TEXT: A  R O L E P L AY I N G  GA M E  BY
  C H R I S T O P H E R  G R E Y
  A  R O L E P L AY I N G  GA M E  BY
  C H R I S T O P H E R  G R E Y
  
  How long have you searched for me while I slept below? 
  All of your life I have filled your heart with laughter. 
  Now you shall repay me in screams. 
  
  CHRISTOPHER GREY
  Author
  IAN LLANAS
  Cover Art
  ROBERT HEBERT
  Interior Art
  JOHN ADAMUS
  Editor
  JOHN 'ENGER' CHENG
  Layout Designer
  ROBERT M. EVERSON
  Proof Editor
  MR. MOUSE
  Because He Demanded Credit
  The Happiest
  APOCALYPSE
  On Earth
  
  For my kid. 
  This was his idea.
  
  5
  A Christopher.World Publication
  www.christopher.world
  @greyauthor on Twitter
  +ChristopherGreyAuthor on Google+
  /greyauthor on Facebook
  The Happiest Apocalypse on Earth was heavily inspired by Apocalypse World by D. Vincent Baker and Meguey Baker and is Powered by the Apocalypse. 
  Other Direct Inspirations:
  Monster of the Week by Michael Sands
  tremulus by Sean Preston
  Bedlam Hall by David Kizzia
  The text of The Happiest Apocalypse on Earth by Christopher Grey is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. 
  Some rights reserved. You are free to copy and redistribute the material in any medium or format and adapt, remix, transform, and build upon the material 
  for any purpose even commercially under the following terms: you must give appropriate credit, provide a link to the license, and indicate if changes were 
  made and if you remix, transform or build upon the material, you must distribute your contributions under the same license as the original. This is a Free 
  Culture License! Enjoy and make great work!
  Cover art copyright © 2017 by Ian Lanas, all rights reserved.
  Interior art copyright © 2017 by Robert Hebert, all rights reserved.
  No artwork from this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other 
  electronic or mechanical methods, without the prior written permission of the artists.
  However, if you are making a copy for personal purposes, don’t worry about any of that previous copyright stuff. Just do it. This is your express written 
  permission. Make sure the person at the copy shop sees this so that he or she knows it’s okay with the author and artists.
  DriveThru RPG PDF Edition.
  ISBN: 978-0-9997957-0-5
  
  6
  CONTENTS
  Acknowledgments  
   
   
  7
  Citizens of Mouse Park 
   
   
  8
  Happiest Apocalypse 
   
   
  11
  Entering Mouse Park 
   
   
  12
   
  Narrators and Players 
   
  12
   
  Why Play? 
   
   
   
  15
   
  How to Play  
   
   
  15
   
  Player Agenda 
   
   
  16
   
  Using Moves  
   
   
  18
   
  Harm and Shock 
   
   
  19
   
  Armor, Wards, and Merchandise 20
   
  Growth Opportunities 
   
  21
  Playing in Mouse Park 
   
   
  23
   
  Custom Mouse Park  
   
  25
   
  Mouse Park Attractions 
   
  25
  You  
   
   
   
   
  29
   
  Stats  
   
   
   
  29
   
  Basic Moves  
   
   
  30
  A Little About Yourself 
   
   
  34
   
  What is Your Personality Type? 
  34
   
   
  Sanguine 
   
   
  34
   
   
  Choleric 
   
   
  35
   
   
  Melancholic  
   
  36
   
   
  Phlegmatic 
   
   
  37
   
  What's Your Work History? 
  40
   
   
  Unemployed  
   
  40
   
   
  Service Industry 
   
  41
   
   
  Blue Collar 
   
   
  42
   
   
  Professional  
   
  44
   
  Guests  
   
   
   
  47
   
  Mousineers  
   
   
  50
   
   
  Attractions 
   
   
  50
   
   
  Entertainment 
   
  51
   
   
  Guest Relations 
   
  51
   
   
  Maintenance  
   
  52
   
   
  Security 
   
   
  52
   
   
  Service 
   
   
  53
   
  Mousineer Moves 
   
   
  53
   
  Who Are Your Pals?  
   
  56
  Narrator 
   
   
   
   
  59
   
  Narrator Agenda 
   
   
  59
   
  Narrator Principles  
   
  60
   
  Always Say  
   
   
  61
   
  Before the First Game 
   
  62
   
  Running the Game  
   
  62
   
  Narrator Moves 
   
   
  65
   
  Dangers 
   
   
   
  68
   
  Incidents 
   
   
   
  72
   
   
  Major Incident 
   
  72
   
   
  Minor Incident 
   
  74
   
   
  Danger Traits  
   
  76
   
   
  Create the Setting 
   
  77
   
   
  Starting the Incident  
  77
   
   
  Using Incidents 
   
  78
  Incident File 
   
   
   
  80
   
  Yo Ho, Yo Ho 
   
   
  80
   
  Retro Apprentice 
   
   
  81
   
  What's That in My Frozen Treat? 83
   
  The Hanging Tree 
   
   
  85
   
  What a Wittle World  
   
  89
   
  Heart’s Desire 
   
   
  90
   
  Soul Cake 
   
   
   
  92
   
  The Hall of Assassins 
   
  93
   
  Sword Out of the Stone 
   
  94
  
  7
  ACKNOWLEDGMENTS
  Thank you to my wife and son, without your support and endless patience I couldn’t have gone on this 
  journey. Thank you to David and Jadine Kizzia, you are amazing people and I’m very fortunate that I 
  can call you friends. The success of this project is because of your insights and guidance. 
  To all of the playtesters and those who backed my Patreon and moved on to back the Kickstarter—It’s 
  your fault the game works, I blame you. Thanks Angel Garcia Jimenez, Zackery Wolfe (to whom I owe 
  so many incident ideas), Travis Stodter, Matthew Muth, Greg Trent, Robert Bohl, Rach Shelkey, those 
  of you on the HAoE Discord who may be listed more than once since I don’t know your REAL names, 
  Xgamer4, eliasswift, daoizmz. I wish I could thank everyone that’s touched the game during the process. 
  You’ve made it what it is.
  I owe a debt of gratitude to the tireless people in the tabletop roleplaying podcast community. Rich 
  Rogers, Jason Cordova and all the people at The Gauntlet and +1Forward for your support and cama-
  raderie. The whole crew at Happy Jacks RPG Podcast with whom I’ve had the awesome pleasure of 
  meeting, gaming with, and having rowdy con nights with: Stu, Stork, JiB, CADave, Gina, Kimi, Kirk, 
  Robert, Tim, Tomes—y’all know who you are. Keep up the great work/fun. Chris Sniezak, you’ve been 
  a great sounding board and friend, and I can’t wait to work together. Senda, Bob, Phil, Shawn, the rest 
  of Misdirected Mark you’re the best. Thank you to Brett and Sean at Gaming and BS, we’ve never met 
  but I feel like I’ve been gaming with you for years. Michael at RPG Academy, such fun to talk with you 
  and share experiences. Minionworks—you were the first actual play! Doug Shute at Victory Condition 
  Gaming, your enthusiasm is infectious. Everyone at Fear the Boot, you have been an inspiration.
  My cousins who had no idea I did this stuff before: Trent, Ashley, Alyssa. My mom and dad who 
  ceaselessly support all my crazy ideas.
  My Sunday Roll20 D&D group: Anna, DC, Will, and Roberto. You’re responsible for reigniting my 
  love for the hobby and I’m sorry for talking about PbtA all the time.
  Strategicon and Jim Sandoval for giving me a platform to play the hell out of this game. And the folks 
  at 2CGaming, cause you guys are awesome and I love working with you.
  D. Vincent Baker and Meguey Baker, Michael Sands, Sean Preston, and all of those game designers that 
  I stand on the shoulders of.
  I owe so much to so many people, I hope some day I can pay it forward.
  
  8
  CITIZENS OF MOUSE PARK
  Thank you to all of the Kickstarter backers 
  that stepped forward to make this game a reality. 
  MOUSINEERS
  Danny Atwood
  Phillip Bailey
  Blair
  Christian Edwin Boyd
  Chris Constantin
  Mark Edwards
  Fairystail
  Kyle “Lord Flabbit” Gwillim
  Chris Huddleston
  Gremlin Legions
  Ian McFarlin
  Matthew Muth
  Troy Pichelman
  Mike Shema
  Sydney Shute and Doug Shute
  Joe Stivala
  Joseph “ZombieChan” Thompson
  Jason “JiB” Tryon
  FRIENDS OF THE MOUSE
  Tom Van Blarcom
  Maxime Bouchard
  Jon Liming
  James Millburn
  Steven M. Smith
  BUDDY OF THE MOUSE
  Monkeyfun Studios
  INITIATE OF THE MOUSE
  Bri
  Wendy Wojda and Adam “Teddy” Byrd
  
  I 
  grew up going to Southern California for 
  vacations. My dad’s family lived out there and 
  so we would spend two weeks at Manhattan 
  Beach boogie boarding, getting too much sun, and 
  eating Grandma’s signature bouillabaisse. On one of 
  those days, every year, we would go to Disneyland or 
  Universal Studios. For a Colorado kid whose idea of 
  a theme park was once bulldozed and replaced by a 
  Six Flags, it was the most magical experience I could 
  possibly imagine.
  When I grew up, my wife and I moved to Los 
  Angeles and one of the first things we did was hit 
  the theme parks. Eventually we would become 
  passholders and resident experts on the parks. In 
  many ways, frequenting them as an adult was more 
  magical than when I was a kid. I could marvel at 
  the artistry, the ambiance, the attention to detail. 
  I could relish in the stories that would be inspired 
  from our experiences. But inevitably those stories 
  would turn dark.
  If you frequent these parks for any amount of 
  time, the magic fades and the “what ifs” begin. 
  What if we were stuck in here for days? What if 
  someone attacked us and we had to run in the 
  middle of the ride? What if those animatronics 
  came alive and tried to eat us?
  Later on in life we had a kid, and so we 
  took him to the parks as parents; the third 
  chapter of my experience with Southern 
  Californian theme parks. Like the transition from 
  kid to adult, the experience was completely 
  different—and just as enjoyable. But once again, the 
  veneer goes away with quantities of visits, and the 
  “what ifs” return. 
  My kid would grow up to love horror and latched 
  onto Five Nights at Freddy’s and Creepypasta. My 
  wife would move on to become a horror novelist. 
  It was only a matter of time before they started 
  rubbing off on me.
  As my kid and I were playing Monster of the 
  Week by Michael Sands, he said, “I want to play in 
  a theme park.”
  I said “Sure.”
  Then he said, “Run by Cthulhu.”
  And an idea was born.
  I hope you find hours of humor and dread, like 
  we have. 
  Lower your head and watch your step…
  -Christopher Grey, 2018
  
  10
  It’s different for me than it is for everyone else, 
  but I don’t mind. Most people can’t see me, unless 
  sometimes when I put on my mask. If I do it just 
  right, they give me sweets or bubbly soda, especially 
  if they think I’m looking for my mommy and daddy. 
  I don’t look like other kids. Their dresses are 
  prettier than mine and they have nicer toys. They 
  like to laugh. I don’t laugh so much anymore. Some 
  of them cry. I never do that.
  I wish I could go on the rides, but my body doesn’t 
  work anymore. I get jealous of the other children who 
  get to go on them and have fun. Mr. Mouse tells me 
  that the rides aren’t for me. He says they are to 
  numb their minds, but I don’t know what that means.
  I get lonely sometimes. Mr. Mouse will notice and 
  he’ll take my hand and walk me down Main Street. 
  His fingers are pointy, but he wears white gloves so 
  they don’t scratch me. I used to be afraid of him, but 
  I’m not anymore. I like our walks. He likes to point 
  at people and tell me what they’re thinking. He tells 
  me all their secrets.
  On Sundays we drink tea above the fire station. 
  Mr. Mouse likes to sleep there. He doesn’t give me 
  chores on Sundays. He says it is a tradition, but he 
  still makes all the others pick up the trash and put 
  away the dead people. I think he just likes me most.
  It’s nice here, even if the people can’t see me and 
  even if I can’t go on the rides. Mr. Mouse lets me put 
  on my mask as often as I want, so I can feel like I’m 
  one of them.
  I like it here, except for those times when it gets 
  cold and Mr. Mouse shows his real face. 
  That’s when I’m scared.
  
  11
  HAPPIEST APOCALYPSE
  A
  ll of your life you’ve been lied to. You and 
  generations before you embraced a glowing 
  beacon of innocence that taught us right from 
  wrong and shaped us into the adults we became. 
  At face value, there is little about Mouse Park 
  we can criticize. It is a celebration of life. It is the 
  quintessential family vacation. It is an icon of joy. It 
  represents the best of all of us.
  You do not want to know what lies beneath.
  Many of the employees here, we call them 
  Mousineers, have no idea what they perpetuate, 
  the secrets that lie in wait, and what terror lurks 
  just beyond. I’m certain some of them have 
  noticed—some maybe even saw some things. 
  But they stay willfully ignorant. They make 
  rationalizations for the missing guests, the spilled 
  blood, and the strange creatures that inhabit the 
  dark recesses of the park. They make excuses 
  or act like they haven’t seen anything—or they 
  consciously forget.
  Others have seen atrocities far more than their 
  minds could take. Maybe they blocked it out, or 
  worse, became altogether catatonic. Some left 
  completely and fell into bouts of depression and 
  self-destruction. Others went mad, lost everything, 
  and now live on the streets or in hospitals.
  Then there are Mousineers that know about 
  what goes on in Mouse Park. Perhaps they had 
  a hand in “cleaning” something up. Maybe they 
  serve the darkness because they are afraid of being 
  found out, scared of being made culpable. They 
  serve for fear of the wrath of What Lies Beneath 
  and commit atrocities on its behalf, to save their 
  own necks—or sanity. Others may relish in service. 
  They seek out ways to satiate the power of Mouse 
  Park with blood and sacrifice.
  Now you are here. What you know about Mouse 
  Park is up to you, but whether you are ignorant or 
  not—you must face the truth of the Great Mouse 
  Who Lies Beneath, the ancient mystical orders 
  that protect Him, the sacrifices those in the park 
  must endure, and the beasts of horror that spawn 
  from His depths. You may choose to protect the 
  innocent from the terrors of Mouse Park, or you 
  may wish to perpetuate the terror. Whatever your 
  course, you are in it now. The truth of Mouse Park 
  can no longer be ignored or forgotten.
  When the years were ancient and the towns 
  and villages were yet to be visions in the minds 
  of strangers from across the sea, this place 
  belonged to none but I. And as the moon 
  passed and the stars drifted and the hills rose, I 
  remained. None shall pass that do not belong to 
  me and none shall go that leave nothing behind.
  
