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Geek Pride’s Best of 2025

Peter Ray Allison
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Geek Pride’s Best of 2025

2025 has been an amazing year to be geek; we are living in a renaissance of science-fiction and fantasy film and television, as well as incredible horror books and films.

From the groundbreaking Sinners to the incredible Alien: Earth, there have been some fantastic releases this year. Surprisingly, none of them have been cancelled (yet!), which has to be a first – maybe studios are beginning to listen to their fans?

As the year comes to a close, the Geek Pride team come together to choose their highlights of the year, without falling out with each other (so far…)

Best film

Matt – Predator Badlands
A predator film that isn’t a predator film. It turns things on its head and the protagonist is a predator. It’s not cheesy, just funny. It’s not broody and dark, but heartwarming, and I loved it. A complete switch up and exactly what the series needed.

Pete – Thunderbolts*
At a time when superhero films are becoming increasingly formulaic, along comes a Marvel film that presents an innovative metaphor for depression. The protagonists are compellingly flawed and the story explores more of the politics underpinning the Marvel cinematic universe.

Ada – Thunderbolts*
Thunderbolts* was a film that I was looking forward to and it did not disappoint. With some of my favourite Marvel characters, funny moments and plenty of action, Thunderbolts is definitely a 5-star film.

Jonjo – Weapons
I went into the cinema knowing so little about the film, but loved every second. The movie begins with the disappearance of all but one child from a classroom in the middle of the night. Strong acting from Julia Garner, Josh Brolin and Amy Madigan sells this as my film of the year.

Josh – Nobody 2
The first film was brilliant. After watching Bob Odenkirk in Breaking Bad and Better Call Saul, to see him switch it up as the Assassin Hutch Mansell was beautiful. The first film came out in 2021 and I was hoping we’d get a sequel, and it did not disappoint me at all! More action, more drama, more trying to be a happy family!

Best Series

Pete – Interview with the Vampire
I have been a fan of Anne Rice since my teenage years, so I was excited to watch Interview with the Vampire when it arrived on Netflix.  The series made several changes, but the actors nailed their characters perfectly and I cannot wait for the next season.

Ada – Stranger Things
The release of the final season at the end of this year prompted me to watch the series again. It is a masterpiece of writing and acting, and definitely best watched with friends or family; I am enjoying it much more this time, because even the weaker plot moments become something to talk and laugh about.

Jonjo – King Of The Hill (Season 14)
Set eight years after its original ending, we return to Arlen, Texas. Over the course of ten episodes, we get to see The Hills return from Saudi Arabia to a USA changed by COVID, technology and ways of life. This being the last work for both Johnny Hardwick (Dale) and Jonathan Joss (John Redcorn) is sad, but at least they both got one last time to bring these iconic characters to life.

Josh – Reacher (Season 3)
This is an adaptation from Book 7 “Persuader” of Lee Child’s Jack Reacher series. This time Reacher has to go undercover for the DEA to bring down Zachary Beck, while encountering an adversary from his military past. Ritchson imbues the physicality of Jack Reacher to deliver hard-hitting action and the ever-imposing responses from Reacher.

Best Game

Matt – Europa Universalis 5
Paradox games are notoriously complicated and there have been many that have completely overwhelmed me. In Europa Universalis 5, players are dropped into the largest most complicated game they have and thrust into the 100 years war. It’s huge and complicated, but it’s forgiving in its own way and I love it!

Pete – Vampire: The Masquerade – Bloodlines 2
If a game ever suffered from hype and a protracted development cycle, which included changing development teams, it would have to be Bloodlines 2. The original Bloodlines was a product of its time, but so is the sequel and it’s all the better for it. Times have changed; Bloodlines 2 may not be the game we wanted, but it is definitely the game we needed.

Ada – Star Wars: Outlaws
I received this game for Christmas last year and I spent months completing the game and going on side-quests, even after I finished the main storyline. What draws me to this game is the freedom you have over the character of Kay Vess, whilst being immersed in the Star Wars universe. I would highly recommend this video game to anyone that enjoyed Star Wars Jedi: Fallen Order.

Jonjo – Death Stranding 2: On the Beach
A lot of people wrote the original off as a walking simulator, but I saw something different. It has intriguing gameplay, a world which felt more at home following Covid and one of the most upsetting endings in gaming history. DS2 picks up shortly after the original and Kojima gave everything to this game.

Josh – Doom: The Dark Ages
A game series I love as much as Dungeons & Dragons – I even have the Doom slayer mark as a tattoo. The previous Doom and Doom Eternal were exactly the escape fans of this genre of game needed. Now we have shields with chainsaws, giant titan mechs and a fur cape.

Best Book

Matt – The Devils, by Joe Abercrombie
Set in a fantasy version medieval Earth, the pope has created a team of “devils” (a werewolf, a vampire, a necromancer and others) to do the papal bidding; escorting the heir to the throne of Troy back to their city. A great book with outrageous characters, interspersed with winding plots and shocking moments. So good that they might even be making it into a film!

Pete – Judge Dredd: A Better World, by Rob Williams and Arthur Wyatt, with Henry Flint
2000AD’s Judge Dredd has always had a political slant as a parody of totalitarian policing, but A Better World brings this to the fore with a harrowing tale of how a policy for social welfare threatened those in power and what they could do to stop it. A Better World may be set in the world of Judge Dredd, but the themes resonate with the here and now.

Ada – The Queen of Nothing, by Holly Black
The third book in Holly Black’s Folk of the Air trilogy was released several years ago, but I have been focused on reading classics for university, so have not read many newer books. However, this book stands out because of its amazing writing that perfectly encapsulates the beautiful fantasy world of Faerie.

Jonjo – The Impossible Fortune, by Richard Osman
Having only started The Thursday Murder Club last year, I found myself going through the first four books in no time. A new mystery unravels following the wedding of Joyce’s daughter Joanna. Murder, money and laughs ensue in this fifth outing. The writing is still at a high level and each character feels like someone you’ve known for a lifetime.

Josh – A Forest of Vanity and Valour, by A.P. Beswick
The author’s concept for his first novel was conceived as a nightly ritual of crafting bedtime stories for his children. A Forest of Vanity and Valour is the first book in Beswick’s folklore-inspired fantasy saga. It is dark and fast paced story, with a strong redemption arc. I thoroughly enjoyed his first book and I have already started the second.

Best Event

Matt – UK Games Expo
It’s my go-to event and it is hard to beat at the minute. This year’s was so big that Pete and I didn’t get around it all in a single day. A triumph for the UK tabletop convention scene and one I look forward to every year.

