TEXT:  
   
  OPERATION: CAVEMAN 
   
  BY ROLAND VOLZ 
   
  The author would like to acknowledge the encouragement and inspiration given to him by 
  decades of gaming with good players and game masters; without it, he would not have been 
  creative or confident enough to make an entry. No list of people who have influenced him could 
  be complete, but the author would like to specifically acknowledge Mitchell Albala, Douglas 
  Goldberg, Joann Clarke-Stein, Adrian Stein, Mark Struzzi, Genevieve Whittaker, and Mark 
  Whittaker, who heard about this idea and felt it was just too good not to submit. You guys rock! 
   
  A beer & pretzels RPG of espionage hijinks at the dawn of time. 
   
  TABLE OF CONTENTS 
  Introduction 
  1 
  Notes 
  1 
  Ratings 
  1 
  Occupations 
  2 
  Crafter 
  3 
  Gatherer 
  3 
  Hunters 
  3 
  Shaman 
  4 
  Other Occupations 
  4 
  Time 
  4 
  Game Mechanics 
  4 
  Advantages 
  5 
  Obstacles 
  5 
  Combat 
  5 
  Full Defense 
  6 
  Grabbing Things 
  6 
  Other Actions 
  7 
  Damage and Recovery 
  7 
  Rewards 
  8 
  Equipment 
  8 
  Evolution Points 
  9 
  Optional Rule: Evolve Or Die! 
  9 
  License 
  10 
   
  This work is protected under the Creative Commons Attribution-ShareAlike 3.0 United States License. 
   
  
   
  1 
  INTRODUCTION 
  It’s a rough life out there for a caveman, especially one from a small tribe such as your own. You live in a cave, 
  subsisting on fruits and berries, and the occasional piece of wild game. Nobody’s invented pastimes yet, so you 
  sit around telling stories to one another, trying to keep warm. That is, when you’re not running for your life 
  from some ravenous saber-toothed tiger or a raiding party from a rival tribe. 
   
  You’re not the largest or strongest tribe around; that would be the Rock Crushers over in the mountains. 
  You’re not the smartest and you haven’t discovered any of the basic inventions the smart tribes (like the One-
  Stone Tribe) are busy developing – levers, fire, the wheel. You don’t have the best lands (like the Green Grass 
  Tribe), or the best cave paintings (like the Big Mojo Tribe), or even the best luck (like those hated Red Steps 
  from down the valley). You’re not even the sneakiest and most underhanded tribe – that would be the Black 
  Worm Tribe from the swamps. All you’ve got is guts and determination, and a few clubs and spears to level the 
  playing field. 
   
  So, when the chief called you all together, everyone agreed what had to be done – you’re going to have to 
  steal all those things from the other tribes. You’re going to have to copy the inventions, sabotage the rival 
  tribes’ mammoth hunts so they’ll be just a little bit weaker than you when it comes time to expand the tribe’s 
  lands, and mess up their cave paintings so their shamans will have a little less mojo next year. All as the agents 
  of the chief; but remember, if you’re caught, he didn’t know nothin’ about it! 
   
  With a little bit of native ability and a whole lot of luck, you’ll lick this “survival of the fittest” thing yet! 
   
  NOTES 
  Operation: Caveman is meant to be a fairly easy game for light entertainment, when you feel like gaming but 
  don’t have anything prepared and don’t feel like spending an hour working up a character that won’t ever get 
  used again. Why do all that when you can be up and running an O:C game in a matter of minutes! 
   
  With that goal in mind, there are a few points the author would like to make at the beginning of these rules. 
  1) This game is not serious, and no attempt made to adhere to current scientific understanding of 
  prehistory. Paleontological research is a strict and rich discipline that has made great strides in 
  understanding how our ancient ancestors lived in the centuries prior to the invention of civilization; none 
  of that is meant to be represented here. The author credits as influences the Flintstones TV show 
  (especially the animated movie The Man Called Flintstone), the BC comic strip, and numerous other 
  cartoon/comic strip references. 
  2) The game is meant to be rules-light and fast-paced. There aren’t a lot of specific rules to simulate 
  different activities in a realistic fashion – instead, emphasis is on fast play and extensive leeway for the 
  GM and players to improvise. In all cases, the GM is the final arbiter of which way to interpret or apply 
  the rules. 
   
  In order to encourage these elements, the GM is referred to in these rules as the Darwin, as it will be his job 
  to enforce survival of the fittest on the player characters. Similarly, the player characters will be referred to in 
  these rules as Cavemen (with a capital “C”). Not very glamorous, but then again, no one’s invented glamour 
  yet. 
   
  This game requires a single six-sided die to play (it is recommended that each person at the table have one 
  of their own). Maps and other such game aids may be used, but it’s recommended that they be as basic and 
  crude as possible, to retain the flavor of the game; make sure there’s no scale or grid on any maps, to force the 
  players out of the idea that this is like any tactical game. I usually dampen mine and let the ink run a little, just 
  to retain that “cave painting” feel. 
   
  RATINGS 
  In O:C we use three ratings to define your Caveman in general terms. They basically tell you what he can do 
  with just native talent or sheer bravado. 
   
  • UGH: Representative of physical strength, stamina, and resistance to injury and death; Cavemen with a 
  high Ugh Rating can life heavier objects than most, run for longer stretches, and jump and climb higher. 
  
   
  2 
  In general, imagine your Caveman doing something, like taking a punch or trying to move a boulder – if 
  the sound emerging from between his gritted teeth is “Ugh!” or something very similar, then this is the 
  rating to use for that action; it’s what you use when you’re trying to outpace people in the later portions 
  of a footrace, or wrestle a cave bear into submission, or even jump in front of your chief to take the 
  spear meant for him (although it’s going to be thousands of years before anyone really invents the 
  concept of heroism, sucker!) If you’re one of those gamers who needs a way to relate Ratings to the real 
  world, then the number of Ugh points you have represents the number of stones as large as your head 
  that you can lift at the same time while standing still.1 
  • AHA: This is your caveman’s brains, his ability to react to changing circumstances, remember details of 
  things he saw long ago, or pick out the important elements of a situation he’s currently in. Mental ability 
  has not yet been proven to be an actual survival trait, so it’s up to you to prove yourself to future 
  generations of scientists. Your Aha Rating can be abstracted as the maximum number of syllables you 
  can use with any particular word. For maximum game fun, the player should be limited to this number 
  as well, to prevent any weaseling around this limitation. 
   