  12
  Entering Mouse Park
  We call this a roleplaying game, because that is the 
  term for this type of entertainment and it is Powered 
  by the Apocalypse because it uses the framework 
  for game play developed by Vincent Baker in 
  Apocalypse World. It is also a game, because there 
  is a randomizing component based on moves the 
  players make. But as you enter Mouse Park, it’s 
  best to abandon all those notions. The Happiest 
  Apocalypse on Earth is above all an experience.
  When you choose to take this journey with 
  other people, you suspend disbelief that this 
  environment can exist without hope or dreams. 
  That there is nothing truly innocent and that all 
  that exists does so specifically to dismantle our 
  notion of reality, morality, and reason. You are 
  entering an environment where terror thrives on 
  subtlety and dangers lurk in wait for anyone to 
  lower their guard.
  It is a collaborative story because it takes all of 
  us to tell it. Our fears and misconceptions are as 
  diverse as we are and it is the convergence of those 
  fears and misconceptions that, when working 
  together, creates an impossible nightmare. Each 
  player character will have the spotlight of horror 
  shined upon him or her and each player will have 
  an experience that is unique, but in cooperation 
  with every other player.
  You need nothing to come to this table, save 
  for two six-sided dice and an open desire to 
  experience the story you’re going to create. You 
  can play with two people, one serving as the 
  Narrator and the other as a player, however it is 
  best experienced with 4 to 5 people. The story 
  should be intimate and something that everyone 
  equally experiences, and when there are too many 
  people a game can lose its intimacy and the horror 
  can feel more distant. We don’t want to detach 
  from the horror, we want to embrace it.
  It is likely you already know who will be the 
  Narrator and who will be the players, but if not, 
  take a moment to decide. Who wants to craft the 
  horror, navigate the park’s characters, and make 
  moves to compel players deeper into the story? 
  Who wants to simply experience it? The Narrator 
  should read this entire book before running a 
  game, and players would benefit from doing so as 
  well.
  The book is structured to immerse the reader 
  in crafting and interacting with the collaborative 
  story. There is a great deal about the approach for 
  the game, how to structure the storyline, and how 
  best to work with one another to create the ideal 
  experience. 
  It is about succumbing to the worst nightmares 
  of your childhood and the perversion of innocence. 
  The grisly and terrifying reality of Mouse Park 
  locks onto our primal fascination for transforming 
  joy and laughter into dread and fear. We see this 
  trend in modern folklore in the Five Nights at 
  Freddy’s franchise, the Creepypasta phenomena, 
  and the surge of popularizing the gritty take on 
  childhood stories such as superheroes and the 
  tales of Tolkien and C.S. Lewis. Children’s stories 
  are becoming darker, more real, more terrifying—
  Lemony Snicket, Harry Potter, to name a few. 
  Many will play with no reservations and not 
  hold back on the horror. There are others that will 
  take the satire and run with it, creating something 
  hilarious.
  Everyone that plays it must be on board with 
  whatever. Before you begin, take stock of what 
  everyone expects from a horror game and make 
  sure everyone is on the same 
   as to what the acceptable limits are and what 
  recesses of depravity should be avoided. 
  The Happiest Apocalypse on Earth can be 
  played straight and horrifying, and it can be 
  played satirical and humorously. Make sure 
  everyone agrees with the game’s approach and 
  use these tools to make sure everyone is safe and 
  comfortable.
  Leave your worries at the door and step into 
  Mouse Park—not as a witness, but as a main 
  character in a tale of supernatural terror.
  Lower your head and watch your step, and keep 
  your seatbelt fastened for the entire ride. And 
  don’t close your eyes—you might miss something.
  NARRATORS AND PLAYERS
  Players create a character in the You section 
  later in this book (p. 29). Players can customize 
  the majority of their characters and will be in 
  charge of their characters choices and decisions 
  throughout the game.  There may be situations 
  following die rolls where the players will decide 
  what happens in the story next. The player impacts 
  
  13
  the collaborative story by making “moves” which 
  prompt die-rolls to determine the outcome.
  The Narrator, on the other hand, is responsible 
  for the choices, decisions, and reactions of all 
  the characters in the story that are not played 
  by a player. These characters, called Non-Player 
  Characters (NPCs) have their own moves. Also, 
  the Narrator is responsible for the setting and 
  can make moves on behalf of the story, or even 
  Mouse Park itself. In addition to making Narrator 
  moves with or against Player Characters (PCs), the 
  Narrator’s primary role is to keep the collaborative 
  story together, maintain the story’s pacing, and to 
  make judgment calls regarding the game rules.
  The Narrator is not competing against the 
  players, but rather aims to tie the story together 
  and introduce conflict through the use of Narrator 
  moves. The job of the Narrator is to make sure all 
  the characters have their own time to shine and 
  the story has a beginning, middle, and end. The 
  Narrator “tees up” the story, and then guides the 
  story based upon decisions and moves the players 
  make.
  At the end of the day, this is a collaborative 
  thing. It only works if the Narrator is a fan of the 
  characters in it and if the characters have to make 
  hard decisions and confront difficulties. But it is 
  a horror story. It is up to the Narrator to set the 
  tone and make that happen.
  THE X CARD
  A tool that this game designer believes should 
  be at every table and that insists should be at 
  the start of every session of this game is the 
  X-card by John Stavropoulos. The text can be 
  found here http://tinyurl.Com/x-card-rpg. What 
  follows is the statement Stavropoulos suggests 
  beginning the game with:
  “I’d like your help. Your help to make this 
  game fun for everyone. If anything makes 
  anyone uncomfortable in any way… [draw x on 
  an index card] …just lift this card up, or simply 
  tap it [place card at the center of the table]. You 
  don’t have to explain why. It doesn’t matter why. 
  When we lift or tap this card, we simply edit out 
  anything x-carded. And if there is ever an issue, 
  anyone can call for a break, and we can talk 
  privately. I know it sounds funny but it will help 
  us play amazing games together, and usually, I’m 
  the one who uses the X card to protect myself 
  from all of you! Please help make this game fun 
  for everyone. Thank you!”
  
  14
  Mr. Mouse says he sleeps below, but I see him every day and I 
  know he likes to sleep in the Firehouse. I don’t know what he means 
  by sleeping below. He sounds weird when he says that. His voice 
  drops and he stares ahead. I don’t like it when he gets like that.
  
  15
  All our lives we’re fed innocence and nostalgia as 
  a form of entertainment. And we consume it, bite 
  by bite, taking immense pleasure in admiring the 
  shallow beauty of childhood fantasies. But beneath 
  the surface, we know that innocence is an illusion 
  and childhood fantasies steer us away from the 
  truth of our world.
  The Happiest Apocalypse on Earth is about 
  deconstructing these notions of innocence and 
  nostalgia by making them horrifying. It is satire in 
  the purest sense, an open criticism of institutions 
  that sell naiveté as value.
  We play to be scared. To break down 
  conventions. To witness the unsettling creepiness 
  that comes from pulling apart childhood dreams 
  and transforming them into adult nightmares.
  Maybe we’ll learn more about ourselves and the 
  entertainment we consume.
  Or we’ll laugh at the absurdity of it.
  Or maybe . . . we’ll just scare each other.
  There is a certain amount of trust that one needs 
  to play a game like The Happiest Apocalypse 
  on Earth, and fundamental to this trust is that 
  everyone is aligned with regards to the flavor and 
  tone of the game. It can be played humorously, or 
  quite seriously. It can be a mix. But the number 
  one most important thing is that the group all 
  agrees on the type of experience they want to 
  have.
  Once you know what kind of story to tell, it is 
  now up to you to put yourself in that mind frame. 
  If the group intends to take the horrors of Mouse 
  Park seriously, then flow with that current. Put 
  yourself there. Visualize the reality of the atrocities 
  you are confronting. Think for your character. 
  Be a part of the story. Immerse yourself. Play to 
  experience.
  If your group is edging toward the absurd, then 
  shine down satire like a floodlight and present 
  caricatures in an unreal situation, then embrace it. 
  Discover the quirks that make the story explode. 
  Play it straight, but firmly tongue in cheek. Allow 
  the absurd to transcend and obliterate your 
  notions of children’s theme parks. Play to satirize.
  Whatever the group decides, this is a 
  collaborative story. You are working together 
  on this, through conversation and dice rolls, to 
  journey through the three acts of drama. It is a 
  story that belongs to all of you, and no one knows 
  what the outcome will be. Go along for the ride 
  and don’t try to steer. Let the story happen the 
  way it will happen. Play to find out.
  The game works mechanically in a 
  straightforward way. The Narrator presents the 
  setting and sets up the scene, and then introduces 
  a conflict. This is done through an exercise 
  wherein the Narrator creates an incident that has 
  characters and their motivations outlined. It is the 
  Narrator’s job to present this organically and then 
  make moves based upon the decisions the players 
  make. The Narrator does not know the end of the 
  story, or even specific plot points; all the Narrator 
  knows is what will play out in the incident if the 
  players do nothing.
  The players, once presented with the incident, 
  will make decisions about what they want to do. 
  If they want to do something that has an uncertain 
  outcome, then that triggers the move. The player 
  may suggest a move to use, or the Narrator may 
  request that player uses a particular move. When 
  a player makes a move, he or she must actually do 
  something. In other words, it is not enough to just 
  say, “I want to use the dig a little deeper move.” 
  The player must explain what the Mousineer is 
  doing to dig a little deeper, for example, “I look 
  to see if he can keep eye contact with me to see if 
  he might be lying.” Then the player rolls the dig a 
  little deeper move.
  Every player move uses two six-sided dice 
  (2d6). If the player rolls a 10 or higher, then the 
  move succeeds—often with added benefits. If 
  the roll is 7-9, it is a partial success or success 
  with consequences. On a 6 or less, there is an 
  unintended outcome that moves the narrative 
  forward. Some of the best storytelling happens on 
  rolls of 6 or less—don’t fear the dice.
  Once the outcome of the move is decided by the 
  dice, the Narrator and player work together to 
  explain how that move is carried out narratively—
  the player explains the Player Character’s role 
  in the outcome and the Narrator explains the 
  NPCs or environment’s role in the outcome. There 
  are cases, especially on rolls of 6 or less, where 
  the Narrator can unilaterally explain the story, 
  divert it, or otherwise make a “hard move” that 
  the player character cannot do anything about. 
  Conversely, on the main successes, the player 
  WHY PLAY?
  HOW TO PLAY
  
  16
  character will sometimes have complete and total 
  control of the story, and the Narrator cannot do 
  anything about it. Overall, the storytelling job is 
  a give-and-take and a collaborative enterprise, 
  designed to create an amazing, horrifying, and 
  holistic experience.
  The game is then played until the incident 
  is resolved, or until the particular story arc is 
  complete. Sessions can be anywhere between 2-4 
  hours, and multiple sessions can be tied together 
  into longer story arcs that can last 6 to 8 sessions.
  PLAYER AGENDA
  You’ve chosen to come here. Was it your 
  curiosity egging you on, or something more 
  nefarious calling your name and beckoning you 
  forth? What morbid impulse are you trying to 
  satisfy? Whatever it is, you must remember what 
  it is that brought you here. No one is going to 
  tell you how to play this game, but if you are not 
  experiencing it, then why bother?
  Players have a shared agenda—not because they 
  have to, but because there is a path to make the 
  most of this experience. Commit to this agenda 
  and you’ll get whatever it is from Mouse Park you 
  came to find.
  The player agenda is:
  • Don’t be alone
  • Experience the horror
  • Create change through conflict
  DON'T BE ALONE
  Sure, you have your own journey and your own 
  demons to confront, but the story belongs to the 
  whole table. Share the spotlight, share the wealth. 
  Help other players realize their stories. Put as 
  much energy into your group as you do yourself. 
  Leave story hooks for others to grapple with, 
  create energy, and bolster the experience of others. 
  The story is stronger with everyone.
  EXPERIENCE THE HORROR
  You are here to experience. This is not a passive 
  task. You must take part and see the world 
  through your character’s eyes. Immerse yourself in 
  the events that unfold and when that discomfort 
  and tension arises, don’t shove it away with bad 
  humor. Embrace it. Relish in it. Take a bath in it. 
  This is the experience you signed up for and if 
  you hand-wave conflict and danger as the product 
  of dice, you are missing the potential to truly 
  experience the horror.
  CREATE CHANGE THROUGH CONFLICT
  Conflict and danger will affect characters and 
  bring them along a story arc of their own, where 
  they will emerge a changed person. Maybe they 
  will be worse than they were, or better. Perhaps 
  they have forever lost who they were before and 
  have been replaced with someone they don’t want 
  to be. Perhaps they have found out who they truly 
  are. Maybe they are forever broken, or perhaps an 
  old trauma was finally laid to rest. Whatever the 
  situation, the best stories are those in which the 
  character wants something, conflict gets in the way 
  of it, and because of that—they change.
  EXAMPLE OF PLAY
  NARRATOR: The pirate leaps off the deck and 
  slashes at you with a scimitar, what do you do?
  PLAYER: I’m going to jump forward and try 
  to force him into pivoting off the deck into the 
  water.
  NARRATOR: Alright, your aim is to hurt him?
  PLAYER: Oh yeah.
  NARRATOR: Okay, roll break some femurs.
  Player rolls a 7, adds Wicked, which totals 8.
  NARRATOR: Okay, you jump forward and 
  through your momentum are able to pivot him 
  into the water, but as he falls over the side he 
  cuts you along your forearm, causing 1-harm. 
  So, describe how this goes down.
  PLAYER: after getting cut I recoil backward and 
  lose my balance, falling on the deck.
  
  17
  They all look the same to me and 
  when they stop living, they look like 
  dolls. They smell like sweat and 
  candy. I like the baby ones, they’re 
  cute and they can usually see me.
  
  18
  USING MOVES
  Moves are dice rolls that are triggered by 
  what a character does. A move cannot happen 
  unless a character does something that has an 
  uncertain outcome. In Mouse Park, you are just 
  regular people existing in a world of illusion that 
  covers up an unspeakable horror. Everything 
  that happens around you and everything that 
  you experience will compel your character to do 
  something. And everything that your character 
  does affects and impacts Mouse Park in some way. 
  The Narrator and the other players will react to 
  your actions. 
  The thing is, you don’t really have to worry 
  about moves. You just have to worry about what 
  your character does and why. The Narrator will 
  decide if it is a move that requires dice. Stay 
  focused on your character’s motivations. What do 
  you want? Why? How will you get it? “I want to 
  change her mind, I’m going to bribe her,” not “I 
  want to use charm a heart into deciding.”
  Once the Narrator calls for a move, then you 
  roll two six-sided dice. If you get a 10 or more, 
  your move succeeds. If you get a 7-9, your move 
  succeeds, but there is a caveat. On a 6 or less, you 
  may or may not succeed and the Narrator will 
  make a move. Each move uses a stat which will 
  add or take away from the roll. And sometimes, 
  the Narrator will just make you roll a stat without 
  using a move at all. Everything depends upon 
  what your character does.
  There might be other pluses or minuses to a 
  roll in addition to a move. Sometimes you’ll see 
  +1forward or -1forward (which means to add 
  or subtract one to the next roll, whatever it is), 
  +1ongoing or -1ongoing (which means to add or 
  subtract one from the roll indefinitely when doing 
  it under a specific circumstance).
  There are different types of moves:
  • Basic Moves: everyone does these
  • Personality Moves: only people with certain 
  personalities do these
  • Work History Moves: only people with 
  certain work histories do these
  • Special Moves: Mousineers get their own 
  moves and Guests get their own moves
  • Narrator Moves: The Narrator gets moves to 
  affect the story and your character
  CREATING THE STORY
  Ultimately this is about creating a horrifying 
  story of nightmares in a place of fun and 
  innocence. You are working together to create a 
  collaborative story and, as is the tenet with the 
  Apocalypse World framework from which the 
  game was created: play to see what happens.
  The Narrator will have motivations and 
  situations worked out, but will not plan the story 
  or force certain decisions or behavior from the 
  player characters. Likewise, the player characters 
  are there to make their own decisions and affect 
  the story in their own way, not mandating the 
  
  19
  story for the other players. 
  To create the story, think about the following 
  whenever the Narrator asks “what do you do?”
  • What do you want? Do something to get it.
  • How do you feel? Do something to express it.
  • How are you changing? Do something different 
  than before.
  • Why do you care? Do something to 
  demonstrate it.
  FIGHTS AND CONFLICT
  There are terrifying and horrible things at 
  Mouse Park. As the Narrator works to bring out 
  the tension in the story, there will be points when 
  you are in danger or in threat of violence or some 
  conflict. It is also possible that throughout the 
  incident you will cause an altercation with another 
  character, whether it be a PC or NPC.
  Situations such as these can cause damage to 
  a player character. Physical damage is measured 
  through harm and damage to one’s mind, or 
  sanity, is measured through shock. If a character 
  takes too much harm, they die, and if they take 
  too much shock, they go insane. Certain moves 
  and merchandise can recuperate lost harm and 
  shock, but when things get to that level, it can 
  be very dangerous. Additionally, characters can 
  block harm by having armor and they can block 
  shock by having wards—usually as a part of 
  merchandise.
  Fundamentally we are telling a horror story, 
  so things will not be easy for the characters and 
  it is likely they won’t survive—or in any case, 
  emerge unscathed. Harm and shock should have 
  long-lasting and painful effects on a character. In 
  particular cases, harm or shock can put a character 
  in a terrible situation for months or years. In other 
  words, damage is not handled lightly in this game.
  It is important to realize that you are just 
  a regular person. You are not a superhero, a 
  highly-trained professional, nor are you usually 
  trained in fighting. Most people immediately and 
  instinctively enter a “fight” or “flight” mode when 
  confronted with a threat. It should be treated as 
  a huge deal if you end up taking damage; a life-
  changing event.
  Consider also that you are not equipped with 
  traditional weapons, armor, or anything beyond 
  what you get as part of your profession. Sure, 
  there is merchandise that can help you, but you are 
  woefully unprepared, physically and mentally, to 
  confront the atrocities that will befall you.
  The joy of playing a horror game is to allow 
  yourself to be horrified. The act of running away 
  from danger is not failing, it is a necessary part of 
  the story. Narrators will be putting serious dangers 
  in your way, and it will be up to you to survive, 
  protect those you care about, and find creative 
  ways to dispose of the danger.
  HARM AND SHOCK
  Taking harm or shock is a severe thing—and 
  giving it to others is equally serious. If it gets to the 
  point where you are going to break some femurs, 
  you are in a situation that will most certainly 
  cause harm to yourself and the character you are 
  fighting with. This is not an “attack move” as 
  much as it is your ability to participate in a full-on 
  fight. There are ways to give harm as established 
  without fighting (such as firing a pistol at a 
  distance), but if you throw the gloves off and jump 
  into it, expect to get hurt yourself.
  Mental damage is a little harder to define. It 
  is damage taken to your mental wellbeing by 
  witnessing horror or undergoing stress. It can 
  eventually lead to trauma and requires treatment 
  and therapy to recover. If you witness enough, 
  your demise may be in your head.
  It is the Narrator’s job to determine the harm 
  and shock rules of the game, but as a player, it 
  is important to acknowledge how lethal Mouse 
  Park is. You will need to survive through cunning, 
  quickness, and strength of will—and if you do 
  make it out, you will be permanently changed. 
  A character can only take 3 harm before dying, 
  and 3 shock before going insane. What’s worse, 
  if the character does not recuperate in time, the 
  damage will become permanent in the form of 
  an injury for harm and trauma for shock. Once 
  injured or traumatized, the character can no longer 
  recover.
  Mouse Park has first aid units in various parts 
  of the park. Characters can recover -1harm or 
  -1shock by spending an hour there for treatment. 
  Additionally, characters can help each other 
  recuperate harm or shock as follows:
  • A varying amount of harm with a medical kit 
  and the you help them, yes you do move
  • A varying amount of shock with the bid your 
  cares goodbye move
  