Pete – As Night Falls: The Auction
This year has been filled with amazing events, from Sci-Fi Weekender to the Dracula Conference, but my favourite has to be As Night Falls: The Auction; a vampire live roleplay (LARP) in a gothic stately home, which I co-created as part of Mythic Echoes. I was a bag of nerves on the day, but everyone enjoyed themselves and looked amazing.

Ada – As Night Falls: The Auction
I loved the LARP because not only did I try something new, I also made so many new friends. As a volunteer for this event, I know that, from the story and location to the props and lighting, everything was carefully planned to create a really enjoyable and immersive experience for everyone.

Jonjo Cosgrove – Wile E Coyote vs. Acme news
Warner Bros have dropped several films before release in recent years, but we are finally pulling one of the “write offs” out of the vault. In March 2025, Ketchup Entertainment acquired the distribution rights for Coyote vs. Acme, and later revealed a release date for next year. If we can get this film from the vault of WB, we may one day see that Batgirl movie?

As Night Falls: The Auction at Elvaston Castle – photo by Mythic Echoes

Alien: The Roleplaying Game – Evolved Edition

Peter Ray Allison
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Alien: The Roleplaying Game – Evolved Edition

The Alien franchise is no stranger to roleplaying game adaptions. There have been a multitude of games based on and inspired by the iconic films, such as the Aliens Adventure Game in 1991 by Leading Edge Games.  In 2019, Free League Publishing released Alien: The Roleplaying Game to critical acclaim (reviewed here). This roleplaying game was far closer to the mood and themes of the films than previous games.

In the six years that followed, numerous sourcebooks were released that expanded the Alien universe and introduced systems for colonial marines and colonisation/terraforming. A series of adventure modules, called ‘cinematic scenarios’ and mirror the films’ lethality, were released to form the overarching Draconis Strain campaign.

Now, an Evolved Edition has been released, which brings together six years of feedback to create a new version of Alien: The Roleplaying Game. There is the evolved edition core rulebook, starter set, cinematic scenario and associated miniatures pack. An interview with Free League co-founder Tomas Härenstam about the Evolved Edition can be found here.

It is worth noting that this new version does not make previous releases of the game redundant, as a conversion table has been included in the index of the core rulebook for updating previous expansions.

The core rulebook is densely packed and looks amazing, with art by Johan Nohr that recreates the iconic atmosphere of the setting. There are also a series of excerpts throughout the introduction that describe the ratcheting tension, akin to the films.

The rules system for Alien: The Roleplaying remains heavily based on the Year Zero engine. Skill and combat are resolved by rolling a number of six-sided dice (based on your attributes), with each six indicating a success. Custom dice, with a starburst as a 6 and an alien facehugger as 1, are included in the starter set, but any six-sided dice can be used. Given the low chance of success when rolling a small number of dice, a consolidated approach to skill rolls needs to be followed – this is a game that rewards an intelligent and collaborative approach.

The core rulebook breaks the types of stories down into three basic types; space truckers (Alien), colonial marines (first seen in Aliens) and colonisation (such as in Alien: Covenant). Creative storytellers might see the potential for combining space truckers with colonial marines to create mercenary style play (such as those seen in Alien: Resurrection). There are also two game types; campaign mode for ongoing campaigns and the shorter cinematic scenarios that recreate the mood and feel of the films.

Also available is the starter set, which offers a taste of what players can expect from the game. It includes everything that players need to run the cinematic scenario Hope’s Last Day, which should take a couple of sessions and is an absolute bargain for what you get. This incorporates the bare system mechanics and is far less overwhelming than the 300+ pages of the core rulebook. Even if you have the core rulebook, the starter set is still worth acquiring, as it offers a complete introduction to the system and setting, as well as handouts and maps that can be reused for other scenarios.

The Rapture Protocol cinematic scenario is great introduction to what the expanded edition can offer, with a new storyline that remains true to the setting whilst still being accessible for new player and kickstarts the Jericho campaign, which will be explored in future expansions for the evolved edition.

The accompanying Miniatures Set: Rapture Protocol is not essential for running the scenario, but the miniatures are incredible and are designed to work in conjunction with the maps in the scenario. There is also a light-weight skirmish system for using the figures and maps as a tactical wargame – perfect for anyone wanting to run a quick wargame based on the Aliens film, which is a neat addition.

If there is one complaint, then it is that the maps have been revised for miniatures, but in so doing they feel less like an in-game artifact and more like a game component. Having the maps optimised for miniatures and components does mean the ambiguity of placing miniatures and motion tracker blips is no longer an issue – especially when using their digital versions on a virtual tabletop. However, there is a loss of verisimilitude when players poring over maps spread across a table as they attempt to deduce alien organism’s presence.

Ultimately, the Evolved Edition is a fantastic roleplaying game for those wanting a game that recreates the feel and mood of the films, and is a great jumping-on point for new players. Each of the new releases are well worth picking up, as they each add something new to the game.

Coriolis: The Great Dark

Peter Ray Allison
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Coriolis: The Great Dark

Coriolis: The Great Dark is the latest roleplaying game from Free League Publishing and a continuation of the Coriolis setting, which was initially explored in Coriolis: The Third Horizon (reviewed here).

Prior knowledge of the Coriolis storyline is not essential, as The Great Dark roleplaying game takes place in a completely different part of the universe. The game is also tonally quite different. Previously, The Third Horizon focused on players navigating the factional politics of an established civilisation, whereas The Great Dark is focused on exploration and survival in harsh environments.

The Great Dark is set in a previously unexplored galaxy within the Coriolis universe, after an exodus from the Third Horizon travelled there. The new and emerging society has settled itself on an asteroid and are slowly exploring ancient ruins searching for ancient technologies and trying to uncover what happened to the alien civilisation.

The core rulebook for The Great Dark uses exploratory great ships from the 19th century as an analogy, which is a fair comparison. The player characters are a landing team that explore some of the ancient ruins hidden in the galaxy. They form part of much larger great ship, which they operate from.

The society of The Great Dark has evolved quite differently from The Third Horizon. It feels less like One Thousand and One Nights in space and closer to At the Mountains of Madness. That said, existing fans of the setting will find hints and nods to The Third Horizon, such as the icon worship, which is no longer as widely followed as it was before. Instead, the society has moved closer to ancestor worship.

Much of the game will focus on factional politics at Ship City and expeditions into the great dark searching for new artifacts and navigating the slipstreams; the so-called ‘River of Stars’ that allows the great ships a way to travel far faster than traditional space voyages.