  SPECIAL RULE: If you choose an Aha Rating of 1, your brain hasn’t developed enough for true 
  speech yet. The Caveman (and his player) should be limited to sub-linguistic grunts, pointing, and 
  similar non-language methods of communication. 
  • MMM: This Rating represents how “suave” and “sophisticated” your Caveman is (relatively speaking – I 
  mean, he’s still a dirty, grubby caveman). Cavemen with a high Mmm Rating chat up members of the 
  opposite sex well, look good when running for their lives from angry cave bears, and sound convincing 
  when selling swamp land futures cave-to-cave. Many walk around with rolled-up herb cylinders in their 
  teeth, though without fire they really serve no purpose.2 “Charisma” and “personality” are still really 
  primitive concepts which most cavemen find baffling – no one has really invented complex 
  political/social systems or hierarchies yet. The raw Rating number is roughly equal to the number of lies 
  your Caveman can keep afloat at one time. 
   
   
  To generate a Caveman character for yourself, distribute 7 points among these three Ratings; this gives a 
  range of from 1 to 5 in each Rating. Perfectly average members of your own tribe have 2 in each Rating – this 
  represents the average ability of an adult tribesman. 
   
  It’s recommended that you pick something to be fairly good at. This is the Stone Age, bub, and no one likes 
  a slacker! Unless it’s as bait for the saber-toothed tiger trap… 
   
  OCCUPATIONS 
  There’s not a whole lot of specialization in caveman society yet – most don’t even know the one thing they do 
  very well – but there are a few professions that cavemen practice, that are common to all tribes. Your Caveman 
  did one of these things before the chief took him away from all of that and launched him into the high-stakes 
  world of prehistoric espionage – maybe it’ll help your Caveman survive. 
   
  When generating your Caveman, you may select one, single Occupation for him. 
   
  CHIEF 
  There’s only one of these in the tribe, and he’s almost always the toughest, craftiest, cagiest old bastard around. 
  There’s no retirement plan, either; you’re chief until someone tougher, craftier, and cagier comes around and 
  calls for a general election by eliminating you, probably with the old stand-by of “club him in the head until he 
  doesn’t get up.” So, this is the only job you can’t have done prior to becoming a spy. 
   
  Talent: The chief is the big Kahuna, the head honcho, the boss. What he says goes. This doesn’t have a hard 
  and fast game-mechanical effect – just remember he’s probably leading from the rear and has a lot more 
  experience telling people what to do, than you have experience of making your own way. 
                                                   
  1 What were you expecting, anyway? No one’s invented a system for “measuring” weights, and the whole concept of “standards” is 
  just a gleam in some brainy guy’s eye! 
  2 You’ve come a long way, Grog! 
  
   
  3 
   
  CRAFTER 
  The state of technology at the dawn of time is woefully primitive, almost by definition. If a crafter from 
  prehistory saw a vision of televisions, vaccines, and the internal combustion engineer, it would just confuse the 
  poor bastard. Nevertheless, there is a need for people to make pots, fashion flints into spearheads and choppers, 
  and otherwise make the equipment your Caveman will be taking on his missions. If you manage to steal secrets 
  like fire or the wheel, your tribe’s crafters might surprise you yet with the Flintstonian creations they’re capable 
  of. 
   
  Talent: Crafters understand the basic principles of building stuff – they know fire makes clay hard but 
  makes wood soft, and how to tie knots in vines, the proper way to chip flints into points, and all that sort of 
  thing. If a crafter has a high Aha Rating, he might even be able to invent a technology or two for the tribe. 
   
  Crafters get to add +1 to their Ugh Rating for the purposes of making rolls related to constructing stuff, +1 
  to their Aha Rating for making rolls related to understanding how stuff works, and +1 to their Mmm Rating for 
  making rolls related to talking about how stuff works. You also get an extra pick from the Equipment list (in the 
  Rewards section) at the start of any mission. 
   
  GATHERER 
  These guys roam the wilderness finding edible foliage for the tribe, raw materials for the crafters, or sources of 
  paints and stuff for the shamans. In general, they get the food that doesn’t require a lot of mental acuity or 
  physical agility to catch – like small animals that can be trapped, eggs gathered from nests, fruits and berries, 
  etc. Gatherers have to be careful – there’s no reference works yet to tell you what’s good to eat and what’s 
  poisonous, and some egg-laying animals are large, fanged, and aggressive. It’s not uncommon for gatherers to 
  fall prey to carnivorous animals that lie in wait for them. 
   
  Talent: Gatherers learn to pay attention to detail.3 They also learn how to carry a lot of stuff with them as 
  they wander the wilderness. They do some experimentation as they are frequently on their own away from the 
  tribe, and so may learn more about plants and animals than the rest of the tribe. They also learn to keep news 
  about the best foraging areas to themselves. 
   
  Gatherers get to add +1 to their Ugh Rating for the purposes of carrying stuff, +1 to their Aha Rating for 
  making rolls related to spotting things and for finding their way around in the wilderness, and +1 to their Mmm 
  Rating with regard to keeping secrets. 
   
  HUNTERS 
  Hunters track and attack prey animals to provide meat for the tribe. They spend lots of time away from the tribe 
  in small hunting parties following the game, since the animals all seem to have learned to stay away from the 
  humans’ home caves. Another worry is that the animals with the most meat seem the best able to defend 
  themselves, such as the cave bear or the great wooly mammoth – while one hunter might be able to take a cave 
  bear if he comes upon it while it’s hibernating, a mammoth requires an entire hunting party to set a trap. Even 
  then, the odds aren’t perfect and some mammoths end up taking out a lot of hunters before they disappear back 
  into the wilds. And some animals (such as wolves, or the dreaded saber-toothed tiger) are better at hunting men 
  than the men are at hunting them… 
   
  Talent: Hunters learn the finer points of using spears to kill prey. They learn how to follow prey. They get 
  to know the lay of the land and how to make it in the wilderness on their own. Since they spend a lot of time in 
  the company of other hunters, they learn quite a bit about how to stand out in a group of rivals. 
   
  Hunters get to add +1 to their Ugh Rating for the purposes of making rolls related to fighting, +1 to their 
  Aha Rating for making rolls related to hunting prey and finding their way around in the wilderness, and +1 to 
  their Mmm Rating with regard to boasting about their own abilities. 
   