  20
  • -1harm or -1shock with a medical kit and 
  the be bold and daring move but with a 
  -1forward
  • The accumulation of +1twinkle with the wish 
  upon a star move
  A total of +1harm or +1shock means the 
  character is in a serious physical or mental 
  condition. The damage must be recovered within a 
  day or the condition will be permanent (+1injury 
  for harm or +1trauma for shock). 
  A total of +2harm or +2shock means the 
  character is in a severe physical or mental 
  condition and must be recovered within an hour 
  before sustaining +1injury or +1trauma.
  A total of +3harm or +3shock means the 
  character is in a critical physical or mental 
  condition and must recover within a minute before 
  sustaining +1injury or +1trauma.
  If the character sustains an injury or trauma, 
  choose from one of the following injury and 
  trauma tags (as appropriate). The harm or shock 
  is now permanent. +1injury/+1trauma means a 
  character can only ever take 2 more harm/shock, 
  and +2injury/+2trauma means the character can 
  only ever take 1 harm/shock. Injury and trauma 
  tags are also a permanent part of the character.
  DEATH AND INSANITY
  If a character dies or goes insane, the player may 
  choose one of the following:
  • Snap back to life through the strength of 
  your will and you are stable, but in a severe 
  physical condition. All stats are reduced to 
  -3 until you are healed, and you will have 
  +1injury and +1trauma.
  • Call upon the dark powers of Mouse Park 
  to revive your spirit. You come back with 
  no physical or mental conditions and no 
  stat reductions, but you must choose a new 
  personality and personality move, and you 
  can no longer wish upon a star.
  • Die and retire the character.
  ARMOR, WARDS, AND MERCHANDISE
  Armor and wards are tags that apply to certain 
  merchandise that reduce the amount of harm (ar-
  mor) or shock (ward) a character takes. They have 
  a bonus between +1 and +3 which is subtracted 
  from the amount of shock or harm given when 
  exchanged. Unless otherwise specified with the 
  “sturdy” tag, armor and wards can only withstand 
  harm or shock once before they are too damaged 
  to be used again.
  All merchandise usable by characters and NPCs 
  are qualified by a series of tags, which better 
  describe their mechanical effects in the game. With 
  very rare exceptions, weapons are not permitted 
  Achilles Tendon Injury
  ACL Injury
  Ankle Injury
  Head Injury
  Shoulder Injury
  Hamstring Injury
  Broken Arm
  Broken Leg
  Broken Tailbone
  Broken Rib
  Broken Jaw
  Broken Nose
  Crushed Sternum
  Dismembered Arm/Leg
  Dismembered Finger/Thumb
  Contusion
  Spinal Injury (Partial 
  Paralysis)
  Spinal Injury (Total 
  Paralysis)
  Brain Trauma
  Amnesia
  Lost eye
  Ruptured Organ
  Minor Break (toe/finger)
  Strained Muscle/Sprain
  Achilles Tendon Injury
  Afraid
  Angry
  Anxious
  Arrogant
  Catatonic
  Clingy
  Compulsive
  Cruel
  Deceptive
  Delirious
  Delusional
  Depressed
  Despondent
  Dissociated
  Dogmatic
  Empty
  Exhausted
  Fanatical
  Hurtful
  Impulsive
  Intolerant
  Jealous
  Manic
  Manipulative
  Morbid
  Narcissistic
  Nihilistic
  Obsessive
  Overjoyed
  Overwhelmed
  Panicked
  Paranoid
  Phobia
  Psychotic
  Quiet
  Repressed
  Self-Destructive
  Speechless
  Spiteful
  Unhealthy Habits
  Untrustworthy
  Violent
  INJURY TAGS
  TRAUMA TAGS
  
  21
  in Mouse Park. However, they do exist, and some 
  merchandise can cause harm even if they aren’t 
  explicitly weapons. Every character starts off with 
  some merchandise according to their character 
  creation. The players can choose from the initial 
  list or ask the Narrator for adjustments according 
  to their character concept. Player characters can 
  buy merchandise at Mouse Park with bucks, 
  customize their own with some moves, or get some 
  off other characters.
   
  MERCHANDISE TAGS
  +XARMOR: Prevents harm
  +XHARM: Inflicts harm when successfully used
  +XSHOCK: Inflicts shock when successfully used
  +XWARD: Prevents shock
  CLOSE: Can only be used on a target within a few 
  feet of 
  reaching distance
  HAND: Can only be used on a target within 
  reaching distance
  HEAVY: Requires two hands and effort to hold
  INNOCUOUS: Not obviously threatening
  LOUD: Creates a sound that can be heard far 
  away
  MESSY: Creates a ridiculously big mess
  RANGE: Can be used on targets that are at a 
  distance
  STURDY: Can withstand harm or shock indefi-
  nitely
  TWINKLE: Has strange, weird, or magical prop-
  erties
  VALUABLE: Can be sold or traded for other 
  valuable things
  WORN: Must be worn to be used
  AVAILABLE MERCHANDISE
  Lots of merchandise is available in Mouse Park, 
  some easier to find than others. Following are some 
  examples of merchandise you may come upon and 
  buy if you have enough bucks. There may be other 
  merchandise apart from this, and it is up to the 
  Narrator to decide how many bucks you need to 
  acquire them.
  BUCKS
  Currency is a relative scale of affordability, called 
  bucks. The bucks system is simply a relative measure 
  of how much a character can afford. Merchandise 
  will be assigned a value: not much, some, enough, or 
  a lot. 
  If you have an equal or lesser amount of bucks 
  you can afford the merchandise. Characters can also 
  increase their bucks by acquiring more from other 
  characters. 
  The scale works like this:
  • Not much + not much = not much
  • Not much + some = some
  • Some + enough = a lot
  Characters do not lose bucks for merchandise—it 
  is a relative value that simply means they can or 
  cannot afford the particular item. Characters start off 
  with bucks according to their character creation and 
  may go on to higher levels if they are promoted to a 
  higher-paid position.
  GROWTH OPPORTUNITIES
  Player characters in Mouse Park advance as they 
  play throughout the session and over multiple 
  sessions. To advance, characters earn experience 
  points either through certain stipulated moves or by 
  failing a move’s roll. Some moves award characters 
  with experience points for rolling well, but most of 
  them do not. Characters will always get the option 
  for an experience point whenever they roll a 6 or less 
  on any move, however some moves will allow you to 
  forfeit that experience in order to prevent some sort 
  of drawback (such as harm or shock).
  Once a character has accumulated 5 experience 
  points, he or she can pick another move from any of 
  their move categories. 
  Alternatively, the character can bank those 5 
  experience, and when he or she accumulates 10 total, 
  he or she can pick any move.
  A character can advance up to five times before the 
  player must make a choice:
  • Expel the character from Mouse Park in safety
  • Succumb to Mouse Park and join the Great 
  Mouse in the Abyss
  • Go into Management
  • Go into Retirement
  
  22
  NOT MUCH
  FOOD/BEVERAGE
  CLOTHES
  RETAIL
  Burgers/Hot Dogs
  Candy
  Tacos /Nachos
  Pizza
  Soda/Coffee/Tea
  Belt
  Gloves
  Novelty Cup
  Socks
  T-Shirt
  Button
  Coffee Mug
  Pin
  Plush
  Small Toy
  ENOUGH
  FOOD/BEVERAGE
  CLOTHES
  RETAIL
  Fancy Sandwiches
  Kabobs
  Mixed Drinks
  Novelty Coffees
  Pasta
  Bowtie/Necktie
  Button-Up Shirt
  Fedora/Cab Cap
  Hoodie
  Jacket
  Collectible Pins
  Electronic Toy
  Figurines 
  Jewelry
  Sketches
  SOME
  FOOD/BEVERAGE
  CLOTHES
  RETAIL
  Beer/Wine
  Burritos
  Deli Sandwiches
  Lattes
  Turkey Legs
  Novelty Hat
  Polo Shirt
  Shoes
  Slacks
  Sweatshirt
  Beer Mug
  Big Plush
  Dinnerware
  Posters
  Shot Glass
  A LOT
  FOOD/BEVERAGE
  CLOTHES
  RETAIL
  Churro
  Fine Wine
  Liquor
  Lobster
  Steak
  Costume
  Dress Shoes
  Latex Mask
  Suit/Tuxedo
  Windbreaker
  Collectible Figures
  Crystal Glassware
  Exclusive China
  Paintings
  Valuable Jewelry
  EXAMPLES OF WHAT BUCKS BUY
  
  23
  PLAYING IN MOUSE PARK
  M
  ouse Park is the monster of your creation. It 
  can be as vividly realistic or as fantastic as 
  you like. You get to set the tone and tenor of 
  this place. You decide the horror that lies within. 
  Your fate rests firmly in your hands as you collabo-
  ratively determine its precise nature. While Mouse 
  Park is definitely a satire of children’s theme parks, 
  you need not go as far as recreating beloved institu-
  tions. Make it your own. 
  Before you begin play, your group will need to 
  figure out what the setting is and what the nature 
  of Mouse Park’s evil is. Will this be a hack-and-
  slash environment? Slow-moving and brooding 
  Lovecraftian horror? Haunted tale of suspense? 
  Just plain weirdness? When you create Mouse 
  Park, you set the tone of your story. Work with 
  each other on it and make sure everyone is on the 
  same page.
  By default, Mouse Park is your quintessential 
  children’s theme park and a popular global desti-
  nation. All of the themes of the moves, merchan-
  dise, and incidents are designed around this idea. 
  Unless the players decide they want to create 
  their own version of Mouse Park, the Narrator 
  will work from the Mouse Park Template. Players 
  can name each section of the template according 
  to the attractions they create, and the Narrator 
  completes the rest.
  I rest below and my dream walks the 
  boundaries of my land. I see all in my 
  slumber and I ask for adoration and the 
  blood that nourishes me. I wake only when 
  I hunger and all that remains following my 
  wakening trembles and flees.
  
  24
  Please do find Alice and 
  Do please find May.
  Little children who play 
  Bad games must pay.                                                                                                                                             
  
  25
  Custom Mouse Park
  If your group would like to come up with 
  something original or even something that is not 
  Mouse Park at all, you can use the following 
  process to figure it out by simply going around the 
  table and agreeing upon certain descriptions.
  WHERE IS MOUSE PARK LOCATED?
  • World Region (choose one): Africa, Asia, 
  Central America, Eastern Europe, Western 
  Europe/European Union, Middle East, 
  North America, Oceania, South America, the 
  Caribbean
  • Locale (choose one): rural, suburban, urban, 
  wilderness/remote
  • Local Neighbors (choose one): friendly, 
  hostile, zealots, indifferent, dependent
  • National Sentiment/What the Country 
  Thinks of Mouse Park (choose one): beloved, 
  content, patriotic, reviled, uncertain
  WHAT ELSE DOES THE COMPANY DO?
  WHO OR WHAT IS THE GREAT MOUSE?
  Each player picks one tag from the following list:
  MOUSE PARK ATTRACTIONS
  Next, the players can create specific areas of 
  the park where the story takes place. If you are 
  playing a multi-session game or a campaign, then 
  each player creates their own area and attractions. 
  If you are playing a single adventure or convention 
  game, then all the players at the table will need to 
  agree on one place and attraction to play in. The 
  Narrator builds the incident at the park and then 
  creates all other attractions and areas needed for 
  play.
  Each player names an area of the park, then de-
  scribes an attraction and a dining/shopping outlet 
  in that area (or agrees upon an area if there is a 
  single session to play). The park area should be 
  themed, but it is up to the players as to what the 
  World-famous Mouse Park was conceived 
  and built by media mogul and visionary Elias 
  Roy, a Midwestern man who found fame and 
  fortune in Hollywood with his beloved cartoon 
  Mr. Mouse and Pals. The cartoon became a 
  global success in the 1930s and 1940s, making 
  Roy a millionaire. He wanted to make his 
  characters real and so set on a journey to build 
  a revolutionary amusement park in Southern 
  California. 
   
  Upon the groundbreaking on the autumnal 
  equinox in 1955, the park was received with 
  widespread praise. Roy did not lose momentum 
  and built some of the park’s most visited 
  attractions within the first 10 years. Sadly, Roy 
  took his life in 1965 by throwing himself off the 
  Princess Castle in front of thousands of guests. 
   