Coriolis: The Third Horizon has the ‘dark between the stars’ (a corrupting force from the nothingness of space), The Great Dark has the blight – an alien scourge that spreads from ruins and corrupts all life. Working to counter the blight are the Birds; alien creatures found in the ruins that can detect and sometimes even counter some effects of the blight.

The system is a version of the Year Zero, which players of other Free League games, such as the Alien: The Roleplaying Game and The Third Horizon, will instantly find recognisable.  It is a system that works best by only making rules when players absolutely have to, as it can be punishing for the players if there are a series of unlucky rolls.  However, this encourages roleplay and collaboration, rather than reaching for dice at every situation.

The core rulebook for Coriolis: The Great Dark is in-depth and expansive, with a lot of information that is only for the storytellers.  Any players reading these sections will find it detrimental, as part of the enjoyment of The Great Dark is uncovering the hidden mysteries within the setting.

The artwork is also fantastic, with atmospheric landscape paintings of the setting and detailed diagrams of the equipment. The design of the book as a whole is especially detailed, evoking the mood and feel of the games, and further enhance the players’ immersion.

Overall, Coriolis: The Great Dark is a fantastic addition to Free League’s collection and a must for any fan of science-fiction roleplaying, exploring the unknown and uncovering mysteries. It is a game that is able to stand on its own, whilst at the same time acknowledging the previous edition of The Third Horizon, to create an entirely new immersive roleplaying experience for players and storytellers alike to enjoy.

The Rise of KPop Demon Hunters

Ada Allison
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The Rise of KPop Demon Hunters

Many people by now will have heard the acclaimed film – KPop Demon Hunters. It is the most streamed film in Netflix’s history and the songs have topped charts. But why is the film so internationally popular, especially since many may consider KPop to be a niche genre? Is the success deserved?

KPop Demon Hunters is set in a reimagined version of our world, where demons steal human souls. Unknown to the public, a trio of hunters protect society, using their songs to unify hearts. The story focuses on the group Huntr/x, especially their leader Rumi (voiced by Arden Cho with singing vocals by Ejae). The members must balance their fame as a girl group and their secret duties fighting demons. However, Huntr/x’s reign is threatened when the dangerously charismatic demon boy band Saja Boys debuts. What follows is a whirlwind of difficult choices, uncovered secrets and forbidden romances.

Although it is original and unique, why is the film such a sensation? Most importantly, the songs are undeniable hits. From the first second of How It’s Done to the final note of What It Sounds Like, the music takes you on an immersive and emotional journey with the characters. The songwriters have also cleverly integrated the narrative of the film into the lyrics. 

An example is Rumi’s lines in Golden: “Put these patterns all in the past now, and finally live like the girl they all see.” This lyric reflects her desire to rid herself of the distinctive markings that she has hidden her entire life, which is one of the major drivers of the plot. However, like many of the lyrics, listeners can relate on a personal level. Who hasn’t tried to hide a supposed ‘flaw’ from others, to fit an image of who you should be? Concisely, the soundtracks are a perfect combination of powerful melodies and vocals, which are integrated into the story, but also have a wider social message.

However, what initially captivates viewers is the vibrant, fun and engaging animation style. Sony used 3D animation, which gives more depth to the visuals, as well as creating a stronger connection between the characters and audience. Comic book-style elements are also included, such as Zoey and Mira’s iconic heart eyes, for comedic effects. Overall, KPop Demon Hunters lives up to its marketing as a family film; with moments of laughter for children and adults.

For existing KPop fans, the film is largely representative of the genre and its components and these references are well integrated. Notably, demon boy band Saja Boys symbolise some of the darker sides of KPop. Abby Saja gets his name from his abs, which are the main focus of his character. Abby is a microcosm for the sexualisation of idols, which is unfortunately rife in KPop. Whilst this detail may be missed by large proportions of the film’s audience, it is an important acknowledgment that the genre is not always the cute and colourful world it is often presented as. 

Additionally, Baby Saja is a symbol of the infantalisation of idols by their fans. This is a little more obvious to the wider public, especially as his only line in the film is “Goo goo gaga”. Once again, the writers and animators have taken a problem within KPop to the extremes in order to criticise it. The film even references common features of KPop culture, such as the music shows, lightsticks and intricate styling and choreography. 

However, Demon Hunters has also been criticised by some for diminishing the actual amount of work done by KPop idols behind the scenes. Wooyoung, member of the boy group Ateez, said that idol life “is not actually like that” during a livestream. There were many moments in the film that he could have been referring to; the amount of food the Huntr/x members ate, the overly casual attitude of Huntr/x’s manager Bobby or simply the lack of shots showing the immense amount of work that goes into every group behind the scenes. It is important to note though, that Wooyoung emphasised that he enjoyed the film and the songs, it was only his experience as an idol that caused him to find some moments unrealistic. Furthermore, KPop Demon Hunters is a film for family entertainment, so to cover every aspect of idol life would simply take too long.

For those interested, KPop Demon Hunters also integrates the culture of South Korea. The group name Saja Boys has its origins rooted in Korean culture. Saja literally translates to lion, which is why the group logo is a lion, signifying their powerful and confident concept. However, the name cleverly has a second meaning, referencing Jeoseung Saja. Jeoseung Saja are grim reapers or death gods from traditional Korean myths. This emphasises the darker, hidden and demonic side to the Saja Boys; it’s clear why this name was chosen for the group. Additionally, Jinu’s beloved tiger (endearingly named Derpy) and bird (which keeps stealing the hat Jinu made for the tiger), were inspired by Minhwa folk art; a traditional painting style that often includes tigers and magpies.

The reason KPop Demon Hunters works so well is because it truly is a film for everyone and I would greatly recommend it if you haven’t already watched it. On the first watch, the songs, animations and twists provide an emotional rollercoaster that’s enjoyable for all. If you choose to watch multiple times, you will notice hidden details you missed before; it’s a film that keeps on giving. 

So what does this mean for the future of KPop?

It is quite common online to see people stating that they didn’t intend to watch the film because it seemed ‘cringey’ or they didn’t like KPop. Despite this, most who watched it, loved it. This means that, hopefully, more minds will be opened up to KPop music. Speaking to non-KPop listeners, the stereotype that the genre is “cutesy” or “childish” is widespread. In reality, whilst some songs definitely fit this description, there are a plethora of concepts within KPop, creating numerous sub-genres – girl-crush, fantasy, retro, dark – to name a few. This means that it is highly likely almost anyone looking will find songs they enjoy.