  OPTIONAL RULE: Alternatively, the Darwin can determine that hunters get to add +1 to the damage they 
  inflict with any weapon instead. This will make them far more deadly than other Cavemen, and should probably 
                                                   
  3 “Was this the kind of leaf Arggh was eating when he died of fits? Did he say if it tasted good or not?” 
  
   
  4 
  be kept as a Talent for an Advanced Occupation (i.e., one not available at the start of the game) – like, say, 
  Warrior. 
   
  SHAMAN 
  The shamans intercede on behalf of the rest of their tribe with the invisible supernatural forces of the world. 
  Organized religion’s not around yet, so the shamans have it easy as far as obeying restrictive ecclesiastical 
  rules. On the other hand, no one’s quite sure what works yet, so most shamans end up trying a little bit of 
  everything they can think of: painting graffiti of power in the deeper caves, chanting and dancing (especially 
  around a fire), coming up with weird rules that all cavemen have to follow, and so on. Sometimes it even works 
  – or at least, it seems to. And every shaman keeps the first rule of his profession close to his heart: Confidence is 
  the key – never let the others know when you don’t know what you’re doing. If you can fool the invisible forces, 
  so much the better. 
   
  Talent: Shamans can call upon the invisible supernatural forces (whatever he conceives them to be) to grant 
  any one Caveman in their group a Boon of supernatural luck. In game terms, that Caveman may reroll any one 
  roll they have just made. The shaman must decide to do this before the consequences manifest themselves – 
  throwing up his arms, pointing at the lucky Caveman with weird finger positions, and chanting in a creepy 
  voice. The lucky Caveman can refuse the Boon, but the shaman still uses up his use of this ability. Any shaman 
  can do this but once before he has to purify himself and charge himself up with mojo, by drumming and 
  dancing and painting cave graffiti in complete solitude. Every day the shaman does this, he may make a roll 
  versus his Mmm Rating, and if successful, he regains the use of the Boon. 
   
  There are only a few other restrictions on this power: the shaman has to be able to see his target and a Boon 
  cannot be used on the Mmm Rating roll made to recharge a Boon. 
   
  Three shamans using their Boons together can grant a delayed Boon to any one Caveman. The lucky 
  recipient must not be a Shaman; he gets to use the Boon only for one of his own rolls; and, all three 
  participating Shamans use up their Boon to do this. Only one Caveman in any particular group can benefit from 
  the delayed Boon at one time (this is usually the chief). If someone else with a delayed Boon joins the group, the 
  Caveman who most recently gained the delayed Boon gets to keep it while the other one goes away without any 
  fanfare. Sucks to be that guy. 
   
  OTHER OCCUPATIONS 
  There are no other occupations available at the start of the game. There are no warriors yet, because no tribe 
  creates enough food reliably to allow anyone to slack off most of the time; usually hunters act in the place of 
  warriors whenever needed. There aren’t any herders in the player’s tribe yet because no one’s invented animal 
  domestication yet, nor animal husbandry.4 The Darwin may make these available for new characters as the 
  game progresses and the players’ tribe gains power and majesty. 
   
  TIME 
  This game takes place in an era before anyone’s measured the year and developed complex calendar systems 
  based on the phases of the moon, or star-groupings, or anything else for that matter. People measure time in 
  days and seasons and years, but there’s no standard reference telling you how long a season is – winter lasts 
  from the first frost to the final thaw, spring lasts from then until the ice disappears from the Big Rock 
  Mountains, and so on. 
   
  When the action is taking place very quickly, the Darwin should divide time into rounds. One round is 
  enough time for everyone in the group to take an Action: be it to jump into a cave, run for a distance (say as far 
  as you can go on one breath), swing for the other guy’s vitals or hurl the spear at the cave bear’s head, or cut the 
  rope trapping the shaman in the cage with the ravenous wolverine.  
   
  GAME MECHANICS 
                                                   
  4 Get your mind out of the gutter, you! They’re cavemen, not hillbillies! 
  
   
  5 
  The single die needed for this game is the six-sided die, herein after referred to as the d6. The single die 
  mechanic is this: in order to succeed at a task, the player must roll a d6 and try to get under the Rating most 
  appropriate for the task, subject to modifiers. For hitting something in combat, for instance, the player must roll 
  under his Caveman’s Ugh Rating. If his Caveman is a hunter, he gets to add +1 to his Ugh Rating for this 
  purpose, making it easier to hit his target. 
   
  The trick involved here is in the phrase “subject to modifiers.” There are two kinds of modifiers in the 
  game, Advantages and Obstacles. In all cases, Advantages and Obstacles add or subtract from the die doll 
  made: each applicable Advantage subtracts one from the die roll, while each applicable Obstacle adds one to the 
  die roll. No matter how elaborate the Advantage or Obstacle might be, the Darwin should only modify the roll 
  by one for each Advantage and Obstacle (with one or two specific exceptions) – highly-detailed number-
  crunching tends to interfere with the smooth flow of the action. This way, the Darwin just counts up the number 
  of Advantages and subtracts the number of Obstacles to derive the number to subtract from the die roll. 
   
  ADVANTAGES 
  An advantage is anything that helps your Caveman in his attempt to succeed. If you’ve got a trained wolf that 
  helps you sniff out prey, then that’s an Advantage to your ability to hunt prey. Similarly, a flint that sparks is an 
  Advantage when trying to survive in the wilderness overnight. A loincloth made out of an appropriate animal 
  pelt might be an Advantage when trying to pass oneself off as a member of another tribe. A root that gives the 
  eater a boost of energy might be an Advantage when trying to beat someone else in a footrace. And so on. 
   
  Every Advantage must be approved by the Darwin, but he is expected to allow the player Cavemen to 
  experiment with gaining Advantages through innovation and experimentation. 
   
  In essence, the Talents of the various Occupations are just special Advantages that the Cavemen can’t lose. 
   
  OBSTACLES 
  No one ever said survival would be easy. That’s where Obstacles come in. Obstacles are whatever hinders your 
  Caveman in his attempts to succeed. If your prey animal is cagey and tries to actively lose your hunter, then 
  that’s an Obstacle to your attempt to catch it. A particularly wide-ranging reputation might be an Obstacle if 
  you attempt to pass yourself off as somebody else. A person’s attempts to avoid being speared by you might be 
  an Obstacle for you in combat. 
   
  Every Obstacle your Caveman attempts to cause for his foes must be approved by the Darwin. The Darwin 
  is encouraged to allow players to be creative in coming up with ways to try to inconvenience their foes; this is a 
  time when even the most hackneyed, transparent  ploys have a chance of working – after all, they haven’t had 
  time yet to get “old.” 
   