  Over the decades Mouse Park has been accused 
  of many crimes, and hundreds of lawsuits have 
  been raised over matters of guest safety and 
  dubious “cultish” practices. There is a large 
  group of activists that believe the park is under 
  the influence of evil forces. Still, Mouse Park 
  thrives as a beacon of innocence and hope in 
  the world and is a tourist destination attracting 
  millions every year.
  Airlines
  Banking/Insurance
  Cartoons
  Cosmetics
  Education
  Fashion and Textiles
  Games
  Hotels/Cruises
  International Commerce
  Manufacturing
  Merchandise Production
  Distribution
  Movies/Films
  Multi-Level Marketing
  Music Production/Concerts/
  Record Labels
  Natural Resources
  News Media
  Packaged Foods
  Real Estate
  Reality Shows
  Restaurants
  Technology/Internet/Telecom
  Utilities
  Waste Management
  Zoos/Aquariums/Gardens
  Ancient
  Angel
  Angry
  Animated/Drawn
  Asleep
  Beast 
  Benevolent
  Comical
  Corrupt
  Crazy
  Cute
  Dead
  Demon
  Destructive
  Elder God
  Evil
  Fraudulent
  Gargantuan
  Greasy
  Helpful
  Haunting
  Hungry
  In Someone’s Mind
  Jealous
  Manipulative
  Merciful
  Monstrous
  Mysterious
  Myth/Legend (not real)
  Not a Mouse
  Person
  Sad
  Thing
  Undead
  Underground
  Unresponsive
  Vengeful
  Winged
  
  26
  theme is and what visitors will find there. In games 
  of two or fewer players, the Narrator may want 
  players to create two sections of the park each. 
  Once the attraction is named, choose up to three 
  tags to describe it and one of the tags must come 
  from the weird list. The players write their descrip-
  tions on the map template, and the Narrator will 
  then fill in the blanks.
  THEMED PARK AREA
  Naming formula: [1 Name of Literary Genre / 
  Theme Concept / Time Period / etc.] + [2 World / 
  Land / Place / Geographical Area]
  ATTRACTIONS
  To create an attraction you’ll need to pick 
  Attraction Tags that describe its features, as well 
  as a weird tag to describe what is “off” about the 
  attraction. You’ll also have dining and shopping 
  features that can be attached to the attraction or 
  to the park area.
  WHAT DOES THIS ATTRACTION FEATURE?
  • Animatronics: Moving animatronics with 
  voices, action, singing
  • Carriage: Mobile cart or carriage pulled 
  through walkways, automated or by horse
  • Cars: Independently operated vehicles in a 
  contained area, go-carts, bumper cars, etc.
  • Drop: Tower with an elevator mechanism or 
  seats that drop from tall heights
  • Effects: Pyrotechnics, special effects, light 
  shows, etc.
  • Film: Movie screen(s) or 3D
  • Gondola: Slow moving cart on a track in a 
  line, moves guests through an enclosed/dark 
  attraction
  • Gym: Play area, jungle gym, apparatus for 
  climbing/playing, for young kids
  • Kids: Safe for young kids
  • Licensed: Themed from a movie, video game, 
  TV show, etc
  • Maze: Walk-through, with special discoveries 
  and interaction
  • Museum: Interactive displays
  • Parade: Parade, or moving presentation, with 
  entertainment, dancing, singing, etc.
  • Pendulum: Gondolas on an axle that swing, 
  or a large boat that swings
  • Rail: On a rail
  • Show: Scheduled presentation or live 
  performance
  • Slide: A ramp or slide
  • Swing: Twirling apparatus with swings, or 
  gondolas
  • Thrill: Fast-moving, for older kids or adults
  • Water: Run with or through water (rivers, 
  lakes, waterways, etc.)
  • Wheel: Gondolas arranged around a wheel, 
  e.g. Ferris Wheel
  WHY IS THIS ATTRACTION WEIRD?
  • Above (ethereal, angelic, holy)
  • Below (demonic, evil, abominable)
  • Psychotic (crazy, insane, unpredictable)
  • Desolate (abandoned, creepy, unsettling)
  • Horrific (scary, horrifying, traumatic)
  • Consuming (insatiable, destructive, ravenous)
  • Perverse: (unnatural, cursed, perverted)
  • Grotesque (gory, disgusting, repulsive)
  • Desperate (wild, reckless, dangerous)
  Adventure
  Anime
  Beach
  Dungeon
  Desert
  Euro
  Exploration
  Fairy
  Forest
  Fun
  Furry
  Hero
  Industrial
  Knight
  Magic
  Midway
  Mutant
  Mythology
  Noir
  Old West
  Revolutionary
  Storybook
  Terror
  Wildlife
  Avenue
  Castle
  City
  Country
  Court
  Courtyard
  Falls
  Land
  Lane
  Nation
  Palace
  Park
  Place
  Planet
  Plaza
  Realm
  Region
  Road
  Row
  Street
  Territory
  Town
  World
  Yard
  [1] SHORT LIST OF EXAMPLES:
  [2] SHORT LIST OF EXAMPLES:
  
  27
  
  28
  
  29
  T
  his is your journey. You are choosing to enter 
  Mouse Park and confront the dangers within. 
  This is your story. You are the character that 
  must withstand the darkness, terror, and horror. 
  This is your fate. It all begins with the choices you 
  make at this juncture. Are you a hapless victim, run-
  ning from an inevitable fate? Are you a hero born 
  to defend those that are suffering or lost? Are you a 
  monster, sharpening the edge of the Great Mouse’s 
  will? What do you want? What will you do to get 
  it?
  There are no wrong answers. But whatever 
  you choose, you are described best based upon 
  decisions that you and those that you play with 
  make. When starting a new game, take a few 
  minutes to discuss what you want out of the game. 
  What are your goals, what is the concept you want 
  to present, and what do you want to experience? 
  The others will do the same. Then as a group 
  you will decide on a few things. You will need to 
  determine why you are all together and what your 
  relationship with each other is. 
  First, you must understand your limitations. 
  How strong are you? How much evil rests inside 
  of you? These qualities are called stats and are 
  added or subtracted from a 2d6 die roll. Next, 
  you’ll decide on your personality and what you 
  used to do for a living—each will deliver a choice 
  of moves that you can make during the game 
  that are unique to you. Finally, and perhaps 
  most importantly, you’ll need to identify your 
  relationship with the other characters in the story. 
  Your connection with them may save your life—or 
  end it.
  Stats
  BRAVE
  Levelheadedness, calm, strength of presence; 
  used for the basic move be bold and daring. This 
  stat is triggered whenever a character pushes the 
  envelope of what he or she is doing: charging an 
  animatronic bull that’s tearing through a crowd; 
  standing up to a murderous manager who has 
  just thrown someone from the balcony; or getting 
  a pack of children to safety while the building is 
  collapsing around them.
  STOUT
  Strength, endurance, athletics; used for the player 
  move go the distance. This stat is triggered when 
  a character does something physical or performs a 
  feat of strength: lifting a door that’s about to crush 
  a small child; leaping from a moving platform 
  onto a steamboat; swinging from a treehouse onto 
  a jungle ship; or wrenching a Mr. Mouse toy from 
  a thieving child.
  SWEET
  Persuasiveness, looks, charm; used for the player 
  move charm a heart into deciding. This stat is 
  triggered when a character tries to persuade, sell, 
  or even manipulate people: haggling with a churro 
  vendor; convincing a teenager to put down the 
  butcher knife; coercing the ride operator to take 
  the roller coaster one more time; or talk your way 
  out of a kidnapping.
  WICKED
  Aggressiveness, forcefulness, sneakiness; used 
  for the player moves break some femurs and bare 
  your teeth and ambitions. This stat is triggered 
  when a character wants to intimidate someone, 
  commit an evil act, or be sneaky: steal a plush Mr. 
  Mouse from a vendor; scare a parent into moving 
  a stroller; throw down with a vampire trying to 
  suck your date’s blood; or get a bunch of school 
  kids to run away from you so you can have some 
  damned peace and quiet.
  WISE
  Wisdom, understanding, insight; used for the 
  player moves dig a little deeper and find something 
  there that wasn’t there before. This stat is triggered 
  when a character taps inner knowledge, uses 
  critical thought, or performs a skill: rewire a ride 
  so that it goes faster; navigate through the secret 
  areas of the park; make observations that can 
  help you get out of the car that’s sinking into the 
  bayou; or get the combine to stop shredding guests 
  alive.
  PAL
  A stat that represents your relationship with 
  other player characters and varies depending up 
  which player character you are talking about; used 
  YOU
  
  30
  as the stat for many basic moves instead of other 
  stats, because you are trying to affect another 
  player character: assisting another player character 
  who is trying to escape a possessed truck; convince 
  a player character to help you steal ice cream; 
  discover if a player character is lying about having 
  stolen the ice cream; or shove a player character 
  out of the way of an axe.
  TWINKLE
  Your ability to plug into the higher powers 
  of Mouse Park is both a stat and also sort of 
  currency. The stat is triggered when characters 
  perform moves that call upon the powers of 
  the Great Mouse to perform what appear to be 
  miracles. One particular move, wish upon a star, 
  will add +1twinkle whenever it is used. Some 
  special moves use Twinkle as a bonus to the roll. 
  When a character has taken on 3 Twinkle, the debt 
  to the Great Mouse must be paid. No one wants 
  to be around when that happens.
  Basic Moves
  In addition to the stats, all player characters can do 
  certain moves throughout game play as appropriate 
  in the narrative. Moves are triggered when charac-
  ters do something that has an uncertain outcome. 
  Moves are not a list of what you can or cannot 
  do. You do what you do, and as a result trigger a 
  move. While moves can be used as inspiration on 
  what to do, it is the role of the Narrator to identify 
  when or if a move is necessary. 
  If you roll a 10 or more, then the ball is in your 
  court. You take the story where it needs to go. 
  If you roll a 7-9, you may have accomplished 
  what you set out to do, but there is some sort of 
  caveat or unintended consequence. If you roll a 6 
  or less, then prepare for the worst-case scenario. 
  You may accomplish what you want, you may 
  not—but whatever happens after this will not be 
  pretty. This is where the horror can really enter the 
  narrative; the place where the Narrator can really 
  let doom fall upon you and the unfortunate people 
  around you. On a miss your character will earn 
  +1experience which, when you reach 5, can be 
  used to choose additional moves.
  My little monsters will at times 
  misbehave and so if one calls 
  upon my help, I may do so. If 
  one is greedy with their prayers, 
  I become impatient.
  BE BOLD AND DARING (ROLL +BRAVE)
  When you face danger with unblinking courage 
  and push forward against the odds, roll +brave; 
  get away, finish something before someone catches 
  you, jump between cars on a moving roller coaster, 
  swim through a vat of snakes, sneak up behind 
  someone, or smash a large spider.
  
  31
  When you need to do something while the stakes 
  are high, roll +brave. 
  • On a 10+ you keep calm and do what you 
  need to do.
  • On 7-9 your courage falters, so while 
  you manage to do what you need to do, 
  something else goes wrong. 
  • On a 6 or less, prepare for the worst.
  EXAMPLE
  Narrator:  
  The clown laughs with his sandpaper-voice as 
  he comes at you with the hockey stick, swinging 
  wildly over his head. What do you do?
  Kara:  
  I’m going to jump off the platform into the flower 
  cart.
  Narrator:  
  Roll be bold and daring.
  Kara rolls a 7 and adds her +1brave, making it an 8.
  Narrator:  
  Okay, you are able to jump off the cart, but you lose 
  your machete doing it. How does that go down?
  HELP A FRIEND GET UNSTUCK/
  STICK IT TO A FRIEND (ROLL +PAL)
  When you want to help a player character who 
  is in trouble or you want to make things difficult 
  on a player character that is succeeding, roll the 
  Pal stat you have with that character. 
  • On a 10+ they take +2 (get a friend unstuck) 
  or -2 (stick it to a friend) to their roll (or to 
  the roll that just prompted this move). 
  • On a 7-9, they take +1 (get a friend unstuck) 
  or -1 (stick it to a friend) to their roll (or to 
  the roll that just prompted this move).
  • On a 6 or less you make a mess of things.
  EXAMPLE
  Narrator:  
  Your foot is caught in the rail and you can hear 
  the rumbling of the train coming, with the distant 
  sound of a child cackling with maniacal glee. What 
  do you do?
  Charlotte: 
   I want to get my ankle out!
  Narrator:  
  How?
  Charlotte:  
  I’m going to hold onto the rail and yank my foot 
  out with all my strength.
  Narrator:  
  Okay, roll go the distance. 
  Charlotte rolls a 6 and with their -1stout, it’s a 5.
  Narrator:  
  Alright, as you try to pull your foot out . . . 
  Jaime:  
  Wait! I see her struggling, so I’m going to jump on 
  the rail and try to yank her foot out as she’s pulling.
  Narrator:  
  Okay, you’re going to help a friend get unstuck. 
  Literally. Roll your Pal with Charlotte.
  Jaime rolls 10.
  Narrator:  
  Great! So now that means you give her +2 to her 
  roll, which makes it a 7. Between the two of you, 
  you’re able to yank the foot out in time, but you 
  need to choose a consequence.
  Charlotte:  
  I’m going to take the -2forward. 
  Narrator:  
  So, you jump off the rail with your friend and onto 
  the scaffolding, but stumble face first onto the 
  platform. It’ll take a moment for you to recover 
  and an eight-year old who is frothing at the mouth 
  and swinging a pirate sword is leaping down on top 
  of you. What do you do now?
  FIND SOMETHING THERE THAT WASN'T 
  THERE BEFORE (ROLL +WISE)
  When you want to search to find something you 
  didn’t see before, roll +wise. On a 10+ hold 2, and 
  on a 7-9 hold 1. 1 hold can be spent to ask the 
  Narrator one of the following questions.
  • What happened here?
  • What here is useful?
  • How much time has passed?
  • Which enemy is the biggest threat?
  • Is there something secret or hidden about this?
  • What or who should I be on the lookout for?
  If you act on the answers, you take +1ongoing 
  as you act using the relevant information. On 6 
  or less, the Narrator gives you a choice between a 
  missed opportunity, a horrible distraction or delay, 
  or a difficult obstacle.
  EXAMPLE
  Narrator:  
  You are inside the visitor’s office, no one is present. 
  What do you do?
  David:  
  I want to find something there that wasn’t there 
  before.
  Narrator:  
  What are you looking for?
  David:  
  Something that proves this manager is a blood-
  sucking blood-sucker.
  Narrator:  
  Where are you looking?
  David:  
  In the blood-sucker’s desk.
  Narrator:  
  Roll find something there that wasn’t there before.
  David gets a 9.
  Narrator:  
  Okay, ask me one question.
  David:  
  What should I be on the lookout for?
  Narrator:  
  There might be some incriminating documents.
  David:  
  Great! I’m going to check the desk.
  Narrator:  
  You find her file on missing guests. One of the 
  attached pages has been torn out. What do you do?
  
  32
  When you want to pick up on someone’s “tell” 
  to see if they are lying, bluffing, hiding something, 
  really a demon mouse in disguise, is a faerie posing 
  as a person, a four-year-old who is hiding cotton 
  candy he stole, or any person you want to read 
  further and check out.
  When you ask something and closely observe 
  BREAK SOME FEMURS (ROLL +WICKED)
  When you want to physically attack someone, 
  roll +wicked.
  • On a 7+, you inflict harm according to the 
  rating of your weapon (or if not applicable, 
  the established dangers in the game), and 
  your enemy inflicts their attack’s harm rating 
  on you.
  • On a 10+ choose an extra effect:
  • You gain the advantage: take +1forward, 
  or give +1forward to another player 
  character.
  • You inflict terrible harm (+1harm).
  • You suffer less harm (-1harm).
  •  You physically force them where you 
  want them.
  • You impress, dismay, or frighten them and 
  they get  +1shock.
  • On a 6 the Narrator will determine if you 
  will suffer terrible harm (+1harm), suffer 
  shock (+1shock), or suffer a terrible setback 
  (-2forward).
  EXAMPLE
  Narrator:  
  The bear has the child in both paws and is bringing 
  its slobbering and monstrous jaws onto the kid’s 
  head. What do you do?
  Gabriel:  
  Punch it.
  Narrator:  
  You punch the bear?
  Gabriel:  
  Yeah. I punch the bear in the mouth. With my fist.
  Narrator:  
  You’re throwing down with a bear?
  Gabriel:  
  I’m punching it in its stupid bear mouth.
  Narrator:  
  Right. Okay, uh, roll break some femurs.
  Gabriel rolls 5, plus Wicked is 6.
  Narrator:  
  Well, I’ll start by reminding you that you get 
  +1experience. So, uh . . . You take a swing at 
  the bear and your fist lands feebly on the bear’s 
  enormous chest. You hit so hard that your wrist is 
  sprained and you take +1harm. Subsequently the 
  bear drops the kid and roars a terrifying sound, 
  bellowing from deep in its cavernous belly.What 
  do you do?
  DIG A LITTLE DEEPER (ROLL +WISE/+PAL)
  responding behavior, roll +wise for an NPC, or 
  +pal for a player character. 
  • On a 10+, hold 2. On a 7-9, hold 1. When 
  you are talking or engaging with the person, 
  spend your hold to ask the Narrator or the 
  Player questions, 1 for 1.
  • Are you telling the truth?
  • What are you really feeling?
  • What do you intend to do?
  • What do you wish I’d do?
  • What do you not want me to know?
  • How could I get you to _______? 
  • On 6 or less prepare for a terrible reaction, 
  and if missed against a player, he or she gets 
  +1experience for not answering.
  EXAMPLE
  Narrator:  
  She smiles sweetly at you and then scribbles an 
  autograph in your signature book. “Of course, 
  I don’t know anything about that.” She says and 
  hands it back to you. What do you do?
  Whitney:  
  She’s lying. I know she’s lying.
  Narrator:  
  Do you want to dig a little deeper?
  Whitney:  
  Yeah, she knows about that decapitation. No 
  doubt.
  Whitney gets 9 plus Wise, 11.
  Whitney:  
  Oh yeah! Okay, so is she telling the truth?
  Narrator:  
  No.
  Whitney:  
  What is she really feeling?
  Narrator:  
  Scared that she’ll get caught.
  Whitney:  
  Oh snap!
  Narrator:  
  What do you do?
  CHARM A HEART INTO DECIDING
  (ROLL +SWEET/+PAL)
  When you want to charm, persuade, manipulate, 
  or seduce someone, tell him or her what you want 
  to do and then roll +sweet with NPCs or roll +pal 
  with player characters. 
  • On a 10+, an NPC will comply if you 
  promise them to do something they want, a 
  PC gets +1experience and +1pal with you if 
  he or she complies. 
  • On a 7-9, an NPC will do it but only if you 
  do something they want for them right then 
  and there to show that you mean it; a PC 
  will get +1pal with you if they do what you 
  asked. 
  • On 6 or less, an NPC is offended or enraged 
  