The success of a film based on KPop naturally evokes the hope that more music fans will give the genre a chance. KPop’s global influence has been expanded, widening the possible audience for KPop groups. As the soundtracks went viral, more and more content creators began participating in the trends and challenges with the songs. This means that potentially millions of people are being influenced into viewing KPop more positively.

However, anyone unfamiliar with the genre who starts to listen to KPop songs and expects them all to sound like the catchy, refreshing soundtracks from the film, may be in for a rude awakening. There are a great deal of different sounds within KPop. For example, Stray Kids’s releases, such as S-Class or Hellevator, are powerful and experimental and are completely different to Illit’s dreamy and repetitive songs, such as Magnetic or Jellyous. There is even variability in sounds within a group; for example Tomorrow x Together (TXT)’s debut song Crown is bright and upbeat, a complete contrast to their most recent title track (as of writing this) Beautiful Strangers, which has a powerful and ethereal concept. In the case of TXT, the change in concept arose as the group naturally evolved and matured. Anyone new to KPop who finds they like one song, may discover they don’t enjoy other songs by the same group.

That said, the variety means that there are KPop songs and groups for almost anyone. The success of KPop Demon Hunters is highly likely to bring more and more international listeners into the genre, increasing the influence of South Korea’s entertainment industry. This is also not the first time that cinema has paved the way for South Korea’s culture to spread. The renowned Kdrama Squid Game quickly grew and maintained a massive global fanbase from the moment of its initial release in 2021. Through Squid Game, awareness of Korean culture quickly grew internationally, suggesting the same may happen in the months after the release of KPop Demon Hunters.

With funny and likable characters, catchy songs and plenty of narrative twists, it was almost certain that KPop Demon Hunters would not flop. I recommend this film to anyone who hasn’t yet watched it because, despite my initial skepticism, the film really is highly enjoyable (and not as cringy as it may sound).

Our Brilliant Ruin role-playing game

Peter Ray Allison
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Our Brilliant Ruin role-playing game

Justin Achilli is one of those developers who always makes role-players sit up and take notice. He first became known in the 1990s through his work with White Wolf.  He wrote over a hundred Vampire: The Masquerade and Vampire: The Requiem sourcebooks for the studio, as well as co-designing the Exalted role-playing game, with Steve Wieck and Robert Hatch.

Following his temporary return as the creative lead of the World of Darkness in the early 2020s, Achilli formed Studio Hermitage with Paxton Galvanek and Andy Foltz, to create an entirely new system and setting for their debut steampunk/horror role-playing game Our Brilliant Ruin.

Set in the fictional lands of Dramark, Our Brilliant Ruin combines navigating a class-based society with apocalyptic horror. In principle these two elements seem unlikely to work as a setting – it is like taking the historical family drama of Downton Abbey and placing it in the alien nightmare of Annihilation – but in this case the setting works incredibly well.

Dramark is inspired by Edwardian England, with a structured hierarchy comprising aristocrats, truefolk (skilled workers) and unbonded (mercenaries, criminals and masterless), as they seek to counter the encroaching apocalypse of the Ruin.  The Ruin is an inexorably force of supernature that permeates the fabric of existence by breaking down the natural order of things as we know it.

The various families of Dramark seek to counter The Ruin in various different ways. Some confront it directly, burning out any manifestations that they find, whilst others seek to study the Ruin and channel its effects for beneficial purposes.

Underpinning the families of Dramark are syllokinetics; advanced steam-powered automations that perform incredible tasks, but the knowledge how they were created has been lost through the ravages of the Ruin.  These colossal machines have therefore become priceless artifacts amongst the families, as they seek to preserve them throughout the chaos.

All of the characters in a game will live in an estate. This is their bastion against the Ruin. Much of the game is focused in or around a specific estate; whether it is navigating the family politics within the estate, or protecting holdings against the remorseless decay of the Ruin.

Our Brilliant Ruin is an incredibly rules-light roleplaying game, with much of the material in the rulebook focused on the setting of the game. The background is highly detailed and very much the strength of the game, as the nature of the Ruin and its various manifestations enable a broad variety of stories to be told within the game.

The amount of background information could be overwhelming for new players or an inexperienced game master, but with sufficient preparation to gradually open up the world of Our Brilliant Ruin, this is not an unsurmountable issue.

There could be a social-based scenario as players investigate rumours of an estate that is under the sway of a vampire (one of the many manifestations of the Ruin) or a high-octane survival-horror game as the characters attempt to reclaim an abandoned syllokinetics factory from the ravages of the Ruin.

Throughout the game it is reinforced that the Ruin is akin to a force of nature: it is not intelligent and it cannot be stopped or reasoned with.  The Ruin is there and will inevitably corrupt everything and destroy or change the world completely.

Given the detailed background and setting, there is already a comic book and audio drama, as well as a video game being developed.  It could also be relatively easy to run as an immersive live role-play experience – assuming a suitable venue could be found.

There have been many role-playing games that offer a detailed background for the players to explore, but what makes Our Brilliant Ruin such a bargain is that it is free as a PDF.  This is not a quick start guide or a sample of the rule, but a complete game.  A hardcopy of the game is available to purchase and there are plans to further expand the world and develop new games within the setting.

“We always knew we wanted to release the PDF for free to make it as accessible as possible.  The role-playing game is a great jumping in point for folks who may want to learn more about the world for the other media avenues like the audio drama, comic book, and future videogame.  Making the PDF free means there is no barrier for people to explore the world and tell their own stories in it.”
(Danny Ryba, marketing manager for Studio Hermitage)

Anyone who enjoys playing a game about uncovering secrets in a unique setting will find a lot to enjoy.  The background is intricate and makes for a compelling read, as well as presenting a compelling platform for roleplaying characters exploring the world of Dramark.

The Laundry Roleplaying Game

Peter Ray Allison
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The Laundry Roleplaying Game

The Laundry Files are an iconic series of spy thrillers with a twist, written by Charles Stross.  Instead of nation states engaged in an escalating war of mutually assured destruction, we have Lovecraftian states – specifically the Cthulhu Mythos.  Charles Stross took a fear of looming destruction by powers we do not fully understand, similar to what people experienced during the cold war, and applied it to the cosmic horror of H.P. Lovecraft and the coming of the great old ones.

Facing off against these nameless horrors is the Laundry (so called because it was initially located above a Chinese laundry); a small and chronically under-funded British agency chartered with protecting the world from the scum of the universe.  However, as it is part of the British government, The Laundry is subject to government regulations and good practice guidelines in order to maintain ISO9001 compliance for quality management systems.

The result is the Laundry Files, where the only thing standing against the Cthulhu Mythos is the British love of bureaucracy.  Needless to say, it is funny and chilling in equal measure (read our review of the books here).