  COMBAT 
  This game taking place in an age when really complex diplomacy hasn’t been invented yet, many situations end 
  up in combat or warfare. Therefore, this game has a few elaborations related to combat, in order to give it more 
  excitement. 
   
  Combat should be dramatic and fast-paced. Hence, the Darwin should divide the action sequence into 
  rounds, with each Caveman and each non-player character getting one Action each round. The following 
  maneuvers each require one Action to perform: 
  • Grab a target with a firm grip (with an Advantage bonus.) 
  • Taking a precise swing at a target, with or without a weapon (with an Advantage bonus.) 
  • Throwing one weapon precisely at a target (with an Advantage bonus.) 
  • Be fully defensive (see the special rule below for particulars.) 
  • Moving up to 20 feet on a level surface.5 
  • Making a running jump of up to Ugh Rating in feet vertically or twice Ugh Rating in feet horizontally 
  (succeed in a roll versus Ugh Rating or fall when you land.) 
                                                   
  5 Note that this rule is not used for races – for those, see the section titled Other Actions. 
  
   
  6 
  • Moving up to 40 feet on a level surface (but only if the previous round was spent moving.)6 
  • Digging an item out of a sack or other container that can be carried by one individual. 
  • Giving someone a Boon (shamans only.) 
   
  The following maneuvers each require one half of a normal Action to perform – a Caveman can thus 
  perform two in the same round: 
  • Grab a target with a weak or partial grip (with an Obstacle penalty.) 
  • Taking a wild swing at a target, with or without a weapon (with an Obstacle penalty.) 
  • Throwing a weapon wildly at a target (with an Obstacle penalty.) 
  • Try to escape from being grabbed (see the special rule below for particulars.) 
  • Be normally defensive (giving all attackers an Obstacle penalty when they swing at or try to grab you.) 
  • Moving up to 10 feet on a level surface.6 
  • Switching to another weapon carried at the belt or other easy-to-reach area. 
  • Making a jump of up to one-half Ugh Rating in feet vertically or Ugh Rating in feet horizontally 
  (succeed in a roll versus Ugh Rating with an Obstacle penalty or fall when you land.) 
  • Standing up. 
   
  When an attacker swings at an opponent with a shorter weapon, the attacker gets an Advantage for that 
  attack roll. 
   
  In general, while the Darwin is the final arbiter of the effectiveness of any particular maneuver a Caveman 
  attempts, in most cases he should at least let the player try – albeit perhaps with a substantial number of 
  Obstacle penalties for truly outrageous or heroic stunts. 
   
  When you successfully hit a target, you apply the damage of your weapon to them. See the Damage and 
  Recovery section for details. 
   
  FULL DEFENSE 
  In a fight, a Caveman might find himself at a serious disadvantage (no weapons, outnumbered, etc.) In these 
  cases, primitive instincts might cause him to start flailing around wildly with his arms or any available object, 
  trying to keep attackers at bay. If the player wishes his Caveman to take advantage of this maneuver, he must 
  actually pantomime the action for the amusement of the Darwin and the other players, and his Caveman reduces 
  all attackers’ rolls to hit him or grab him by three (3) points (like a triple Obstacle). A Caveman can only keep 
  this up for a number of consecutive rounds equal to his Ugh Rating, at which point he tires and can only 
  perform the normal defensive half-Action. 
   
  GRABBING THINGS 
  Wrestling is an ancient sport, but at the dawn of time its principles are still little understood by the average 
  Caveman-on-the-street. Thus, grabbing a target is an attack performed as normal, with the standard penalty if 
  the target is defensive. A grabbed target can’t normally swing or throw a weapon, move anywhere, or otherwise 
  perform any physical action. In order to escape once grabbed, the grappled Caveman must succeed in a roll 
  versus Ugh Rating, and furthermore must equal or beat a roll versus Ugh Rating made by the opponent grabbing 
  him. 
   
  Example: Arggh (Ugh 3) said something particularly crude to Grog (Ugh 4) while they were huddling under an 
  overhang for shelter from a storm, and Grog decides to throw him out into the weather. Grog first rolls versus his 
  Ugh Rating to grab Arggh; they’re both hunters, so Grog would normally need to roll a 5 or less on a d6 to grab 
  Arggh; however, the Darwin decides that both hunters are wet from the rain, so he imposes an Obstacle to Grog’s 
  attack. Grog rolls a 2 and succeeds in grabbing Arggh. 
   
  Now, Arggh gets a chance to escape from being grabbed. He needs to roll a 3 or less to try to escape. When 
  he does that, Grog must roll a 4 or less to try to hold onto him. If Arggh rolls a 1 (making his roll by 2) and Grog 
  rolls a 2 (also making his roll by 2), then Arggh will escape and still have a half-Action to move away or take a 
  swing at Grog. If Arggh rolls a 3 (making his roll exactly) and Grog rolls a 2 (making his roll by 2), then Grog will 
  hold onto Arggh and get to throw him out of the shelter in the next round. 
   
  
   
  7 
   
  Once you have a target grabbed, you can throw them a distance in feet equal to your Ugh Rating (which 
  does 1 damage point and moves the target), or squeeze them or bash them into the ground or another available 
  surface (which does 2 damage points but leaves the target in the same place). 
   
  OTHER ACTIONS 
  There are plenty of things to do besides fighting, of course. You can try to chat up a rival hunter to learn about 
  the next big mammoth hunt, or sneak around a rival tribe’s caves to try to learn how they make those round 
  things that roll around, or decoy a hunting party by outrunning their point men. All of these Actions should be 
  dramatically roleplayed using the basic roll-a-d6 mechanic. 
   
  The Darwin should divide the task into Elements. A race is easy, you just divide it by leg of the trip. For a 
  task like sneaking around the rival tribe’s home caves, you might sketch out a basic layout of the area and 
  divide the task into different areas of stealth (around the hunter’s practice area, by the river, over the grassy 
  sward where the shamans dance, etc.) A conversation could similarly be divided into different sections based on 
  where the player leads it. 
   
  Once the task is divided into distinct Elements, the Darwin determines any Advantages or Obstacles the 
  Caveman faces. Perhaps the hunter is quite willing to talk about himself (an Advantage) but has been told to 
  keep the hunt a secret (an Obstacle). A footrace (or chase) should be over a number of different types of terrain, 
  some easy (an Advantage for someone prepared ahead of time with rope or equipment), some difficult (rough 
  ground and sinkholes apply an Obstacle to everyone moving at a high speed through the area). 
   