  33
  EXAMPLE
  Cassandra:  Move over, I’m driving.
  Arthur:  
  Uh-huh. No. I’m driving. I have never gotten to 
  drive a parade float before. Especially one that 
  hosts human sacrifices.
  Cassandra:  Move.
  Arthur:  
  Okay, I’m going to charm a heart into deciding.
  Narrator:  
  What do you do?
  Arthur:  
  I bat my eyes, flip back my hair, straighten my 
  posture and say with puppy-dog eyes, “please?”
  Cassandra:  Gah. That’s disgusting.
  Arthur rolls a 7.
  Arthur:  
  My Pal with you is +3, so that’s a 10!
  Narrator:  
  Okay, so if you let him drive you get +1experience 
  and +1pal with him.
  Cassandra:  Okay. Fine. Drive. Whatever. Probably handles 
  like crap anyway. Good luck on backing it out and 
  taking that first corner.
  Arthur:  
  Ha ha! Beep beep!
  at your audacity and will react accordingly; a 
  PC gets +1experience if they decide not to do 
  what you ask.
  BARE YOUR TEETH AND AMBITIONS
  (ROLL +WICKED/+PAL)
  When you want to influence someone through 
  intimidation, tell them how you present yourself 
  and then roll +wicked. Roll +pal when moving 
  against another player character. 
  • On a 7+ an NPC will do what you want, 
  within reason and a PC must be bold and 
  daring or suffer -1forward on the next move 
  involving you if he or she refuses
  • On a 10+ choose an extra effect:
  • You make the character ridiculously 
  frightened (+1shock)
  • You stun the character with your threat 
  (-1forward for a PC, or a hesitation from 
  the NPC)
  • You make an NPC hide or run away, or 
  you gain +1 experience if a PC agrees to 
  do what was wanted
  • On a 6 or less you fail to intimidate the 
  NPC, and for a PC you can choose to take 
  +1experience and suffer a -1pal with the PC, 
  and they can do the same.
  closed.”
  Cody:  
  Come on, let us in. It’s an emergency.
  Narrator:  
  Sorry.
  Cody:  
  Fine. Okay, I threaten him with my crowbar.
  Narrator:  
  Okay, roll bare your teeth and ambitions.
  Cody rolls a 10, with the Wicked bonus is 12.
  Narrator:  
  He stares at you with a look of horror and runs the 
  other way as fast as he can. What do you do?
  GO THE DISTANCE (ROLL +STOUT)
  When you want to accomplish a physical feat or 
  an act of strength or endurance, roll +stout. 
  • On 10+ succeed in the physical feat and take 
  no harm yourself.
  • On 7-9 you succeed in the physical feat, but 
  must choose one of the following:
  • You take +1harm
  • If someone is near you, he or she takes 
  +1harm
  • You avoid harm but stumble, taking 
  -2forward
  • On 6 or less, prepare for the worst. 
  EXAMPLE
  Narrator:  
  The Ferris wheel smashes downward, crashing 
  through the barriers and is now rolling toward 
  you. Guests are flying from the gondolas as they 
  snap and pivot on the breaking cables. What do 
  you do?
  Edward:  
  I’m going to try and catch a guest.
  Narrator:  
  Roll go the distance.
  Edward rolls a 4 and adds 1 for Stout.
  Edward:  
  Oops.
  Narrator:  
  The guest comes tumbling toward you from fifty 
  feet. You manage to get in the way of her fall, but 
  don’t catch her. She tumbles on top of you and you 
  both take 2 harm, and you get an experience point. 
  What do you do?
  WISH UPON A STAR (ADD 1 TWINKLE)
  When you make a wish in Mouse Park to better 
  your situation, you may choose to negate all harm, 
  negate all shock, or reroll a die roll you just made. 
  Every time you do this you earn +1twinkle—a 
  debt to the powers of Mouse Park. When you 
  get to 3 twinkles, you’ve exhausted the park’s 
  generosity and a horrible doom befalls you causing 
  either +1trauma or +1injury. Once you’ve suffered 
  the trauma or injury, your debt is paid and all 
  twinkles are then erased. 
  EXAMPLE
  Narrator:  
  The young man stands, blocking your way into 
  What a Wittle World, obstinately saying, “Ride’s 
  
  34
  A Little About Yourself
  Now it’s time to customize some of your per-
  sonal traits, such as age and temperament. This 
  section was designed so you can easily pick from a 
  list of descriptors and tags, but you need not limit 
  yourself to them. 
  • Age (choose 1): minor, youth, midlife, ma-
  ture, senior
  • Life-stage (choose 1 as appropriate): kid, 
  single, couple, family, empty nest
  • Environment (choose 1): rural, small town, 
  suburban, urban
  • Gender (choose 1): male, female, transgender, 
  do not identify, would rather not say
  • Ethnicity (choose 1): Asian, Black or African 
  American, Hispanic or Latinx, Native Amer-
  ican, Pacific Islander, White, Would Rather 
  Not Say
  • Income (choose 1): wealthy, upper scale, 
  middle scale, lower middle scale, low income, 
  poverty
  • Family Mix (choose 1): no kids, only child, 
  small family, large family
  • Style (choose 1): alluring, artsy, bohemian, 
  casual, corporate, cosplay, elegant, exotic, 
  formal, freak, gothic, pajamas, preppy, punk, 
  retro, rocker, rural, simple, sloppy, sporty, 
  trendy, unusual, vibrant, youthful
  • Size (choose 1): kids, XS, S, M, L, XL, XXL
  • Stats: Assign each of the following to the stat 
  of your choice: +2, +1, +0, +0, -1; For exam-
  ple: Brave +2, Stout +0, Wicked +1, Wise -1, 
  Sweet +0, or Brave -1 Stout +1, Wicked +0, 
  Wise +0, Sweet +2
  What is Your Personality Type?
  There is a tradition in Mouse Park, based from 
  ancient Greek and Egyptian rituals, that there 
  are basically four types of people in the world. 
  This approach helps tremendously when trying to 
  understand audiences, sell to customers, and ease 
  the shock of those that witness the horrors of the 
  park. The personality types are based on the four 
  humors: earth (melancholic), water (phlegmatic), 
  air (sanguine), and fire (choleric). The Narrator 
  will ask you some leading questions to help choose 
  which personality best fits your character. For 
  example, you may be asked “If a little unattended 
  six-year-old ran up to you and stole your cotton 
  candy, what would you do?” If you answered 
  “Chase the little rat down and take it back,” it 
  may lead you to one personality over another. 
  Remember, the game is a conversation so talk with 
  the Narrator and decide which one fits your vision.
  EXAMPLE
  Narrator:  
  The duck’s axe goes into your skull and you sustain 
  +2harm.
  Tyler:  
  Uh.
  Narrator:  
  Consciousness fades as you see a tunnel before 
  you.
  Tyler:  
  I’m going to call upon the Great Mouse to heal me.
  Narrator:  
  You’ve got a Twinkle.
  Tyler:  
  Yeah. Sucks. I could never really get the hang of 
  Tuesdays.
  Narrator:  
  Okay, your head wound immediately heals, searing 
  the skull together and reassembling all of the 
  torn tissue in your brain. You feel a tremendous 
  presence over you, weighing down heavily deep in 
  your soul, and a cavity of despair opens up in your 
  mind.  What do you do now?
  Tyler:  
  Imma destroy that duck.
  SANGUINE 
  (ENTHUSIASTIC, EMOTIONAL, SOCIAL)
  Sanguine people are extroverts, excitable, pos-
  itive, openly emotional, and enthusiastic. They 
  love to be surrounded by people and make friends 
  quickly. Preferring to talk rather than listen, they 
  can be self-focused and oblivious to the feelings of 
  others. While they make friends easily, they may 
  change friends easily as well. Attention-lovers and 
  highly expressive, they are often the center of fun 
  and the most dramatic.
  If you are Sanguine, choose one of the following 
  personality moves:
  HOLD YOUR BANNER HIGH (ROLL +BRAVE)
  Roll +brave when you want to inspire with 
  rallying words or song and improve a character’s 
  moves. 
  • On a 7+, anyone within the sound of your 
  voice gets a +1forward. 
  • On 10+ choose one extra effect:
  • You get +1experience for being so awe-
  inspiring
  • Player characters that are inspired by you 
  
  35
  Leaders, confident, and proud, Choleric people 
  are the “alphas” of a group. Happy when in 
  control of a situation, they will constantly try to 
  make sure others follow their lead. Confident and 
  certain, they are prone not to listen to others and 
  can be bull-headed and challenging. Fast to anger 
  and sometimes aggressive, they will fight for being 
  right over everything else.
  If you are choleric, choose one of the following 
  personality moves:
  EXAMPLE
  Narrator:  
  The creatures lurch forward, easily two dozen of 
  them, their mutated flesh glistening from the blood 
  of hundreds of guests, their teeth sharp and foamy. 
  There are many other guests still in the way of their 
  rampage, fleeing and screaming. What do you do?
  Donald:  
  I’m going to stand up on the trash can and shout, 
  “We must fight! Yes, we may die. Run… and you 
  may live. At least for a few minutes until the horde 
  closes in on you. And as those zombies start tearing 
  away the limbs and flesh of your husbands, of your 
  wives, and of your children, you will have lost that 
  one chance, that one chance to charge forward and 
  take these abominations down with you. They may 
  take our living souls, but they’ll never take… our 
  freedom!
  Narrator:  
  So… hold your banner high?
  Donald rolls 7, adds his brave, resulting in 8.
  Narrator:  
  Okay! Everyone is riled up from your speech and 
  turns to confront the zombies. The rest of you get 
  +1forward on your next move. What do you do?
  get +1experience for going along with 
  what you say
  • On a 6 or less you fail to inspire them, 
  prepare for a terrible reaction and PCs get 
  +1experience for ignoring or mocking you.
  WELCOME TO YOUR FAMILY (STAT SWAP)
  Since everyone is your friend, you can choose to 
  use +sweet on every move that uses +pal.
  EXAMPLE
  Narrator:  
  Okay, so he’s not going with you. What do you do?
  Nicole:  
  I want to convince him in a very friendly and 
  enthusiastic voice.
  Narrator:  
  You have no Pal bonus with him, do you want to 
  use Sweet for your charm a heart into deciding, 
  because . . . welcome to your family?
  Nicole:  
  Yes!
  Nicole rolls 11, adds her Sweet, making it 13.
  Narrator:  
  Looks like you didn’t need the move after all. So, 
  Roger you get +1experience and +1pal with her if 
  you go along.
  Roger:  
  Alright, alright.
  Narrator:  
  Okay, so you go inside, there’s a werewolf. What do 
  you do?
  BE BRAVE ENOUGH TO SEE YOUR FATE
   (ROLL +BRAVE)
  After you fail a move using +stout, you can try 
  the same move again using +brave instead.
  EXAMPLE
  Narrator:  
  You utterly failed to put out the fire and your 
  efforts actually make things worse, because the 
  drapes you were using to smother the fire have 
  now gone ablaze. What do you do?
  Tristan:  
  I’m going to take the fire extinguisher and unleash 
  it.
  Narrator:  
  So, you are going to be brave enough to see your 
  fate? Roll +brave. 
  Tristan rolls 5, adds Brave resulting in 7.
  Narrator:  
  As a redo of your go the distance, that means you 
  must choose how this goes down.
  Tristan:  
  I’m going to put out the fire, but because it was so 
  hot and I got so close, I get burned doing it.
  Narrator:  
  So, you’ve taken 1 harm from the burn, but the fire 
  is out. What do you do?
  CHOLERIC 
  (SHORT-TEMPERED, LEADER, SECURE)
  
  36
  EXAMPLE
  Narrator:  
  The supervisor has successfully snatched your 
  snow cone after berating you for eating on the job. 
  What do you do?
  Sophia:  
  I call him a festering puss-stain.
  Narrator:  
  Ouch. So that’s uh . . . expose those who don’t 
  think?
  Sophia rolls an 8, adds Wicked, results in 10. 
  Narrator:  
  The supervisor is so stunned by the insult that he 
  sputters, stumbles backward and covers his mouth. 
  Looking around to see all of the people witnessing 
  it, he whimpers and stumbles further, slipping on 
  the floor before falling on his back. What do you 
  do?
  EXPOSE THOSE WHO DON’T THINK 
  (ROLL +WICKED)
  When you insult someone, roll +wicked to 
  demoralize the person.
  • On 10+ the person you insulted is dismayed 
  and you and the other player characters get a 
  +1ongoing on any move against that person.
  • • On a 7-9 the character you insulted is now 
  a target, so you and the other player char-
  acters get a +1forward on any move against 
  that person.
  • On a 6 or less, prepare for a terrible reaction.
  SHOW HOW SNAKELIKE YOU CAN BE 
  (MOVE BONUS)
  Get a +1 to your bare your teeth and ambitions 
  move by including an empty and ridiculous threat.
  EXAMPLE
  Narrator:  
  He is not backing down. Chest puffed, the costumed 
  rabbit has his arms open wide and it is stepping 
  aggressively into your space and posturing. What 
  do you do?
  Hunter:  
  I’m going to tell him that if he doesn’t back down, 
  I’m going to take off his stupid little rabbit mask so 
  that I can pull out both his eyes with my fingers.
  Narrator:  
  Charming. That was very charming. So, you get a 
  +1 to bare your teeth and ambitions.
  Hunter rolls a 7, adds Wicked, resulting in 8. 
  Narrator:  
  The large rabbit backs away, shakes its head and 
  then walks backward, watching you the entire 
  time. He gives you an obscene gesture and then 
  runs. What do you do?
  LET IT GO (MOVE BONUS)
  Get a +1 to harm whenever you fight angry.
  EXAMPLE
  Narrator:  
  Now I wasn’t sure, but were you angry when you 
  took a swing at that kid?
  Bill:  
  Oh yeah, I screamed a blood-curdling scream for 
  having stolen my rightfully-earned cotton candy.
  Narrator:  
  Great, okay, you get +1 to that harm, so the kid is 
  now unconscious, lying bloody at your feet.
  Bill:  
  Oh, um. Okay. Uh . . . Maybe I shouldn’t have . . . 
  Narrator:  
  Security guards are walking over to you as a crowd 
  starts screaming and shouting. The kid’s father is 
  throwing a punch. What do you do?
  MELANCHOLIC 
  (ANALYTICAL, WISE, QUIET)
  Highly sensitive and introverted, melancholic 
  people tend to be perfectionist and techni-
  cal-minded. They have high standards for them-
  selves and will be hard on themselves if those stan-
  dards are not met. They are very analytical, highly 
  intelligent, and witty, but they can be pessimistic, 
  lost in their thoughts, or emotionally volatile. 
  Prone to complaining, they can be argumentative 
  if things seem wrong or contrary to their logical 
  framework.
  If you are melancholic, choose one of the follow-
  ing moves: 
  FIND OUT WHAT ALL THIS IS (ROLL +WISE)
  Use all available resources, online or otherwise, 
  to learn new information that you didn’t have 
  access to before. Roll +wise. 
  • On a 7+ you find the information you were 
  looking for, explained  
  by the Narrator or through the narrative.
  • On a 10+ you can choose an additional 
  effect:
  • You discovered a litany of information, 
  all of your moves as   a result of this 
  information get a +1forward.
  • The Narrator reveals another secret that 
  you were not looking for, but is useful to 
  the situation.
  • Your research explains a great deal more 
  about the overall situation and eases the 
  impact of what has happened to you, 
  