It is worth noting that the series is no stranger to role-playing games.  In 2010, Cubicle 7 released the first edition of The Laundry Roleplaying Game.  Earlier this year, the book A Conventional Boy was released, where only a gamer from the Laundry can stop a ritual disguised as a role-playing scenario being held at a gaming convention.

The first edition of The Laundry Roleplaying Game was based on the Call of Cthulhu role-playing game.  Although these games share many themes, they are tonally quite different and the Call of Cthulhu system could not adequately represent that.  There is a defiant edge to the Laundry Files that is not present in the Call of Cthulhu. As the protagonist Bob Howard says in The Atrocity Archives: “If being a smart-arse was an offence, the Laundry would not exist in the first place.”

Cubicle 7 have recently released the core books for their new edition of The Laundry Files Roleplaying Game.  The rules have been replaced with a brand-new system that simplifies the mechanics and streamlines the experience to create a character-driven experience.

The focus is on the skills and – just importantly – having the correct training and clearance to use a particular applied computational demonology gadget.  Is your character in a tight situation without the necessary clearance to use a Level 3 ward?  If so, just hope they can reach a PC in time to complete the necessary online training webinar before they are eaten…

This role-playing game is a joy to read.  The writing perfectly captures the tone of the novels. Charles Stross was involved in the writing of the game, which incorporates his wry humour.  There are neat touches, such as the game master being called the ‘Supervisor’ and character sheets referred to as ‘personnel records’.  A particularly vicious supervisor might require players to complete their personnel records in triplicate…

The Laundry Files are expansive; in the novels, the setting has evolved to incorporate vampires (PHANGs) and superhuman abilities, as the world comes ever closer to CASE NIGHTMARE GREEN (when the stars are right and the boundaries between worlds collapses).  The role-playing game is set during the first few books (before PHANGs and superheroes), but the developer David Chapman has intimated that future sourcebooks will include rules for people with transhuman abilities.

Players take on the role of new recruits for the laundry and have been assigned to one of the many departments within the labyrinthine organisation.  There are a vast array of techno-occult roles on offer, from computational demonologist to counter-possession unit… and of course the door kickers from OCCULUS (special forces teams that banish first and ask questions later).

The magic system is heavily regimented, which makes sense for role-playing a government agent tasked with regulating occult powers.  Gameplay wise, all spells and summonings have a rating of 1 to 5 and are resisted by similarly graded wards or banishments.  For example; a Level 3 ward blocks a Level 2 spell.  The game further notes that occult ritualists may be disappointed when their elaborate ceremony for Shroud of Nyarlathotep’s Shadow is dismissed as just a Class 1 ward by a cranky Laundry agent…

Bringing together a diverse team of characters can be frustrating, but The Laundry Roleplaying Game makes this easier by everyone working in the structured hierarchy of the agency.  The joys of matrix management means that groups of player characters can have multiple team leaders when there are characters from different departments.  Characters can therefore be brought together for specific projects due to their skills (and being noticed by the management).

The initial core releases for the 2nd edition of The Laundry Files role-playing include:

The Operative’s Handbook and Supervisor’s Guide are essential for running the game. The Operative’s Handbook provides all the rules for the game and characters, whilst the Supervisor’s Guide details the various entities and organisations within the setting, as well as further rules on how to run the game.

Introduction to Applied Occult Computing is a quick start guide, but comes with a great adventure that acts as sequel to The Concrete Jungle (a short story included at the end of The Atrocity Archives) and a sample background of setting the game in Milton Keynes, which can be easily adapted for other towns and cities.

Black Bag Jobs Reopened is a reprint of the 1st edition adventure book but using the new system.  The adventures scale in complexity and threat, and provide a great example of the types of stories that can be told in the game.  The only disappointment here is the lack of overarching narrative.

Although Introduction to Applied Occult Computing and Black Bag Jobs Reopened are not essential to running the game, both are so useful that they are well worth getting anyway.

Overall, there is a lot to like in The Laundry Roleplaying Game second edition.  It is perfect for any fan of the novels by Charles Stross, but remains sufficiently accessible for players that are looking for something more from their role-playing games, but have not read the books.

THE GEEK PRIDE GAMES DAY IS BACK

Matt Geary
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THE GEEK PRIDE GAMES DAY IS BACK

Thats right, after many moons we’re back with a long overdue games day, this time at Club 200 in Manchester on the 13/09/2025

The event starts at 12, goes on to 6, is family-friendly and, most importantly, is FREE! Come down with your own table top / board games, play some of our games with our hosts or just kick back and enjoy some console, retro or VR gaming. There is also Darts and Table football (Pool and snooker available for club 200 members) as well as food (menu here) ice cream and, for the adults, a fully stocked bar.

Club 200 is a brand new venue directly across the road from the Apollo in Manchester and is only about 15-minute walk from Piccadilly train station, or a 4 minute bus ride using the 201, 202, 203, 205 and the 192 bus. There is also some parking in the area, should you be driving. https://maps.app.goo.gl/VadmeKrkf3i8tPFj8

1st Floor, 3-9 Hyde Road
Ardwick
Manchester
M12 6BQ
Tel: +44 7900 499940

We will have volunteers on the day demoing games (including D&D) and available to help you play some of the library of games we will have with us and depending on demand, some space for you to just come down with your own games and play away.

On top of this we will have some consoles with us, a Metaquest 3 and some retro gaming. With a currently undecided gaming tournament to be played over the big screen and the Geek Pride Cast will be live-streaming an episode on the day.

So if you and your family have nothing better to do, fancy an afternoon of gaming / fun then please do join us and keep an eye on our social for updates!

Also, if you fancy volunteering to help us out run some games then please get in touch via [email protected]

Thanks a lot and hopefully we will see some of you there!

The UK Games Expo is bigger, but does that mean better?

Peter Ray Allison
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The UK Games Expo is bigger, but does that mean better?

Last weekend was the UK Games Expo; the UK’s largest tabletop gaming convention and possibly the third largest gaming event in the world, with approximately 72,000 people attending. The UK Games Expo covers everything from board games and card games to war games and roleplaying games, as well as a variety of panels, demonstrations and workshops throughout the show.

One thing that has changed is the scale of the event, with exhibitors throughout three of the huge convention halls at the Birmingham NEC.  This meant that the aisles were wider than in previous years and there had been more thought put into the layout of the stands, mitigating any potential bottlenecks.  As a result, even when it was at its busiest on Saturday, it never felt too crowded.  This also meant it was easier for wheelchair users to navigate the exhibition halls.