  Then it’s time for the roleplaying. Cavemen should describe what they are doing to the best of their ability – 
  the more detail the better. After describing the attempted Action, the Caveman should roll versus the relevant 
  Rating. 
   
  A modified roll that is exactly equal to the Rating is a Partial Success – the Darwin should consider how 
  the Obstacle affected the Caveman despite his best efforts. Perhaps the hunting party hasn’t lost the Caveman’s 
  trail yet, perhaps the hunter let slip when the hunt is occurring but remains tight-lipped about the location of the 
  mammoth trap. A Partial Success is a sign that, while you’re winning, you haven’t won yet. 
   
  A modified roll that is one more than the Rating is a Partial Failure – the Caveman didn’t succeed in his 
  task, but some slight benefit still applies. He stepped on a twig, but while the hunters are looking around for the 
  source of the sound, they haven’t spotted him yet. The Caveman has fallen behind one of his rivals in the race, 
  but he’s still ahead of the rest of the pack. A Partial Failure is a sign that while you’re failing, you still have a 
  chance to pull a win out of the bag. 
   
  A modified roll that is under the Rating is a Complete Success – the Caveman has completely dominated 
  his rivals in this stretch of the task, or overcome the Obstacles. The Caveman just seemed to fly over the jagged 
  rocks littering the ground. The hunter tells the Caveman about how well he’s going to do at that mammoth hunt, 
  when they spring the trap they laid at the Old Pine Glen tomorrow. The Caveman manages to watch a rival 
  tribe’s best crafter carefully start a fire in a patch of grass or something. Note that there are still Elements of the 
  task left undone (like the next leg of the race, or discovering exactly which rocks the crafter struck together to 
  get those sparks), but this part is licked. The Darwin might consider giving the Caveman an Advantage for the 
  next Element or two, if it’s appropriate to the task. 
   
  A modified roll that is more than one higher than the Rating is a Complete Failure – this Element is lost. 
  The Caveman turns around to spot a group of the rival tribe’s gatherers returning from foraging, who spot him 
  and sound the alarm. A small hole twists the Caveman’s ankle, causing him to fall behind the racing pack. The 
  hunter realizes the Caveman is pumping him for information and runs off to tell his boss. The Darwin should 
  impose an Obstacle on the next one or more Elements, at least until the Caveman achieves a Partial Success. 
   
  Always remember, it’s much easier to lose an Advantage than it is get rid of an Obstacle. That’s life in the 
  Stone Age. 
   
  DAMAGE AND RECOVERY 
  It’s a tough world out there – big animals roaming around unchecked, rival tribes trying to dry-gulch you when 
  you’re not looking, and sometimes nature itself seems to have it in for you. All of these are resolved with the 
  
   
  8 
  basic roll-a-d6 mechanic. When you fail to do something that’s physically risky (like trying not to get hit in 
  combat or walking across a narrow ledge over a precipice) you take damage. 
   
  Damage points are directly subtracted from your Ugh Rating. (You can practically see them emerge from 
  the Caveman’s mouth in your mind’s eye, can’t you?) A single point of damage represents a serious blow, but 
  nothing that risks death. Three- or four-point injuries represent life-threatening trauma, and should be role-
  played as such. Most physical risks should carry one or at most two points of damage. Anything that can cause 
  three or more points of damage with a single failure should be adequately indicated as a suicidal risk by the 
  Darwin (“The winds howling from the seemingly-bottomless depths of the chasm actually almost lift you away 
  from its edge, as if invisible spirits were saying, ‘No, stupid, go back and evolve!’ and trying to pull you back.”) 
  Of course, in typical espionage fashion, the prize should be just beyond the players’ reach on the other side of 
  the suicidal obstacle (if it was easy, the chief would do this sort of thing himself). 
   
  In combat, of course, the chance for injury is great. Striking someone firmly with your fist or foot deals 1 
  point of damage; hitting someone with a weapon like a club or a spear (either wielded in the hands or thrown) 
  deals 2 points of damage. Some crafters will make really enormous clubs, or spears with huge, jagged flints 
  firmly attached to them – such weapons deal 3 points of damage, but continually cause the wielder to suffer an 
  Obstacle penalty in combat, since no one’s learned about leverage yet. 
   
  Losses in Ugh Rating affect your ability to perform physical tasks, thus you make rolls against the lowered 
  Rating score. When you lose all your Ugh Rating points to trauma (i.e., your Rating is at zero), you are 
  unconscious. If you go below zero, you’ll die. All things being equal, if you lie around unconscious in the 
  wilderness, there’s a much better than even chance that you’ll wake up dead in some critter’s gullet. So to 
  speak. 
   
  Recovery is always a long, slow process. Medicine is extremely primitive – they haven’t even learned the 
  bad tricks like leeching yet. About the only thing the shamans know how to do is, give you different kinds of 
  herbs and hope one does the trick. If your headaches still persist, the shaman will drill a hole in your head to let 
  the pain out; it sounds really bad, but it seems to work. And you can make the patients jerk around sometimes 
  by poking the soft spot in their skulls when they’re sleeping. Cavemen recovering in the wild regain 1 point of 
  Ugh Rating for every six days they rest; resting involves minimal movement, no long distance travel, and only 
  the most rudimentary survival tasks. Cavemen recovering in the comfort of the home caves regain twice that 
  many, or 1 point of Ugh Rating for every three days of rest. 
   
  No one’s invented armor or shields yet, either. So, don’t get hit, okay?!? 
   
  REWARDS 
  Needless to say, there must be some reward for all this toil. Since this is before commendations or medals, and 
  social hierarchies haven’t developed more than three levels (Chief – Adults – Children), rewards take two 
  forms: Equipment and Evolution Points. 
   