  37
  JUST KEEP SWIMMING (ROLL +BRAVE)
  Roll +brave when you fail at another move, 
  by pausing to find your inner strength and then 
  confronting the challenge again with a renewed 
  vigor and resilience. 
  • If you roll a 7+ you are able to accomplish 
  whatever move you had tried before.
  • On a 10+ you get a +1forward for any other 
  moves having to do with the challenge or 
  results of that challenge. 
  • On a 6 or less, your inner spark fizzles 
  with disappointment, prepare for the 
  consequences.
  EXAMPLE
  Narrator:  
  You fall and as you lay on your back you see the 
  roller coaster car snap off the rail and begin to 
  tumble off the side. What do you do?
  Riley:  
  I’m going to stand up proudly, straighten my 
  posture and go back up to that control box and 
  shut it down like I intended.
  Narrator:  
  That sounds like you’re going to just keep 
  swimming? That’s Brave!
  restoring -1shock.
  • On a 6 or less you’ve reached an objectively 
  incorrect conclusion, or you are more 
  confused than when you started and take a 
  -1ongoing when taking future moves using 
  the information.
  EXAMPLE
  Narrator:  
  The lagoon is draining and as the water goes down 
  you can see shapes moving in the shallows. What 
  do you do?
  Nicholas:  
  I’d like to dig a little deeper. I want to know what 
  they are.
  Narrator:  
  You have find out what all this is, don’t you? What 
  are you going to do to find out?
  Nicholas:  
  I have access to Mouse Park records on my phone, 
  right?
  Narrator:  
  Sure! The Internet. You’re looking online for 
  information? Roll your Wise.
  Nicholas rolls 6, adds Wise, resulting in 8.
  Narrator:  
  There are rumors of merfolk that live in the mouse 
  park lagoon. These things could be their eggs. What 
  do you do?
  Riley rolls 5 adds Brave, resulting in 7.
  Narrator:  
  It’s a tough climb. But you make it to the control 
  box just as the cars begin to crash over the side. 
  You slam down on the button and the coaster’s 
  power shuts down stopping the train cars, with one 
  entirely derailed broken through the side, dangling 
  but safe. What do you do?
  GET THAT BONEHEADED CONTRAPTION TO 
  WORK  
  (ROLL +WISE)
  When you want to fix something mechanical or 
  electrical that is broken, roll +wise.
  • On a 10+ you fix the thing.
  • On a 7-9, you fix the thing but it will break 
  again later, it takes a ridiculous amount of 
  time to fix, or breaks an important tool while 
  fixing.
  • On a 6 or less, you don’t fix it and either 
  you’ve broken the machine beyond repair, 
  or you broke something important you own 
  while trying to fix it.
  EXAMPLE
  Narrator:  
  The bubbling and festering slime has risen in front 
  of you and is now slithering into the cart, wrapping 
  tentacle-like ropes around your feet. What do you 
  do?
  Brooke:  
  I see why this stupid golf cart won’t start. 
  Narrator:  
  Roll get that boneheaded contraption to work 
  which is your Wise bonus.
  Brooke rolls 6.
  Narrator:  
  The motor looks fine, but that doesn’t matter 
  though, because the black slime has now poured 
  into the trunk and immediately shorts it out, 
  sending sparks flying. You get +1experience. Now 
  what do you do?
  PHLEGMATIC 
  (MEEK, RELAXED, PEACEFUL)
  Introverted and passive, phlegmatic people are 
  eager to please and quick to earn recognition 
  and friendship from others. They tend to take the 
  path of least resistance and aim to please as many 
  people as possible to keep the peace and avoid 
  conflict. They will easily admit defeat to bypass 
  conflict, but they are highly thoughtful and empa-
  thetic. They are calm and easy-going and are prone 
  to indecision, often allowing others to step in so 
  they can adopt those opinions.
  
  38
  If you are phlegmatic, choose one of the follow-
  ing moves:
  LET YOUR CONSCIENCE BE YOUR GUIDE  
  (STAT SWAP)
  When you use inspirational mannerisms, tech-
  niques, quotes or idioms to help prove your point, 
  you roll +wise instead of +sweet when you move 
  to charm a heart into deciding. 
  EXAMPLE
  Narrator:  
  He has a knife digging into your throat. What do 
  you do?
  Mackenzie:  I say, “You know, violence always rebounds on 
  oneself.”
  Narrator:  
  You can use +wise on that one because you are 
  using let your conscience be your guide.
  Mackenzie rolls an 8 with the Wise bonus.
  Narrator:  
  The hot dog vendor loosens his grip and backs up a 
  couple steps, “what do you mean?” He asks. What 
  do you do?
  TELL THE TALE AS OLD AS TIME (ROLL +SWEET)
  When you try to increase Pal with someone by 
  telling a story about how successful you are, which 
  highlights you as the most amazing person in some 
  capacity, roll +sweet. You can do this any number 
  of times up to +3pal, but if it is the same person 
  you must use a different story.
  • On 7+ you get a +1pal with that person.
  • On 10+ they also get +1experience if they 
  increase their Pal with you by one as well. 
  • On a 6 or lower the story does not work; 
  they see through you and can take +1experi-
  ence for taking -1pal with you. 
  EXAMPLE
  Angelina:  
  There is no way I’m letting you talk to the god. I’m 
  the one that summoned him.
  Nathanial:  
  You know . . . There was this one time I met The 
  Temptations. I was at a charity event and I came 
  up to them after the performance and introduced 
  myself. They thought I was funny so they took me 
  out for whiskey and French fries. Best night of my 
  life.
  Angelina:  
  Why are you telling me this?
  Nathanial:  
  Because, if I can talk to The Temptations, I can talk 
  to an elder god. And I want to tell the tale as old as 
  time.
  Narrator:  
  Oh, I see what you’re up to. Roll +sweet.
  Nathanial rolls ten, adds 2 from Sweet, resulting in 12.
  Narrator:  
  Okay so you get +1pal with Angelina. And 
  Angelina, you get experience if you increase your 
  Pal with him by one as well.
  Angelina:  
  Nice!
  Nathanial:  
  Okay, now I’m going to ask nicely, “please let me 
  talk to the elder god.” 
  Narrator:  
  Alright, that’s charm a heart into deciding, but now 
  with +1 from your Pal bonus.
  Nathanial rolls 6 and adds the Pal bonus resulting in 7. 
  Narrator:  
  Okay Angelina, you can let her talk to the elder god 
  or you’ll need to be bold and daring to resist his 
  charms or suffer -1forward on any move with him.
  Angelina: Fine, fine. Talk to the god. Your stupid story worked.
  DON’T LET FEAR CONTROL YOU (ROLL +BRAVE)
  If you continue to confront a danger that has 
  caused you harm or shock, roll +brave. 
  • On a 7+ you get a +1forward on any move 
  against that danger. 
  • On a 10+ any harm or shock that you just 
  withstood is turned back onto the source of 
  it, even if he or she already sustained harm or 
  shock.
  • On a 6 or less, you succumb to the fear and 
  get a -1forward on any move against that 
  danger.
  EXAMPLE
  Narrator:  
  The doll chuckles with a mechanical tin voice as he 
  stumbles over your bleeding body. Cocking its head 
  to the side, its yarn-covered head flops daintily as 
  the red glow of its eyes intensifies. It slowly takes 
  the butcher knife from your chest, each stretch of 
  it seers red-hot pain throughout your body until 
  finally released, a geyser of blood pumping out 
  from the cavity the blade created. What do you do?
  Kevin:  
  I’m going to glare at the doll, and spit in its face.
  Narrator:  
  So, you’re using don’t let fear control you, roll your 
  Brave.
  Kevin rolls 9, adds Brave totaling 11.
  Narrator:  
  Wow, okay, tell me how this goes down.
  Kevin:  
  I snatch the knife and push it back on the doll, then 
  shove it into its body deep, imitating its chuckle.
  Narrator:  
  Sparks fly from the doll’s interior and it stumbles 
  backward, snapping its head back and forth from 
  an internal malfunction. What do you do?
  
  39
  She was beautiful, even after she died. I held onto her until she 
  really started smelling. Then the workers came to take her 
  away, but I got back at them. They deserved what they got for 
  keeping us apart. 
  
  40
  What's Your Work History?
  A character’s work history does a few things for 
  you. First, it gives you some more information 
  about your background that you can bring into 
  the story. Second, it gives you a choice of moves 
  that can be unique to your character. Finally, the 
  character’s work history will give you your start-
  ing merchandise. This is the equipment you will 
  have available to you to start. Merchandise have 
  tags with them to better explain what their benefit 
  is, to help you choose. 
  Work History will specify a character’s work 
  history if a Mousineer for Mouse Park or their 
  current occupation if a guest of Mouse Park.
  Go through the following section and decide 
  what your work history is and then choose two 
  merchandise from the provided list and also select 
  one of the work history's moves.
  The work history options are as follows:
  • Unemployed
  • Service Industry
  • Blue Collar
  • Professional
  WHAT'S YOUR ROLE AT MOUSE PARK?
  After Work History, you'll need to identify what 
  your character's role at  Mouse Park is. Will you 
  be playing a Guest or a Mousineer? It is often 
  easiest if everyone in the game plays the same 
  group (Guest or Mousineer), but isn't required. 
  Especially for multi-session games, every player 
  can play something differently. 
  If you are playing a guest go to page 47 and 
  follow the steps to flesh your character out. Also 
  choose one Guest Move from the provided list. 
  After that you're ready to jump into Mouse Park 
  and confront the terrors within.
  If you are playing a Mousineer, you will need to 
  decide which department your character belongs 
  to. Characters can all belong to the same depart-
  ment (in fact, this is easiest if playing a single 
  session or short campaign). Each department 
  provides different choices for your character, 
  however all Mousineers choose a move from the 
  same list of Mousineer Moves.
  The departments are as follows:
  • Attractions
  • Entertainment
  • Guest Relations
  • Maintenance
  • Security
  • Service
  The final step, whether or not the characters are 
  Guests or Mousineers, is to determine how the 
  characters know one another. 
  UNEMPLOYED
  You may be right out of high school or college, 
  or perhaps you’ve been traveling the world. Maybe 
  you went into the workforce during the economic 
  collapse, or you’ve been living on the streets. 
  Whatever the reason, you are currently unem-
  ployed. You have no idea what you are doing, and 
  people will realize that right away—but what you 
  lose in ignorance, you make up for in tenacity and 
  a fresh perspective.
  CHOOSE 2 MERCHANDISE AND 1 MOVE:
  • Smartphone (innocuous, valuable)
  • Street clothes (worn, +1pal to all other player 
  characters, not higher nor lower than 3)
  • Childhood ball cap (worn, innocuous, 
  +1ward)
  • Taser (close, +1harm)
  • Tattoo (+1wicked no higher than 3)
  • Pocket knife
  • SLR camera
  • Works out (+1stout no higher than 3)
  • Posse, two hoodlums named 
  _______________ and _________________ 
  follow you and are your first line of offense/
  defense. They have +1armor and do +1harm 
  each, and can withstand no more than 
  +1harm before dying.
  • Pad: If you need something and don’t have it, 
  you can go back to your pad to get it. To get 
  something from your pad, roll +wise.
  • On 10+ you find it right away.
  • On 7-9 choose one of the following:
  • It takes you an hour to find it
  • You find it, but you lose something that 
  was on you in the process
  • You get flustered looking for it (-1for-
  ward)
  • On 6 or less you don’t find it and suffer a 
  drawback
  • Bucks: Not Much
  
  41
  ACCOMPLISH THE IMPOSSIBLE (MOVE BONUS)
  Choose one talent for a corresponding stat 
  bonus (no stat can have more than +3):
  • Actor, +1stout when you perform in order to 
  go the distance.
  • Musician, +1sweet when you play music or 
  sing in order to charm a heart into deciding.
  • Dancer, +1brave when you dance in order to 
  be bold and daring.
  • Comedian, +1wicked when you use humor to 
  bare your teeth and ambitions.
  • Artist, +1wise when you use art in order to 
  dig a little deeper
  EXAMPLE
  Narrator:  
  She lands on the deck of the ship. What do you do?
  Abigail:  
  I swing after her . . . but since I’m a dancer, I’m 
  going to spin and leap dramatically.
  Narrator:  
  Great, roll be bold and daring and add +1 to your 
  Brave.
  Abigail rolls 8, plus 1 for Brave plus an another 1 for Dancer, for 
  a 10.
  Narrator:  
  The move is beautiful and flawless.
  MAKE WHAT IS INSIDE OF YOU COUNT 
  (MOVE BONUS)
  Take a moment and find the inner hero that will 
  rise and conquer all odds, and then add +2 to go 
  the distance.
  EXAMPLE
  Narrator:  
  The little boy is hanging from the gondola, fifty feet 
  above the ground, his grip is slipping. What do you 
  do?
  Forrest:  
  I’m going to stand slowly on my own gondola, close 
  my eyes and draw strength from within, then open 
  my eyes and with other-worldly determination take 
  a leap from my gondola to the boy’s.
  Narrator:  
  So, you are going to make what is inside of you 
  count? Great! Roll Stout for go the distance. plus 1.
  Forrest rolls 4, plus Stout makes it 5, plus the move bonus, 7.
  Narrator:  
  Your make the leap from a standing position from 
  one gondola to another barely, forcing it to swing 
  far and wide while the boy tries to keep his grip. 
  What happens because of your leap?
  Forrest:  
  I’m going to be in a very serious situation.
  Narrator:  
  Okay. The gondola swings so far, you lose your 
  footing and are now hanging there next to the child 
  about to fall. Now what do you do?
  TAKE A LITTLE SNACK, GUYS (ROLL +WICKED)
  When you want to skillfully steal something, roll 
  +wicked. 
  • On a 10+ you take it without being detected.
  • On a 7-9 you take it, but you are noticed.
  • On a 6 or less, you are unable to take it and 
  are also noticed.
  EXAMPLE
  Narrator:  
  The rotting corpse shuffles forward. What do you 
  do?
  Megan:  
  I’ll sneak up behind and—light as a butterfly—
  unclasp the pendent and snatch it.
  Narrator:  
  Okay, roll take a little snack, guys which is your 
  Wicked.
  Megan rolls 8, adds Wicked +1, resulting in 9. 
  Narrator:  
  Alright, you’re able to snatch it without a problem.
  SERVICE INDUSTRY
  You’ve done time in retail, at restaurants, or malt 
  shops. You’re done with it, now it’s time to witness 
  Mouse Park, the shining beacon of the service 
  industry. Not only are there countless restaurants 
  and shops, but there is no place here that isn’t 
  customer-facing. You should love it here!
  Choose 3 Merchandise and 1 Move:
  • Smartphone (innocuous, valuable)
  • Service worker uniform (worn, +1sweet no 
  higher than 3)
  • Mouse Park Customer Service Training 
  Manual (Twinkle, worn, +1ward)
  • Butcher knife (hand, +1harm)
  • Impeccable hair (+1sweet, no more than 3)
  • Beauty supplies
  • Golf cart
  • Walking shoes (+1stout, no higher than 3)
  • Character costume (worn, -1twinkle)
  • Film, television, or radio contract. You get 
  +1pal with the group while the contract is 
  valid. 
  • Bucks: Some
  