Photo by Ada Allison

That said, it can be an overwhelming experience for attendees.  In previous years it was possible to browse the exhibits in a day, but that is no longer possible, as the UK Games Expo is now so big.  A map was provided showing where each of the exhibitors were to be found, which helped when looking for a specific company.  However, there seemed to be no grouping of similar companies together to create dedicated spaces for different types of games. Of course, this did encourage people to browse and see what was on offer, as well as discovering stands they would not otherwise have found.

It was interesting to note just how many tabletop games were being developed based on existing licenses; from Star Wars and Tomb Raider to EVE Online and Dying Light.  There were also a lot more roleplaying games using the 5E system compared, to last year (due to the controversy surrounding the open-gaming license in 2023).

Photo by Ada Allison

One of the stand out games from this year’s UK Games Expo was Tunnels & Trolls; the classic roleplaying game, currently being updated by Rebellion Unplugged, which maintains the irreverent humour.  Another was Star Wars: Battle of Hoth. Although it is heavily based on Memoir ‘44, it amazing and has lots of potential for new ways to play. Finally, there was the excellent Tomb Raider: The Crypt of Chronos, which recreates the video games as a unique solo tabletop game.

Given the recent press coverage of the return of White Wolf Studios (as discussed in our interview with Jason Carl), it was surprising that none of the core World of Darkness games, such as Vampire: The Masquerade, were there (other than The Eternal Struggle card game and a Vampire: The Masquerade overlay for the Teburu system).

Photo by Matt Geary

The special guests this year included Sir Ian Livingstone and Steve Jackson, co-founders of Game Workshop and co-creators of Fighting Fantasy, as well as game designer Luke Gygax.  Throughout the weekend there were several sessions of John Robertson’s The Dark Room, many of which were sold-out in advance.

For those wanting some fresh air, a living history village had been set up outside the NEC, which included Roman and Viking reenactors putting on displays throughout the weekend. Many of them were also to be seen wandering through the event.

It was great to see that there were several ‘hydration stations’, where attendees could refill their water bottles for free.  However, all the food stands were expensive.

Overall, everything about this year’s UK Games Expo was bigger than in previous years and it is now at a scale where it ranks alongside GenCon and Spiel Essen.  Whether the UK Games Expo continues to expand, hopefully maintaining its unique character, remains to be seen.

Jason Carl on the return of White Wolf

Peter Ray Allison
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Jason Carl on the return of White Wolf

With the release of Vampire: The Masquerade in 1991, White Wolf revolutionised roleplaying games. Storytelling, rather than combat, was the key element. In the World of Darkness, players take on the role of monsters in stories that explore the human condition.

It was no surprise that Vampire: The Masquerade went on to win numerous awards, including the Origins Award for Best Roleplaying Rules of 1991 and the Casus Belli’s award for the best role-playing game of 1992, for the second edition. The World of Darkness would expand to include numerous roleplaying games, video games, card games, novels and inspired a television series.

In October 2015, Paradox Interactive bought White Wolf studio and, three years later, incorporated the studio into its parent company. As a consequence, White Wolf ceased internally developing and publishing products. This did not stop the World of Darkness, which saw new editions of Hunter: The Reckoning and Werewolf: The Apocalypse being released, as well as the critically-acclaimed LA By Night web series.

However, on 23rd May 2025, like a vampire rising from the ashes, White Wolf was reinstated as an independent studio. Although White Wolf remains part of Paradox Interactive, all future development will be brought in house.

Peter Ray Allison sat down with community brand manager Jason Carl to discuss what the return of the White Wolf means for World of Darkness and their future games.

When did you first encounter the World of Darkness?

I came in as early as was possible, without being an employee of White Wolf. I was at Gen Con in 1991 when the original Vampire: The Masquerade dropped like a gothic punk bomb on the world. I clutched my copy proudly to my chest. Even then I thought it was a transformative game.

I raced home to Seattle after Gen Con, and nobody would play it with me. I couldn’t find another player, until, a few weeks later, I stumbled upon a bulletin board advertisement for a Vampire: The Masquerade live action role playing game experience in Seattle. This was just weeks after the game arrived, so that was surprising, but cool. My very first exposure to Vampire, as a player, was through a very informal live action role playing experience.

Even then, fans and players realised the potential for this game to be something other than just a typical tabletop role playing game. I really felt I had found my people.

It wasn’t too long after that, that I joined Wizards of the Coast, working on Magic the Gathering and then later Dungeons and Dragons, 3rd edition. At the same time, I had an opportunity to begin writing freelance for White Wolf. My first book was a Vampire: The Dark Ages source book – Liege Lord and Lackey. It was all about ghouls and mortals in the dark mediaeval times.

That must have been one of the first vampire LARPs?

It was very informal, with a dozen people gathered in a Seattle park. It was less of a LARP, than people sitting around in character applying informal resolution procedures to what is essentially a tabletop game. It wasn’t LARP in the way that we would think about live action role playing today. That would come later, with the arrival of Night Owl productions a year later, which was the very first Vampire: The Masquerade LARP. The Camarilla fan club followed very quickly thereafter.

What is it about the World of Darkness that continues to be so popular?

I don’t think it’s a secret, but it is something that we don’t often stop to consider. The answer is the same today as it was over thirty years ago, but the context is different: you are the monster.

When the game first dropped, that was a revolutionary idea. The idea that not only could you play the vampire, but you were not necessarily the hero. You might be the protagonist and could even be heroic, but you weren’t necessarily the hero. You’re the monster.

The game had that as its core concept; the struggle of humanity against your inner beast. On the flip side, it is a game about the consequences of being monstrous, that was revolutionary and I still think it’s revolutionary today. The context has changed, but the message is obvious and still clearly resonates with us all.

You said in World of Darkness: The Documentary that “You’re an outsider, playing the ultimate outsider.”

By playing the monster you are automatically outside everything. Vampires are not only outside society and culture, but they’re outside nature itself. They are, by definition, unnatural. I don’t know if it’s possible to get more outsider than that. The same is true, of course, for werewolves, mages, changelings, even hunters to a degree, and all the other denizens of the World of Darkness. They are far outside cultural and societal norms, and they’re outside the natural world as well.

Your role is the brand marketing manager, but what does that entail?

I’m responsible for making sure that as many people know about the World of Darkness as possible, that the games that we offer resonate with them, and how we talk about those things in our marketing. Our public relations must reflect the games themselves and align with what our audiences want from us. It’s not as fancy as it sounds.

I build brand marketing campaigns. You could think of actualplays like LA by Night and New York by Night, as a marketing campaign in a way, but it’s also a community activity.