  EQUIPMENT 
  This section is really short for an espionage game. No one’s invented currency yet, so if you want something 
  better than what you have, you have to either ask your chief for it, steal it from someone else, or bargain with a 
  crafter for it. 
  Item 
  Weight (in stones) Notes 
  Axe 
  ¼ 
  stone-headed, crafters only; does 3 damage, gives an Obstacle penalty 
  Clothes 
  ¼ 
  made from leather, they’re fairly heavy 
  Club 
  ¼ 
  wooden, anyone can make one; does 2 damage 
  Gourd 
  ⅛ 
  this hollowed-out fruit rind holds 1 quart of water 
  Great Club 
  ½ 
  wooden, crafters only; does 3 damage, gives an Obstacle penalty 
  Long Spear 
  ½ 
  stone-headed, crafters only; does 3 damage, gives an Obstacle penalty 
  Jar 
  ⅛ 
  this clay jug holds 2 quarts of water 
  Javelin 
  ⅛ 
  wooden, crafters only; does 1 damage, thrown only 
  Sack 
  0 
  this leather carryall can carry about a stone’s worth of stuff 
  
   
  9 
  Spear 
  ¼ 
  stone-headed, crafters only; does 2 damage 
   
  More elaborate equipment will have to wait until you steal some technology. What types of equipment will be 
  available then depends on the Darwin’s goals for the campaign, but once the domestication of animals has been 
  achieved, almost the full range of Flintstones-style gadgetry is possible (not plausible, just possible in an 
  espionage game.) 
   
  EVOLUTION POINTS 
  As in any role-playing game, players will look for methods to improve themselves. In O:C, this is handled with 
  Evolution Points (or EPs). Players receive EPs for their Cavemen at the end of any mission. In general, the 
  Darwin should award the players with one EP for each session that the mission took; if the mission was 
  successful and he feels the players role-played well, he may give them another EP for this. Players should track 
  their EPs. 
   
  EPs may be spent to improve a Caveman’s abilities. Rating may not be increased (no one has invented 
  training courses or exercise regimens yet) but Cavemen may learn new Talents. As explained in the Advantages 
  section, a Talent is like an Advantage that the Caveman can’t lose. A Caveman may spend 5 EPs and gain a 
  new Talent of his choice. He must justify it to the Darwin, and the Advantage must only apply to one facet of 
  life (i.e., it should be no more broad than the abilities listed under the various Caveman Occupations). 
   
  OPTIONAL RULE: EVOLVE OR DIE! 
  Sometimes it seems like nature itself is against you. Lightning happens to strike the tree you’re standing under. 
  A boulder just happens to drop right on your Caveman just as he exits his cave to join the group (perhaps with a 
  pictograph “secret message” hidden inside!) The plant he just ate, which looks just like the plants everyone else 
  is eating, just happens to be a look-alike that contains deadly poison. 
   
  In order to provide some structure for this sort of thing to the Darwin, the Evolve Or Die! rule has been 
  developed. 
   
  To use this rule, the Darwin should keep careful track of every time one of the Cavemen breaks one of the 
  guidelines given under the individual Ratings (i.e., a low-Aha character uses big words, a low-Mmm character 
  tries to keep too many lies in play at once, etc.) Every time a Caveman breaks a guideline, the Darwin should 
  make a checkmark, and then make a d6 roll. If the roll is more than the number of checkmarks a Caveman has 
  accumulated, then he’s alright. If the roll is equal to or less than the number of checkmarks, Something Bad 
  Happens to the Caveman. If he’s been playing well, perhaps it’s something that can be escaped with a series of 
  death-defying stunts or clever ploys. If his playing has been half-hearted, perhaps it is instantly fatal. 
   
  In any case, if this rule is used, the Darwin should consider allowing Cavemen to spend 3 EPs to avoid the 
  awful doom. Spending EPs in this way does not reduce the number of checkmarks already achieved. 
  
   
  10 
  LICENSE 
   
  CREATIVE COMMONS CORPORATION IS NOT A LAW FIRM AND DOES NOT PROVIDE LEGAL SERVICES. DISTRIBUTION OF THIS LICENSE 
  DOES NOT CREATE AN ATTORNEY-CLIENT RELATIONSHIP. CREATIVE COMMONS PROVIDES THIS INFORMATION ON AN "AS-IS" BASIS. 
  CREATIVE COMMONS MAKES NO WARRANTIES REGARDING THE INFORMATION PROVIDED, AND DISCLAIMS LIABILITY FOR DAMAGES 
  RESULTING FROM ITS USE.  
   
  THE WORK (AS DEFINED BELOW) IS PROVIDED UNDER THE TERMS OF THIS CREATIVE COMMONS PUBLIC LICENSE ("CCPL" OR 
  "LICENSE"). THE WORK IS PROTECTED BY COPYRIGHT AND/OR OTHER APPLICABLE LAW. ANY USE OF THE WORK OTHER THAN AS 
  AUTHORIZED UNDER THIS LICENSE OR COPYRIGHT LAW IS PROHIBITED. 
   