  42
  SHOW THAT YOU'RE A HUGGER (STAT SWAP)
  When you break some femurs, you may roll 
  +sweet instead of +wicked, but you must handle 
  the move in a friendly way.
  MAKE SURE IT’LL ALL TURN OUT RIGHT IN THE 
  END (+SWEET/+PAL)
  When you use your people skills to help some-
  one recover from shock, roll +sweet for NPCs or 
  +pal for PCs.
  • On 7+ your words soften the experience 
  and the NPC or PC loses -1shock from your 
  words.
  • On a 10+ the NPC will become endeared to 
  you and help with your next move within 
  reason, and a you get +1pal with a PC.
  • On a 6 or less, you cause more problems and 
  the person sustains an additional shock, and 
  a PC can accept +1shock for  
  +1experience.
  EXAMPLE
  Narrator:  
  The slaughter has messed this guest up. He is 
  pacing biting his nails and muttering under his 
  breath. What do you do?
  Susan:  
  I tell him that in time all wounds will be healed.
  Narrator:  
  Make sure it’ll all turn out right in the end, roll 
  +sweet.
  Susan rolls 2 adds Sweet, resulting in 3.
  Narrator:  
  He pushes you away with rage in his eyes. What do 
  you do?
  EXAMPLE
  Narrator:  
  Arms outstretched high into the night sky, robes 
  flipping in the wind, his chanting escalates. What 
  do you do?
  Amy:  
  I’m going to push him into one of the teacup cars 
  and say politely, “Oh I’m sorry. My bad. Are you 
  okay?”
  Narrator:  
  Okay, great, show that you’re a hugger, roll +sweet.
  Amy rolls a 3, adds Sweet, totaling 4.
  Narrator:  
  Okay, you get an experience point. When you look 
  up, you’re disoriented and have -2forward. The 
  robed man is above you inside the teacup with a 
  ritualistic dagger in his hand and he is bringing it 
  down. What do you do?
  HAVE THE EXCEPTIONALLY RARE (ROLL +WICKED)
  Roll +wicked when you want to acquire mer-
  chandise worth more bucks than you have.
  • On a 10+ you are able to get the item for free 
  from a trusted contact in the park as soon as 
  you are able to find that person.
  • On a 7-9 you are able to get the item for 
  fewer bucks than you have and it takes a few 
  hours in order to get it.
  • On a 6 or less you can only get the item at 
  the amount of bucks it is worth.
  EXAMPLE
  Narrator:  
  The sun is out, the day is starting, birds are singing, 
  guests are arriving. What do you do?
  Elle:  
  I want a shotgun.
  Narrator:  
  You can seek out one of your contacts, and roll 
  have the exceptionally rare.
  Elle rolls a 10, adds Wicked resulting in 11.
  Narrator:  
  Okay, you have a contact that happens to have her 
  father’s shotgun in her car, so she can get it for you. 
  It’s old and doesn’t work very well, so she won’t 
  charge you.
  BLUE COLLAR
  You’ve always worked for a living. No one ever 
  gave you anything. You fixed things, built things, 
  and used your hands. Your bosses and manage-
  ment were always idiots, but you were loyal to the 
  company. Now you are here trying a new career 
  and a new life, or you’re just visiting. Should be 
  easier on the back!
  CHOOSE 3 MERCHANDISE AND 1 MOVE:
  • Smartphone (innocuous, valuable)
  • Work boots (worn, +1stout no higher than 3)
  • Worker’s jumpsuit (worn, +1armor)
  • Really big wrench (innocuous, hand, +1harm)
  • Laborer (+1stout, no higher than 3)
  • Toolbox
  • Mechanical diagnostics computer
  • Certified in heavy machine and repair 
  (+1wise, no higher than 3)
  • Lucky coin (Twinkle, on heads it will negate 
  a Twinkle when using wish upon a star)
  • Spouse ____________________ and kids 
  __________________ will come to Mouse 
  Park within an hour if called and will follow  
  along with you. You choose a +1sweet or 
  
  43
  +1wicked bonus when they are with you. 
  • Bucks: Enough
  USE THIS METAL . . . LOOKING . . . THING 
  (ROLL +STOUT)
  When you want to operate heavy machinery, 
  industrial vehicles, or devices that typically require 
  licenses or some sort of training, roll +stout. 
  • On a 10+ you use the machine or device, and 
  it operates as intended.
  • On a 7-9 you are able to operate the device 
  for the moment, but you will need to be bold 
  and daring to continue doing so. 
  • On a 6 or less you have broken the machine 
  beyond repair.
  EXAMPLE
  Narrator:  
  The parade is in full swing. There are dancers, 
  singers, and floats carrying acrobats. As part of a 
  new movie release, Mouse Park has also included 
  a World War II era tank, which is fully functional 
  and going along with characters dressed in military 
  uniforms. What do you do?
  Kyle:  
  I want to get into that tank and drive it through the 
  castle
  Narrator:  
  Okay, uh . . . roll your be bold and daring to see if 
  you can get in the thing without being spotted.
  Kyle rolls 10, +2 for Brave.
  Narrator:  
  Right, it’s no problem. You manage to sneak into 
  the parade and get inside the vehicle, which has no 
  driver.
  Kyle:  
  Great! Okay, I’m going to drive the tank. Into the 
  castle.
  Narrator:  
  Use this metal . . . looking . . . thing, which is Stout.
  Kyle rolls a four, +2 Stout for a 6.
  Kyle:  
  AH! NO!
  Narrator:  
  You push down what you think is a gear, but it 
  grinds something inside—you don’t know what—
  but it sounds like a hundred metallic cats yowling 
  in horror and pain, before smoke pours out from 
  underneath filling the cabin as the tank lurches to 
  a sudden stop. The smoke is getting unbreathable, 
  but you gain an experience! What do you do?
  MAKE A BARE NECESSITY (ROLL +WISE)
  Your technical skills allow you to improve tools, 
  weapons, and other merchandise so that they are 
  more useful in Mouse Park. Roll +wise when you 
  adapt, change, or improve upon an object.
  • On a 7-9 your work adds a +1armor, 
  +1ward, +1shock, or +1harm depending 
  upon your alterations.
  • On a 10+ choose an additional +1armor, 
  +1ward, +1shock, or +1harm.
  • On a 6 or less, you are unable to improve 
  anything and you’ve spent a ridiculous 
  amount of time working on it, or you broke 
  something important while trying to solve the 
  problem.
  EXAMPLE
  Narrator:  
  You’ve purchased the top hat, now what do you 
  want to do?
  Louis:  
  I want to add metal plating to it so that it will 
  protect my head.
  Narrator:  
  Okay roll make a bare necessity.
  Louis rolls 6 and adds 2 from Wise.
  Narrator:  
  Okay, your hat now gives you +1armor.
  TELL THE COMPUTER YOU WANT TO LIVE (ROLL 
  +WISE)
  When you need to hack into a computer system, 
  create or alter code, or perform complex computer 
  work, roll +wise. 
  • On a 10+ you successfully accomplish your 
  task.
  • On a 7-9 you accomplish your task, but 
  you’ve created another related issue or prob-
  lem.
  • On a 6 or less you’ve crashed the computer 
  beyond repair, you’ve triggered computer 
  alarm systems, or your task appeared to 
  work, but actually did not.
  EXAMPLE
  Narrator:  
  Guests are hanging from the swings high above in 
  the attraction’s dome. What do you do?
  Hawthorne:  I want to get onto the ride console to see if I can fix 
  the systems, or reroute the power somehow.
  Narrator:  
  Okay, roll tell the computer you want to live which is 
  Wise.
  Hawthorne rolls 8, +1 for Wise.
  Narrator:  
  There is some auxiliary power that you can reroute 
  to, but the cables are weak and guests may fall. 
  What do you do?
  
  44
  PROFESSIONAL
  You had tons of education and a cushy life. May-
  be you were a lawyer, doctor, marketer, professor, 
  stock broker, author, or some sort of professional. 
  You spent your life climbing a ladder and breaking 
  through ceilings until suddenly you are in Mouse 
  Park. Whatever the case, you have the smarts and 
  acumen to handle problems.
  CHOOSE 3 MERCHANDISE AND 1 MOVE:
  • Smartphone (innocuous, valuable)
  • Suit (worn, +1wise, no higher than 3)
  • Uniform (worn, +1brave no higher than 3)
  • Steel briefcase (hand, +1harm)
  • Certified in a profession (+1wise, no higher 
  than 3)
  • Government/law enforcement/military train-
  ing (+1stout or +1brave, no higher than 3)
  • Laptop computer
  • Attended law school (+1wicked, no higher 
  than 3)
  • Medical kit
  • Pistol (loud, messy, range, +3harm)
  • Bucks: A lot
  YOU HELP THEM, YES YOU DO (ROLL +WISE)
  When you want to use basic medical equipment 
  such as a first aid kit to recover -1harm, roll +wise.
  • On a 10+ you can restore up to -2harm.
  • On a 7-9 you can restore -1harm.
  • On a 6 or less you fumble, causing an ad-
  ditional +1harm; if treating a PC they can 
  choose to take the harm for +1experience.
  EXAMPLE
  Narrator: 
  The cannonball has smashed through your leg for 1 
  harm. 
  Jose:  
  I grab the first aid kit and try to stop the bleeding.
  Jacob:  
  Okay roll you help them, yes you do
  Jose rolls an 8, adds Wise resulting in a 9.
  Narrator:  
  Alright, you’re able to restore one harm, so Jacob is 
  no longer hurt. What do you do?
  BID YOUR CARES GOODBYE (ROLL +SWEET/+PAL)
  When you make a gesture of support or use 
  a piece of wisdom to help soothe the mind of 
  someone who has been driven toward madness, 
  roll +sweet or +pal if it is with another player 
  EXAMPLE
  Narrator:  
  The woman pulls off her face, revealing bloody 
  tissue beneath. She roars with fury causing +1shock. 
  What do you do?
  Amber:  
  Okay, I’m not insane yet, so I’m going to grab 
  Katherine and whisper in her ear, “Don’t let the fear 
  take you. I need you to come to your senses. Snap 
  out of it.”
  Narrator:  
  Okay, so that sounds like bid your cares goodbye. 
  Roll +pal.
  Amber rolls 6, minus 1 on Pal resulting in 5.
  Narrator:  
  Okay 
  that 
  statement 
  makes 
  things 
  worse. 
  Katherine, do you want to take another shock for 1 
  experience?
  Katherine:  
  Uh, nah. I’ll let it slide.
  Narrator:  
  Okay, what do you do now? 
  character. 
  • On a 10+ you can restore up to -2shock.
  • On a 7-9 you can restore -1shock.
  • On a 6 or less you make things worse, caus-
  ing an additional +1shock, if a PC they can 
  choose to take the shock for +1experience.
  EXAMPLE
  Narrator:  
  The kid starts running off with the cotton candy. 
  What do you do?
  Jane:  
  I shout, “HEY! PUT THAT BACK YOUNG 
  MAN!”
  Narrator:  
  Oh, 
  so 
  you’re 
  going 
  to 
  stop 
  deliberate 
  disobedience?
  Jane rolls 5 with Wicked makes it 7.
  Narrator:  
  The kid stops and turns around. “I’ll put it back if 
  you promise to buy me one.” What do you do?
  Jane:  
  I’m not going to buy that kid a cotton candy he 
  just stole!
  Narrator:  
  He’s waiting for an answer. What do you do?
  STOP DELIBERATE DISOBEDIENCE (STAT SWAP)
  When you want to change someone’s mind or 
  stop someone’s behavior, but firmly and with 
  authority, use charm a heart into deciding but with 
  +wicked, instead of +sweet.
  
  45
  
  46
  
  47
  Hello, everyone! Welcome aboard the Mr. Mouse 
  and Pals Tram. Please lower your head and watch 
  your step while boarding, and disregard the souls 
  of the damned that may still be clinging to the 
  sides. Please place young children toward the 
  inside of the tram, unless you are offering the 
  child as a sacrifice to the Great Mouse. Children 
  may not ride in strollers. As a courtesy to other 
  passengers, we ask that there be no eating, 
  drinking, smoking or bloodletting on board. In 
  just a few moments, we will begin our trip to 
  the Mouse Park Main Entrance. For your safety, 
  remain seated with the doors closed—keeping your 
  hands, arms, feet, and legs inside while the tram is 
  moving or risk getting pulled into the darkness of 
  the void of the deep beyond.  
  We are now approaching the Mouse Park 
  entrance. On behalf of all our Mousineers and 
  the Great Mouse, who shall rise only when his 
  apocalyptic appetites are not satiated with life 
  force, blood, and shadow, we are pleased that you 
  have joined us today.
  Enjoy your stay at Mouse Park. Driver, you are 
  clear.
  Creating a Guest
  The incidents (situations confronted in the game) 
  are largely out of their control. They will likely 
  be defensive and trying to escape the dangers of 
  Mouse Park. This is a great set-up for one shots 
  on face value. However, it can also work to play 
  guests in a series of sessions if the group is trapped 
  inside the park for a long period of time, or is on an 
  investigative track to uncover the secret plots of the 
  park’s many dangers.
  GUESTS HAVE:
  • 
  Mouse Park branded clothing (worn)
  • 
  Backpack
  • 
  Smartphone (valuable)
  HOW OFTEN HAVE YOU ATTENDED MOUSE 
  PARK?
  • This is my first time
  • This is my second time
  • I’ve been here a few times in the past
  •  I’m an annual passholder
  WHY ARE YOU TOGETHER AT MOUSE PARK?
  • We’re a family
  • We’re a school, church, or company group
  • We’re an undercover government or law 
  enforcement agency
  • We’re members of the media
  • We’re friends
  • We don’t know each other at all
  • Some of us know each other
  HOW DID YOU ARRIVE AT MOUSE PARK?
  • Free ticket sweepstakes on a soda can
  • Don’t know, but it was a bad, impulsive idea
  • Saved for years for this and I better enjoy it
  • Promised someone in a moment of weakness
  • Know someone on the inside who gave 
  discounted tickets
  MOVES (CHOOSE ONE):
  CONTROL YOUR DESTINY (ROLL +BRAVE)
  When you use your knowledge of Mouse Park 
  and understanding of routines and policy to get 
  away with doing something wrong or against the 
  rules in the park, roll +brave. 
  • On a 10+ you are left alone to do whatever it 
  was they “thought” was against the rules, but 
  was apparently not. 
  • On 7-9 they let you pass or look the other 
  way with a warning not to do it again, and 
  they close the loophole so you won’t be  
  able to try taking advantage of it in the 
  future.
  • On a 6 or less you are caught, and the 
  natural and terrible consequences take place.
  KNOW WHAT FIRE IS AND THE WORD “BURN” 
  (ROLL +WISE)
  When you use your life-long love for Mouse 
  Park to draw upon its hidden powers and look for 
  the truth of what is going on, roll +wise.
  • On a 10+, hold 2. On a 7-9, hold 1. When 
  you want to find hidden meaning in some-
  GUESTS
  EXAMPLE
  Narrator:  
  The Mousineer blocks your way and says, “I’m 
  sorry miss, it’s restricted back here unless you’re 
  wearing a fuzzy costume! Haha!” What do you 
  do?
  Caleb:  
  I’m going to recite a rule about how guests are 
  allowed backstage as long as they are passholders.
  Narrator:  
  Alright, roll control your destiny.
  Caleb rolls 3, adds Brave, totaling 4.
  Narrator:  
  The Mousineer’s demeanor changes and he 
  becomes very serious and gruff, “I’m not a fool. 
  Now move along, before I get security.” What do 
  you do?
  
  48
  thing at Mouse Park, spend your hold to ask 
  the Narrator questions, 1 for 1.
  • Is this what it appears to be?
  • Will this hurt someone?
  • Will this help someone?
  • What is the purpose of this? 
  • How can I use this to help my situation?
  • How do I get rid of this?
  FIND THE SECOND STAR TO THE RIGHT (ROLL 
  +WISE)
  When you use your innate knowledge of Mouse 
  Park to know the quickest or most efficient way 
  to a destination, roll +wise. On a 10+, hold 2. On 
  a 7-9, hold 1. When you want to find the best way 
  through, spend your hold to ask the Narrator 
  questions, 1 for 1.
  • What is the quickest way to get to a destina-
  tion?
  • What is the best way to get to a destination 
  without being seen?
  • What is the path of least resistance?
  • Where is the best place to hide?
  • What is the best way to escape?
  • What is the best way to lose those that are 
  following me?
  If you act on the answers, you get a +1ongoing 
  as you move using the relevant information. On a 
  6 or less you chose the worst way through and will 
  get a -1forward until you make it to your intended 
  destination.
  SAY A WONDERFUL PHRASE (ROLL +SWEET)
  Whenever you say a wonderful phrase to a 
  Mousineer in costume, you'll get an autograph 
  and roll +sweet. On a 10+ hold 2. On a 7-9, hold 
  1. On 6 or less, gain +1experience but you do not 
  get an autograph. Spend your hold for an effect.
  • Negate harm (1 hold for -1harm)
  • Negate shock (1 hold for -1shock)
  • Add a ward (1 hold for +1ward)
  • Negate Twinkle (1 hold for -1twinkle)
  BE A GUEST (STAT INCREASE)
  Your standing as an annual passholder with 
  Mouse Park gives you certain advantages and 
  perks. Get +1ongoing with any Mousineer.
  EXAMPLE
  Narrator: 
  The ride is closed, however you see in the 
  background that some Mousineers are bringing 
  someone on a stretcher into the back, trying to be 
  sneaky about it. What do you do?
  Darnell:  
  I want to think back on all my Mouse Park 
  experiences and try to get an idea of what’s going 
  on.
  Narrator:  
  So, roll your know what fire is and the word ‘burn.’
  Darnell rolls 8, adds Wise resulting in 9.
  Darnell:  
  Okay, Will this hurt someone?
  Narrator:  
  Yes, anyone that has been injured on a ride needs a 
  paramedic, not to be shuffled backstage. What do 
  you do?
  EXAMPLE
  Narrator:  
  The six security guards are moving through the 
  crowd toward you. What do you do?
  Sarah:  
  Um, find the second star to the right?
  Sarah rolls 6, adds Wise totaling 7.
  Sarah:  
  What is the path of least resistance?
  Narrator:  
  If you were to follow a passing school group, you’d 
  easily blend in as they go into the attraction. What 
  do you do?
  EXAMPLE
  Narrator:  
  The princess is waving from the dragon-shaped 
  float, smiling at the crowd below. What do you 
  do?
  Dominic:  
  I’m going to grab my autograph book and say a 
  wonderful phrase!
  Dominic rolls 2, plus Sweet totaling 3.
  Narrator:  
  Several Mousineers approach to drag you off the 
  parade route. You get an experience point. What 
  do you do?
  EXAMPLE
  Narrator: 
   You accept the churro and the vendor says, “That 
  will be $48.95.” What do you do?
  Seth:  
  I’m a passholder, I’ll show him my pass.
  Narrator:  
  Okay, you’re going to charm a heart into deciding?
  Seth rolls 8, plus Sweet is 9, plus +1ongoing.
  Narrator:  
  Okay, you get the churro for free. What do you do?
  