What were the drivers behind White Wolf returning as a studio?

We were primarily a licencing organisation. We managed the brand, but the product development and a lot of the world building would occur at the product level with our partners, which has been fantastic. We’ve gotten some great partner games, video games, tabletop role playing games, board games, card games, LARPs and a lot of great collectibles and merchandise as well.

It’s grown so much and there’s so much demand now for the IP [intellectual property] that we decided the best way to approach the growing demand and interest is to become not only the licensor, but also our own publisher again. White Wolf in the past was both publisher and licensor. That changed when we joined Paradox Interactive, and now the best way to manage that growth and demand is to bring it back full circle.

That means, from a brand marketing standpoint, that I’ll be crafting first party marketing, not just guidelines for our licensees. I’ll be working with our own internal business unit that is developing the IP, and the IP management will now live centrally.

Why return to using White Wolf as the studio name?

We became World of Darkness when we integrated fully into Paradox, and that change was about signalling that this is not a publishing company, but a licencing and IP management organisation.

As we return to the original format of the company, the business unit needs a name change again to signal that it’s not just licencing, which stays an extremely important and equal branch of the brand, but now it joins first party publishing as well. It seemed logical to return to the name that was familiar to our community. They’re already familiar with the name White Wolf. They know what it stands for and they know what products they can expect us to give them.

It seemed natural to bring the name back, rather than try to find a new name that would try to describe something that people are already familiar with.

The name White Wolf has a lot of brand recognition, doesn’t it?

Very often, when we work with new licencing partners, they often refer to us both World of Darkness and White Wolf, interchangeably. We know there isn’t going to be a hurdle in letting people know what White Wolf means, or in educating people that White Wolf is a game studio as well as a licensure.

How will White Wolf, as an independent studio, impact future World of Darkness games?

We’re really lucky, because being a part of Paradox means we get tremendous support. They support expanding our business to be our own publisher, distributor and sales agents, in addition to managing all the work that we currently do as an independent business entity.

We are doing things that Paradox doesn’t necessarily see as part of its core products and function. Transmedia storytelling across a number of different markets and segments and different game types is something that we do really well. Paradox actively supports us and are going to continue to do that.

What it means is that we’re going to build our team. We’re going to hire more people. We’ve already launched a search for a creative director. That’s not the only new role – we will be expanding the team so that it can do everything that I’ve just talked about.

It means we’ll be developing our own tabletop titles in house, rather than working with a licensee. Our tabletop licensee has been Renegade game studios for several years now. They have brought so many fantastic support books and supplements into the world for Vampire: The Masquerade, Hunter: The Reckoning and Werewolf: The Apocalypse. I don’t think they could have done more than they’ve done in the framework that we’ve had to work with. Making TTRPG development in-house again means that we can do even more. We can bring games to market faster and with more transmedia coherence than we were able to achieve before.

Even though White Wolf is an independent studio, you’re still part of the Paradox Interactive corporate hierarchy. How will that relationship evolve?

Many things will remain unchanged. Paradox has been an incredibly supportive and generous partner, and they help us with things that have been difficult for us to do for ourselves. We get tremendous support from their marketing communications teams. We get support from Accounting and Finance and legal teams as well. We get great guidance from the management team, and everyday support in ways that might not seem obvious when you’re not part of a larger company. I don’t expect any of that to change.

Before Friday [23rd May, 2025], we were a licencing organisation living inside Paradox. On Friday, we’re going to be a licencing organisation and a first-party publisher within Paradox. Nothing about the relationship between us and Paradox changes. Our role just gets a lot larger.

We have had Vampire: The Masquerade, Hunter: The Reckoning and Werewolf: The Apocalypse. Where does White Wolf go from here?

One of the things that I’m most excited about with this change is that we are going to be able to develop much more quickly and coherently.

Some of the titles are fan favourites that we haven’t seen in the last eight years, but we recognise are underdeveloped. I’m talking about things like Mage: The Ascension. That’s been in discussion for a long time, but it hasn’t been practical for us to take on the necessary development. Let’s face it; Mage is an intense game to develop. It takes a lot of time. It requires resources and it’s something that we feel that we weren’t in a good place to start developing internally until we have more resources.

A personal favourite of mine that’s been in discussion for a long time is Dark Ages Vampire; the dark mediaeval setting. I’m not sure, but that’s definitely going to get attention. Changeling: The Dreaming will likely get attention, and there could be others as well.

I’m not able to give you a list of what’s going to happen first. It’s not impossible that a video game of a particular game line might appear before a tabletop game or a card game. This transmedia coherence is very labour intensive, and it’s not something we were set up to do until now.

I was going to ask about Mage: The Ascension.

It’s on everybody’s wish list, right? I can’t give a timeline, of course. I can’t even promise it’s the next thing that we might do, but we’re well aware that Mage is an under-developed property. We’re well aware that it has a global legion of hardcore fans.

I personally think it’s going to be fascinating to work on Mage, given the world we live in now, a world we tried to predict in previous iterations of Mage: The Ascension. The world is far more interesting and strange than we ever thought it would be. How do Mages exist in this world today? That fascinates me, and I can promise you we are thinking about it intently.

What impact has White Wolf had on roleplaying games?

In the World of Darkness documentary, we talked about the impact of White Wolf on the roleplaying industry. It was something new and different and fresh, and it was revolutionary in a lot of its concepts. I think that the impact we have today is similar, but in the context of today’s world, what it means to be an outsider, what it means to be a monster, has changed.

The world is full of anti-heroes. It’s a very popular protagonist figure, but our games still focus on the inner struggles of us as people and how we express that struggle to the world around us, to our families, to our friends, and how we grapple with the issues.

All these games – Werewolf, Hunter, Changeling, Mage and Vampire – they’re all about consequences. They’re all about dealing with the consequences of finding yourself an outsider in a complicated world that’s moving fast, and it has a lot of forces that really want to either dictate how you live your life or that want to control your responses to the stimuli and environment.

Of course, as the monster, you’re having none of this. How you deal with that struggle, how you deal with fading humanity as a vampire, with the poisonous pride of magic being a mage, or with the environmental doom, despair and rage of Werewolf, is very much about the world today.

We’ve done a great job at expressing those ideas in the three 5th edition games we’ve released so far, but there’s more to come. What we see in the tabletop gaming space amongst our audience is a real desire to explore those specific stories. How do I tell stories with my friends safely about being a terrible monster and the consequences it brings? How do I tell stories with my friends safely about my environmental rage and despair at what seems to be an impossible war? What are the social impacts of stories like that?