  BY EXERCISING ANY RIGHTS TO THE WORK PROVIDED HERE, YOU ACCEPT AND AGREE TO BE BOUND BY THE TERMS OF THIS 
  LICENSE. TO THE EXTENT THIS LICENSE MAY BE CONSIDERED TO BE A CONTRACT, THE LICENSOR GRANTS YOU THE RIGHTS 
  CONTAINED HERE IN CONSIDERATION OF YOUR ACCEPTANCE OF SUCH TERMS AND CONDITIONS. 
  1. Definitions 
  a. 
  "Collective Work" means a work, such as a periodical issue, anthology or encyclopedia, in which the Work in its entirety in unmodified form, 
  along with one or more other contributions, constituting separate and independent works in themselves, are assembled into a collective whole. 
  A work that constitutes a Collective Work will not be considered a Derivative Work (as defined below) for the purposes of this License. 
  b. 
  "Creative Commons Compatible License" means a license that is listed at http://creativecommons.org/compatiblelicenses that has been 
  approved by Creative Commons as being essentially equivalent to this License, including, at a minimum, because that license: (i) contains 
  terms that have the same purpose, meaning and effect as the License Elements of this License; and, (ii) explicitly permits the relicensing of 
  derivatives of works made available under that license under this License or either a Creative Commons unported license or a Creative 
  Commons jurisdiction license with the same License Elements as this License. 
  c. 
  "Derivative Work" means a work based upon the Work or upon the Work and other pre-existing works, such as a translation, musical 
  arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other 
  form in which the Work may be recast, transformed, or adapted, except that a work that constitutes a Collective Work will not be considered a 
  Derivative Work for the purpose of this License. For the avoidance of doubt, where the Work is a musical composition or sound recording, the 
  synchronization of the Work in timed-relation with a moving image ("synching") will be considered a Derivative Work for the purpose of this 
  License. 
  d. 
  "License Elements" means the following high-level license attributes as selected by Licensor and indicated in the title of this License: 
  Attribution, ShareAlike. 
  e. 
  "Licensor" means the individual, individuals, entity or entities that offers the Work under the terms of this License. 
  f. 
  "Original Author" means the individual, individuals, entity or entities who created the Work. 
  g. 
  "Work" means the copyrightable work of authorship offered under the terms of this License. 
  h. 
  "You" means an individual or entity exercising rights under this License who has not previously violated the terms of this License with respect 
  to the Work, or who has received express permission from the Licensor to exercise rights under this License despite a previous violation. 
  2. Fair Use Rights. Nothing in this license is intended to reduce, limit, or restrict any rights arising from fair use, first sale or other limitations on the 
  exclusive rights of the copyright owner under copyright law or other applicable laws. 
  3. License Grant. Subject to the terms and conditions of this License, Licensor hereby grants You a worldwide, royalty-free, non-exclusive, perpetual 
  (for the duration of the applicable copyright) license to exercise the rights in the Work as stated below: 
  a. 
  to reproduce the Work, to incorporate the Work into one or more Collective Works, and to reproduce the Work as incorporated in the 
  Collective Works; 
  b. 
  to create and reproduce Derivative Works provided that any such Derivative Work, including any translation in any medium, takes reasonable 
  steps to clearly label, demarcate or otherwise identify that changes were made to the original Work. For example, a translation could be 
  marked "The original work was translated from English to Spanish," or a modification could indicate "The original work has been modified."; 
  c. 
  to distribute copies or phonorecords of, display publicly, perform publicly, and perform publicly by means of a digital audio transmission the 
  Work including as incorporated in Collective Works; 
  d. 
  to distribute copies or phonorecords of, display publicly, perform publicly, and perform publicly by means of a digital audio transmission 
  Derivative Works. 
  e. 
  For the avoidance of doubt, where the Work is a musical composition: 
  i. 
  Performance Royalties Under Blanket Licenses. Licensor waives the exclusive right to collect, whether individually or, in the 
  event that Licensor is a member of a performance rights society (e.g. ASCAP, BMI, SESAC), via that society, royalties for the public 
  performance or public digital performance (e.g. webcast) of the Work. 
  ii. 
  Mechanical Rights and Statutory Royalties. Licensor waives the exclusive right to collect, whether individually or via a music 
  rights agency or designated agent (e.g. Harry Fox Agency), royalties for any phonorecord You create from the Work ("cover 
  version") and distribute, subject to the compulsory license created by 17 USC Section 115 of the US Copyright Act (or the equivalent 
  in other jurisdictions). 
  f. 
  Webcasting Rights and Statutory Royalties. For the avoidance of doubt, where the Work is a sound recording, Licensor waives the 
  exclusive right to collect, whether individually or via a performance-rights society (e.g. SoundExchange), royalties for the public digital 
  performance (e.g. webcast) of the Work, subject to the compulsory license created by 17 USC Section 114 of the US Copyright Act (or the 
  equivalent in other jurisdictions). 
  The above rights may be exercised in all media and formats whether now known or hereafter devised. The above rights include the right to make such 
  modifications as are technically necessary to exercise the rights in other media and formats. All rights not expressly granted by Licensor are hereby 
  reserved. 
  4. Restrictions. The license granted in Section 3 above is expressly made subject to and limited by the following restrictions: 
  a. 
  You may distribute, publicly display, publicly perform, or publicly digitally perform the Work only under the terms of this License, and You must 
  include a copy of, or the Uniform Resource Identifier for, this License with every copy or phonorecord of the Work You distribute, publicly 
  display, publicly perform, or publicly digitally perform. You may not offer or impose any terms on the Work that restrict the terms of this License 
  or the ability of a recipient of the Work to exercise of the rights granted to that recipient under the terms of the License. You may not 
  sublicense the Work. You must keep intact all notices that refer to this License and to the disclaimer of warranties. When You distribute, 
  publicly display, publicly perform, or publicly digitally perform the Work, You may not impose any technological measures on the Work that 
  restrict the ability of a recipient of the Work from You to exercise of the rights granted to that recipient under the terms of the License. This 
  Section 4(a) applies to the Work as incorporated in a Collective Work, but this does not require the Collective Work apart from the Work itself 
  to be made subject to the terms of this License. If You create a Collective Work, upon notice from any Licensor You must, to the extent 
  practicable, remove from the Collective Work any credit as required by Section 4(c), as requested. If You create a Derivative Work, upon 
  notice from any Licensor You must, to the extent practicable, remove from the Derivative Work any credit as required by Section 4(c), as 
  requested. 
  
