lesson through their work, but in
doing so they also fascinate us by depicting worlds of utter ruin where the survivors have a chance to inally learn
from the past, and begin anew, building on those lessons. It is appealing for many to simply imagine such worlds,
and as a result it is an almost seamless leap from reading to role-playing.
Most traditional game settings already have an established sense of the apocalypse, making it an easy transition for
those unfamiliar with the core “feel” of the post-apocalyptic genre. The idea of uncovering secrets among the ruins
of a lost ancient civilization is a common theme in science iction or fantasy, whether in the terms of discovering a
lost city of aliens, or the crumbling remains of a magical culture long gone.
In post-apocalypse games, the
entire world
is a widespread ruin, not only among the great cities that stand as a
silent testament to the greatness of those who came before, but also the wilderness itself. Ravaged by war, or by
pollution, or by the withering effect of some massive plague, most sources of post-apocalyptic literature (such as
movies, books, and games) extend the theme of total devastation to the outside as well, turning the entire world into
a place destitute and devoid of hope. This grim atmosphere is an excellent primer for weaving horriic, desperate,
and exciting adventures.
The “Twisted Earth” depicted in the original edition of Darwin’s World presented a combination of some of
the most striking themes of movies and books. It presented a world based on our own, but with a few important
changes to keep it suficiently “SCI-FI.” Though set in a ictional, alternate world where the historical advance of
technology outpaces that of our “real world”, the Twisted Earth shares many of the problems of our own, including
over-population, world hunger, gross misuses of technology, an unconscionable disparity of wealth between nations,
diminishing natural resources worldwide, and constant warfare – elements that, while dramatized to the extreme,
give the setting a familiarity despite the science iction underlying the game. On the Twisted Earth these elements
combined to lead to a cataclysmic “Fall”, a total and irreversible nuclear, biological, and chemical conlict that
changed the world and its survivors forever. The new “superpowers” of the aftermath are little more than violent
factions squabbling for control of their irradiated, desolate corner of the world. Where once nations with vast
professional armies contended for the resources of a dying planet, the scraps of their lost industrial society are now
fought over by religious cults, paranoid and xenophobic groups, racist empires, and powerful merchant houses
whose own inluence is more than a match for the few armies left standing.
Though the Twisted Earth is an exciting setting in which to test the mettle of characters against the harsh realities
of a post-nuclear world, the abundance of ideas and themes that make up the post-apocalyptic genre as a whole mean
that a single campaign setting cannot hope to incorporate all of the ideas found in books, movies, and even past
role-playing games. Since the original publication of the irst edition of Darwin’s World, we’ve seen players adapt
the setting to their own needs, modify it, or change entire sections. Some use the Twisted Earth setting exclusively,
while others tweak it just enough to meet their gaming needs. Some gamers change it by adding extra-terrestrial
forces, combining Darwin’s World with d20 space games, making the Twisted Earth just one small planet in a
cosmos of stars for characters to visit. The addition of magic and supernatural powers actually blends perfectly with
the ruin and rubble, and as such, any amalgamation of settings is solely the domain of each Gamemaster’s individual
creativity and imagination.
Because of the variations possible, the aim of this book is to be something of a generic “guide” to post apocalyptic
gaming - of all kinds. While our default setting of choice is the “Twisted Earth”, this book will give you such a wide
variety of options that you can either construct a setting of your own from the ground up, or simply modify what
we’ve developed so far and take it in any direction you like, or just jump into playing without any effort at all. These
rules are meant merely as a source for inspiration and ideas, and to provide enough information to get you started.
Have fun!
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