I don’t think they can be underestimated. They’re important to the way we craft and frame the World of Darkness stories. I don’t think that that has changed.

The new edition of Werewolf: The Apocalypse has been updated for a more nuanced approach to roleplaying.

We’re all very proud of the core mechanics of these games. Rage in Werewolf and hunger in Vampire express not only the core of what it means to be these creatures, but they also offer you a mechanical way to think about the pressures and consequences of your state of being, and a fun way to interact with the story itself.

Hunger was a brilliant rules addition. It enforces every moment the idea that you’re a vampire and there are consequences for what you’re doing, and it’s a lot of fun. And the same with rage. Now, how will we apply that to something like Mage: The Ascension?

Pride and paradox are two very powerful themes in Mage.

If anything is the core of Mage, it is the danger of hubris. That’s a very pertinent story to tell today. We live in a world in which we are observed constantly; sometimes willingly, sometimes not. The temptation to get that magical ultimate power, to misuse it, arguably for the common good, would be incredible. How would you withstand that pressure? What would you do with it, and what consequences would you suffer as you grapple with that pride?

Can you tell I’m really looking forward to getting into this?

What does the future hold for you?

Tomorrow, in Los Angeles, there is a mini convention; Darkness Emergent. By Night Studios do this twice a year. They bring a travelling show that includes live action role playing of a very high quality for hundreds and hundreds of players. They bring tabletop games, board games, panels, seminars, lectures, social events. I understand that there’s a World of Darkness trivia contest this weekend, and even World of Darkness karaoke. And no, I don’t know what that means, but I’m about to find out.

I mentioned the search for the creative director. We’ve got more searches coming up, building the team, getting it in place and making sure it has everything it needs.

I am incredibly jealous of you going to Darkness Emergent

There’ll be another one in November. I don’t know what the location is, but they’ll announce it this weekend. It’ll be in the States, but I know they are looking at options for the UK. It’s a little bit more difficult to organise over there for them, but I know it’s one of their ambitions.

Thank you very much, Jason Carl

Tomas Härenstam on Alien: The Roleplaying Game – Evolved Edition

Peter Ray Allison
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Tomas Härenstam on Alien: The Roleplaying Game – Evolved Edition

Alien: The Roleplaying Game is a science fiction horror role-playing game based on the Alien films.  It was first released in December 2019 (reviewed here) to critical acclaim, winning the 2020 Gold ENNIE Award for Best Game, then the 2024 Gold ENNIE Award for Best Supplement for the Building Better Worlds sourcebook.

Although many roleplaying games had tried replicate the tension of the Alien films, none had quite managed to achieve it like Alien: The Roleplaying Game.  The rules-light system evokes the intensity of the films, with the minimum of dice rolling.  A key element are the stress dice, the number of which increase in line with the stress levels of the characters.

Earlier this year, Free League announced that a new version (called the Evolved Edition) of their Alien Roleplaying Game would be released.  Designer and Free League co-founder Tomas Härenstam led the development of Alien: The Roleplaying Game – Evolved Edition, revising the current mechanics, as well as introducing rules for life paths, zero gravity, using miniatures and solo play.

Following the launch of the kickstarter for Alien: The roleplaying Game Evolved Edition, Tomas sat down with Geek Pride to talk about Alien, roleplaying and why now was the right time to revise such an acclaimed game.

Why has roleplaying become so popular recently?

Great question! I’m not sure, but I think in this digital age there is still a desire for a more direct analogue experience, creating a story together with your friends – even though there are both great digital tools and solo modes for RPGs now.

It has been just over five years since Alien: The Roleplaying Game was first released, why does it need a new edition?

We have learned a lot since the first edition was released, and received lots of great feedback from the community. The list of minor tweaks and small improvements that we wanted to make kept growing until the point where we felt the time was right for a revised edition – not a complete overhaul, but rather an evolved improvement on the original.

Alien can switch between scenes of intense horror and thrilling action, but how does Alien: The Roleplaying Game incorporate these almost conflicting moods?

Yes, those moods can sometimes be in conflict, and we have tried to balance them even better in the Evolved edition. Gear plays a big part here – armed with a pulse rifle, you’ll be able to dispatch several Xenomorphs – just don’t let them get too close! Unarmed, or equipped with just basic tools, you’ll learn that even a single Xenomorph can be a deadly threat.

What, for you, is the essential ingredient for running a successful session of Alien: The Roleplaying Game?

Apart from the game itself of course, the best thing to bring is a sense of adventure and being able to enjoy the horror. The death of your own character can be lots of fun, even the high point of the game sometimes!

What were the biggest challenges in developing the new edition and how did you overcome them?

Of course, we needed to be careful not to try to fix something that didn’t need fixing – it’s a fine balance to make sure we are improving the game. I think and hope we succeeded! Also adding the locations and gear from the Alien: Romulus film was a challenge, to make sure we got everything right, but it was lots of fun.

What is the biggest change in this new edition of Alien: The Roleplaying Game

It depends on the players I guess, but I really think the improved and expanded stealth mode will be a lot of fun to play, and a great addition. The revised stress and panic rules will hopefully also mean a better experience at the table. And, of course, for a solo player, the solo mode will be the biggest benefit!

How will you maintain roleplaying’s ‘theatre of the mind’ with the focus on miniatures?

The game is designed to support both styles of play. For example, the new expanded stealth mode can be played using miniatures or tokens on a map, but it can be played in the theater of mind as well. The game mechanics are very easy to adapt to different styles of play.

Will players be able to translate previous scenarios and sourcebooks to use with the new edition?

The new core book will have an appendix that explains how to use the previous adventures and campaign books with the updated rules. It’s only a matter of minor tweaks.

How will the new edition incorporate the film Alien: Romulus and the TV series Alien: Earth?

From Romulus, we’re adding a meaty campaign section about the Jackson’s Star colony, using Col Price’s amazing concept art for the film to create a map of the colony and a text description of it, by Paul Elliott. Also, John R. Mullaney did a fantastic job researching and recreating the new pulse rifle and the Corbelan spaceship featured in the film. Alien: Earth will not be incorporated in the new core rulebook, but we hope to explore it in future expansions.

What expansions do you have planned for the new edition of Alien: The Roleplaying Game?

The Rapture Protocol cinematic adventure will be released alongside the new core book, and a new starter set and miniatures set. Beyond that, we plan a sequel to Rapture Protocol, and campaign book for space truckers.

Thank you very much, Tomas.

Alien: The Roleplaying Game Evolved Edition is currently live on Kickstarter and can be backed here until 17th April.

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