   
  11 
  b. 
  You may distribute, publicly display, publicly perform, or publicly digitally perform a Derivative Work only under: (i) the terms of this License; (ii) 
  a later version of this License with the same License Elements as this License; (iii) either the Creative Commons (Unported) license or a 
  Creative Commons jurisdiction license (either this or a later license version) that contains the same License Elements as this License (e.g. 
  Attribution-ShareAlike 3.0 (Unported)); (iv) a Creative Commons Compatible License. If you license the Derivative Work under one of the 
  licenses mentioned in (iv), you must comply with the terms of that license. If you license the Derivative Work under the terms of any of the 
  licenses mentioned in (i), (ii) or (iii) (the "Applicable License"), you must comply with the terms of the Applicable License generally and with the 
  following provisions: (I) You must include a copy of, or the Uniform Resource Identifier for, the Applicable License with every copy or 
  phonorecord of each Derivative Work You distribute, publicly display, publicly perform, or publicly digitally perform; (II) You may not offer or 
  impose any terms on the Derivative Works that restrict the terms of the Applicable License or the ability of a recipient of the Work to exercise 
  the rights granted to that recipient under the terms of the Applicable License; (III) You must keep intact all notices that refer to the Applicable 
  License and to the disclaimer of warranties; and, (IV) when You distribute, publicly display, publicly perform, or publicly digitally perform the 
  Work, You may not impose any technological measures on the Derivative Work that restrict the ability of a recipient of the Derivative Work 
  from You to exercise the rights granted to that recipient under the terms of the Applicable License. This Section 4(b) applies to the Derivative 
  Work as incorporated in a Collective Work, but this does not require the Collective Work apart from the Derivative Work itself to be made 
  subject to the terms of the Applicable License. 
  c. 
  If You distribute, publicly display, publicly perform, or publicly digitally perform the Work (as defined in Section 1 above) or any Derivative 
  Works (as defined in Section 1 above) or Collective Works (as defined in Section 1 above), You must, unless a request has been made 
  pursuant to Section 4(a), keep intact all copyright notices for the Work and provide, reasonable to the medium or means You are utilizing: (i) 
  the name of the Original Author (or pseudonym, if applicable) if supplied, and/or (ii) if the Original Author and/or Licensor designate another 
  party or parties (e.g. a sponsor institute, publishing entity, journal) for attribution ("Attribution Parties") in Licensor's copyright notice, terms of 
  service or by other reasonable means, the name of such party or parties; the title of the Work if supplied; to the extent reasonably practicable, 
  the Uniform Resource Identifier, if any, that Licensor specifies to be associated with the Work, unless such URI does not refer to the copyright 
  notice or licensing information for the Work; and, consistent with Section 3(b) in the case of a Derivative Work, a credit identifying the use of 
  the Work in the Derivative Work (e.g., "French translation of the Work by Original Author," or "Screenplay based on original Work by Original 
  Author"). The credit required by this Section 4(c) may be implemented in any reasonable manner; provided, however, that in the case of a 
  Derivative Work or Collective Work, at a minimum such credit will appear, if a credit for all contributing authors of the Derivative Work or 
  Collective Work appears, then as part of these credits and in a manner at least as prominent as the credits for the other contributing authors. 
  For the avoidance of doubt, You may only use the credit required by this Section for the purpose of attribution in the manner set out above 
  and, by exercising Your rights under this License, You may not implicitly or explicitly assert or imply any connection with, sponsorship or 
  endorsement by the Original Author, Licensor and/or Attribution Parties, as appropriate, of You or Your use of the Work, without the separate, 
  express prior written permission of the Original Author, Licensor and/or Attribution Parties. 
  5. Representations, Warranties and Disclaimer 
  UNLESS OTHERWISE MUTUALLY AGREED TO BY THE PARTIES IN WRITING, LICENSOR OFFERS THE WORK AS-IS AND ONLY TO THE 
  EXTENT OF ANY RIGHTS HELD IN THE LICENSED WORK BY THE LICENSOR. THE LICENSOR MAKES NO REPRESENTATIONS OR 
  WARRANTIES OF ANY KIND CONCERNING THE WORK, EXPRESS, IMPLIED, STATUTORY OR OTHERWISE, INCLUDING, WITHOUT 
  LIMITATION, WARRANTIES OF TITLE, MARKETABILITY, MERCHANTIBILITY, FITNESS FOR A PARTICULAR PURPOSE, NONINFRINGEMENT, 
  OR THE ABSENCE OF LATENT OR OTHER DEFECTS, ACCURACY, OR THE PRESENCE OF ABSENCE OF ERRORS, WHETHER OR NOT 
  DISCOVERABLE. SOME JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTIES, SO SUCH EXCLUSION MAY NOT 
  APPLY TO YOU. 
  6. Limitation on Liability. EXCEPT TO THE EXTENT REQUIRED BY APPLICABLE LAW, IN NO EVENT WILL LICENSOR BE LIABLE TO YOU ON 
  ANY LEGAL THEORY FOR ANY SPECIAL, INCIDENTAL, CONSEQUENTIAL, PUNITIVE OR EXEMPLARY DAMAGES ARISING OUT OF THIS 
  LICENSE OR THE USE OF THE WORK, EVEN IF LICENSOR HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. 
  7. Termination 
  a. 
  This License and the rights granted hereunder will terminate automatically upon any breach by You of the terms of this License. Individuals or 
  entities who have received Derivative Works or Collective Works from You under this License, however, will not have their licenses terminated 
  provided such individuals or entities remain in full compliance with those licenses. Sections 1, 2, 5, 6, 7, and 8 will survive any termination of 
  this License. 
  b. 
  Subject to the above terms and conditions, the license granted here is perpetual (for the duration of the applicable copyright in the Work). 
  Notwithstanding the above, Licensor reserves the right to release the Work under different license terms or to stop distributing the Work at any 
  time; provided, however that any such election will not serve to withdraw this License (or any other license that has been, or is required to be, 
  granted under the terms of this License), and this License will continue in full force and effect unless terminated as stated above. 
  8. Miscellaneous 
  a. 
  Each time You distribute or publicly digitally perform the Work (as defined in Section 1 above) or a Collective Work (as defined in Section 1 
  above), the Licensor offers to the recipient a license to the Work on the same terms and conditions as the license granted to You under this 
  License. 
  b. 
  Each time You distribute or publicly digitally perform a Derivative Work, Licensor offers to the recipient a license to the original Work on the 
  same terms and conditions as the license granted to You under this License. 
  c. 
  If any provision of this License is invalid or unenforceable under applicable law, it shall not affect the validity or enforceability of the remainder 
  of the terms of this License, and without further action by the parties to this agreement, such provision shall be reformed to the minimum 
  extent necessary to make such provision valid and enforceable. 
  d. 
  No term or provision of this License shall be deemed waived and no breach consented to unless such waiver or consent shall be in writing and 
  signed by the party to be charged with such waiver or consent. 
  e. 
  This License constitutes the entire agreement between the parties with respect to the Work licensed here. There are no understandings, 
  agreements or representations with respect to the Work not specified here. Licensor shall not be bound by any additional provisions that may 
  appear in any communication from You. This License may not be modified without the mutual written agreement of the Licensor and You. 
   
  Creative Commons Notice 
  Creative Commons is not a party to this License, and makes no warranty whatsoever in connection with the Work. Creative Commons will not be liable 
  to You or any party on any legal theory for any damages whatsoever, including without limitation any general, special, incidental or consequential 
  damages arising in connection to this license. Notwithstanding the foregoing two (2) sentences, if Creative Commons has expressly identified itself as 
  the Licensor hereunder, it shall have all rights and obligations of Licensor. 
   
  Except for the limited purpose of indicating to the public that the Work is licensed under the CCPL, Creative Commons does not authorize the use 
  by either party of the trademark "Creative Commons" or any related trademark or logo of Creative Commons without the prior written consent of Creative 
  Commons. Any permitted use will be in compliance with Creative Commons' then-current trademark usage guidelines, as may be published on its 
  website or otherwise made available upon request from time to time. For the avoidance of doubt, this trademark restriction does not form part of this 
  License. Creative Commons may be contacted at http://creativecommons.org/. 
  
SOURCE: textdata/thevault/Flintstones/Operation_Caveman.pdf