  49
  
  50
  Gosh! It’s so swell you want to join the Mouse 
  Park family! And when you work at Mouse Park, 
  you’re not an employee, you’re family! That’s why 
  we call you Mousineers! Ho ho!
  We just need to ask you a few easy questions. 
  For starters, since you’re part of the family, do you 
  promise you’ll be good and keep all of our secrets 
  safe? 
  There are some things that happen here, well 
  golly, it’s not that big of a deal, but let’s say you 
  saw something awful and then you went and told 
  your friends and family about it, and it would 
  make them feel awful. Gee, we don’t want that, 
  do we? And suppose you wanted to get law 
  enforcement involved, or the government—that 
  would be silly! They’d just shut us all down, and 
  then you’d have nowhere to work!
  We protect each other at Mouse Park. We look 
  out for one another. It’d be a shame if something 
  bad happened because you couldn’t keep silly little 
  secrets.
  One more thing, we really like the Great Mouse. 
  Golly, he sure is the best! You’ll be sure to do 
  whatever it takes to make Him happy, won’t you?
  Now you are one of us. And we take care of our 
  own.
  You aren’t going to step out of line, are you?
  Of course not! 
  Welcome to Mouse Park!
  Creating a Mousineer
  As an employee of Mouse Park, you have you 
  have a responsibility to do your job right and to 
  make the park an amazing experience for all the 
  guests. But you also have the responsibility to pro-
  tect Mouse Park by making sure the guests don't 
  find out too much about what is going on in this 
  place. No matter what department you are a part 
  of, your real job is to protect guests, mitigate the 
  damage of what they experience, and to make sure 
  the secrets of Mouse Park never leave the gates.
  Apart from that, you can choose any department 
  to be a part of. Players can all choose the same 
  department (especially helpful in one shots), or 
  can choose to be a member of any department. 
  Whatever department you choose, you will get a 
  selection of merchandise, and a basic background 
  on your position and role in the park. The de-
  partments are Attractions, Entertainment, Guest 
  Relations, Maintenance, Security, and Service.
  ATTRACTIONS
  You are the lifeblood of Mouse Park. Nothing 
  works without you. You are in charge of guest 
  safety, you make sure the rides work and 
  operate on time, you control the crowds, you 
  do everything to make Mouse Park what it is. 
  There is a code of honor for the Attractions 
  department, and that code doesn’t include the 
  other departments. Everyone knows who’s really 
  in charge of this place.
  ATTRACTIONS MOUSINEERS DO:
  • Run the rides/attractions
  • Crowd control
  • Creative design and decor
  • Engineering
  • A little of everything (troubleshooting)
  ATTRACTIONS MOUSINEERS HAVE:
  • Mouse Park attraction uniform (worn)
  • Walkie-talkies (range)
  • Tablet with scanner attachment for guests 
  and attraction mechanical/electrical status 
  (valuable)
  HOW LONG HAVE YOU WORKED IN ATTRACTIONS?
  • Today is your first day on the job
  • You’ve been a Mousineer less than a month
  • You’ve been a Mousineer less than a year
  • You’ve been a Mousineer 2-9 years
  • You’ve been a Mousineer for 10 years
  • You’ve been a Mousineer more than 10 years
  WHAT DO YOU THINK OF THE OTHER PEOPLE AT 
  MOUSE PARK? 
  • Nothing. I don’t care about them.
  • They’re all great!
  • I love Maintenance, they fix my stuff.
  • The people in Service think they work harder 
  than us, but they have no idea.
  • Entertainment is full of vultures, always 
  trying to steal our ideas.
  • Security stands around and does nothing.
  • Must be nice for Guest Relations, always 
  sitting in their high-and-mighty air-
  conditioned offices.
  • Guests are like cattle—get them on, get them 
  off. Moo.
  MOUSINEERS
  
  51
  ENTERTAINMENT
  You don’t work at Mouse Park to have fun, to 
  hang out, or to go on rides. No, you’re there to 
  show off how talented you are. Where else can you 
  show off your God-given gift and find your fame 
  and fortune, but in a busy worldwide attraction? 
  And for those losers that don’t realize you’re the 
  next big thing, well you don’t have time for haters 
  either. You know what you are and they know 
  what you are, and that’s enough.
  ENTERTAINMENT MOUSINEERS DO:
  • Costumed characters (fur characters)
  • Character actors (face characters)
  • Singers and/or dancers
  • Parade entertainers
  • Character handler/crowd control
  ENTERTAINMENT MOUSINEERS HAVE:
  • Mouse Park costume (worn)
  • Access to parade floats (valuable)
  • Tablet with access to database and PA system 
  (valuable)
  HOW LONG HAVE YOU WORKED IN 
  ENTERTAINMENT?
  • Today is your first day on the job
  • You’ve been a Mousineer less than a month
  • You’ve been a Mousineer less than a year
  • You’ve been a Mousineer 2-9 years
  • You’ve been a Mousineer for 10 years
  • You’ve been a Mousineer more than 10 years
  WHAT DO YOU THINK OF THE OTHER PEOPLE AT 
  MOUSE PARK? 
  • Nothing, I don’t care about them.
  • They’re all great!
  • Maintenance keeps on breaking our stuff.
  • Never make eye contact with Service people, 
  they might talk to you.
  • Attractions is boring, people come for enter-
  tainment, not rides.
  • Security keeps me safe.
  • Guest Relations are very clingy, they always 
  want you to meettheir families and spouses.
  • Guests are my audience. I love them.
  GUEST RELATIONS
  You know Mouse Park better than anyone. It’s 
  none of your business when something freaky 
  goes on here. You collect your paycheck and have 
  the added perk of being able to come to the park 
  whenever you want. You get awesome employee 
  benefits, free tickets for your friends, and you 
  never have to wait in line. It’s great to be in Guest 
  Relations—except something is nagging deep 
  inside you that says something is terribly wrong. It 
  doesn’t matter, you’ve been well-trained. No mat-
  ter what happens, you’ll have that winning smile, a 
  positive attitude, and the joy of the Mouse.
  GUEST RELATIONS MOUSINEERS DO:
  • Tickets
  • Customer Service at Town Hall
  • Directions and Information
  • Trolley and transport
  • VIP tours
  GUEST RELATIONS MOUSINEERS HAVE:
  • Mouse Park Mousineer uniform (worn)
  • Walkie-talkies (range)
  • Tablet with scanner attachment for guests 
  and access to Mouse Park database (valuable)
  HOW LONG HAVE YOU WORKED IN GUEST 
  RELATIONS?
  • Today is your first day on the job
  • You’ve been a team member less than a 
  month
  • You’ve been a team member less than a year
  • You’ve been a team member 2-9 years
  • You’ve been a team member for 10 years
  • You’ve been a team member more than 10 
  years
  WHAT DO YOU THINK OF THE OTHER PEOPLE AT 
  MOUSE PARK? 
  • Nothing, I don’t care about them.
  • They’re all great!
  • The people at Maintenance take too many 
  breaks.
  • Service Mousineers are the hardest working 
  in the park.
  • Entertainment houses some of the most 
  terrible divas of all time.
  • Security takes care of bad guests.
  • The Attractions people are on a very, very 
  high horse.
  • Guests are crabby, annoying, and demanding.
  
  52
  MAINTENANCE
  You are the creators of Mouse Park, the vi-
  sionaries, and the idea-makers. You are also the 
  mechanical craftsmen at the heart of the park 
  and spend your days and nights making repairs, 
  keeping the place running, and building new 
  attractions. You know every inch of the place, why 
  every nut and bolt was put there, and how to fix 
  it when it breaks (or to break it if/when it works 
  too well). Although revered by many of your peers, 
  there are some that view you as merely mechanics 
  and repairmen. 
  MAINTENANCE MOUSINEERS DO:
  • Custodial services and grounds clean-up
  • Attraction maintenance and repair
  • Parade float maintenance and repair
  • Structural maintenance and carpentry
  • A little of everything (on-call repairs)
  MAINTENANCE MOUSINEERS HAVE:
  • Mouse Park coveralls (worn)
  • Walkie-talkies with earpieces (range)
  • Access to standard and heavy tools (valuable)
  HOW LONG HAVE YOU WORKED IN MAINTENANCE?
  • Today is your first day on the job
  • You’ve been a Mousineer less than a month
  • You’ve been a Mousineer less than a year
  • You’ve been a Mousineer 2-9 years
  • You’ve been a Mousineer for 10 years
  • You’ve been a Mousineer more than 10 years
  WHAT DO YOU THINK OF THE OTHER PEOPLE AT 
  MOUSE PARK?
  • Nothing, I don’t care about them.
  • They’re all great!
  • I basically want to date everyone in Enter-
  tainment.
  • The next time I have to fix a cafe fryer, I’m 
  smacking the sixteen-year-old Service em-
  ployee who broke it.
  • Attractions always break. They should just 
  learn how to use a wrench.
  • I don’t even know anyone in Security. What 
  do those guys do anyway?
  • Guest Relations people are nice enough, if 
  they’d ever answer their phones.
  • Guests are in the background, I barely notice 
  them.
  SECURITY
  You are the strong arm of Mouse Park. The lives 
  of these guests rest in your hands. Yeah, it’s good 
  to be all fun and frivolous, but you have a job to 
  do. The safety of these guests comes first. Though 
  technically, Mouse Park interests go first along 
  with the appearance of safety. Then guest safety. 
  Although, the secrets of Mouse Park must also 
  be protected, so they come first. So, first secrets, 
  then Mouse Park interests, then the appearance of 
  safety, then guest safety. Don’t forget the covering 
  up of things that shouldn’t have happened. So, 
  covering things up, park secrets and interests, the 
  appearance of safety, and safety. That is the nev-
  er-dying code of the Mouse. All that, in that order.
  SECURITY MOUSINEERS DO:
  • Surveillance and profiling
  • Patrol for issues
  • Bodyguard for VIP and Management
  • Take care of guests who are problems or that 
  know too much
  • Keep secrets safe
  SECURITY MOUSINEERS HAVE:
  • Mouse Park Security uniform (worn)
  • Walkie-talkies with earpieces (range)
  • Pepper Spray (close, causes +1harm)
  HOW LONG HAVE EACH OF YOUR WORKED IN 
  SECURITY?
  • Today is your first day on the job
  • You’ve been a Mousineer less than a month
  • You’ve been a Mousineer less than a year
  • You’ve been a Mousineer 2-9 years
  • You’ve been a Mousineer for 10 years
  • You’ve been a Mousineer more than 10 years
  WHAT DO YOU THINK OF THE OTHER PEOPLE AT 
  MOUSE PARK?
  • Nothing, I don’t care about them.
  • They’re all great!
  • Entertainment is our biggest liability.
  • Service department are the eyes and ears.
  • Attractions are in the most dangerous depart-
  ment.
  • Maintenance are good allies to have.
  • Guest Relations people are clueless.
  • Guests need to be protected, but some need 
  to be put down.
  
  53
  SERVICE
  You are the lowest rung of the Mouse Park 
  ladder. The people guests barely look at, and 
  management forgets about you. You aren’t paid a 
  living wage, and you have to do the worst of the 
  worst, while feeling happy and grateful for the 
  opportunity. The horrible guests and the messes 
  they make, the food they want, the crap they want 
  to buy—that’s all on you. But you know what goes 
  on here. You are in the gutter, you are the custo-
  dians, restaurant workers, and churro salespeople 
  and so you see everything.
  SERVICE MOUSINEERS DO:
  • Food service
  • Retail
  • Food or retail cart
  • Arts and crafts
  • Babysitting
  SERVICE MOUSINEERS HAVE:
  • Mouse Park retail/restaurant uniform (worn)
  • All-access retail and food/beverage key (valu-
  able)
  • Free access to Mouse Park merchandise 
  (valuable)
  HOW LONG HAVE YOU WORKED IN SERVICE?
  • Today is your first day on the job
  • You’ve been a Mousineer less than a month
  • You’ve been a Mousineer less than a year
  • You’ve been a Mousineer 2-9 years
  • You’ve been a Mousineer for 10 years
  • You’ve been a Mousineer more than 10 years
  WHAT DO YOU THINK OF THE OTHER PEOPLE AT 
  MOUSE PARK?
  • Nothing, I don’t care about them.
  • They’re all great!
  • Entertainment is full of jerks.
  • Security guys are alright.
  • Attractions are full of jerks.
  • Maintenance is full of jerks.
  • Guest Relations are full of jerks.
  • Guests are jerks.
  MOUSINEER MOVES (CHOOSE ONE)
  PAINT WITH THE COLORS OF THE WIND 
  (ROLL +WISE)
  When you provide a Mouse Park-inspired meta-
  phor to inspire someone before they make a move, 
  roll +wise.
  • On a 10+ you inspire the character, and the 
  wisdom you impart makes them a better per-
  son so they get +1experience and +1forward.
  • On a 7-9 you inspire the character and they 
  get +1forward. 
  • On a 6 or less you don’t inspire the character, 
  and they can choose to gain +1experience to 
  take -1pal with you.
  WISH A DREAM (ROLL +TWINKLE)
  When someone is trying using the wish upon a 
  star move, touch that person or hold their hand to 
  get a blessing from the power of Mouse Park and 
  roll +twinkle. 
  • On a 7+ the wish does not add a Twinkle to 
  the character. 
  • On a 10+ you get -1twinkle as you have 
  lovingly taken in the power of the park. 
  • On a 6 or less the wish proceeds as normal, 
  the character gets +1twinkle and so do you.
  EXAMPLE
  Narrator:  
  The alligator has bitten off your friend’s foot and is 
  now going back into the lagoon. What do you do?
  Chris:  
  I’m going in after it.
  Faith:  
  Well, you know what they say, “If the Tick Tock 
  Crock has it’s back turned, you can grab the tail.”
  Narrator:  
  Okay Faith, roll paint with the colors of the wind.
  Faith rolls 2, adds Wise, equals 3.
  Faith:  
  I think it was a terrible metaphor.
  Narrator:  
  How does this go down
  Chris:  
  I’m going to glare at her, but I won’t take the 
  experience. We’re still friends, even if she likes to 
  spout off nonsense.
  Narrator:  
  So Chris, you’re going after the alligator then?
  EXAMPLE
  Narrator:  
  The creature leaps up from the toadstool, its little 
  gremlin arms lashing its claws at you, and its 
  beastly face is growling and hissing as it lunges. 
  What do you do?
  Geoff:  
  I’m going to jump out of the way!
  Narrator:  
  Okay, roll go the distance.
  Geoff rolls a 2, with Stout is 3.
  
  54
  REMOVE THE STRINGS THAT HOLD YOU DOWN 
  (SPECIAL EFFECT)
  Once per day you can wish upon a star without 
  accumulating Twinkle.
  FILL THE WORLD WITH SUNSHINE (ROLL 
  +TWINKLE)
  When you want to perform a miracle by calling 
  upon the powers of Mouse Park and/or the Great 
  Mouse in order to affect the environment or cause 
  harm or shock through magic, roll +twinkle.
  • On a 10+ choose one of the following effects
  • Magical energy blasts from your fingertips 
  or hands and strikes a character, causing 
  +2harm
  • Create a horrible vision that inflicts 
  +2shock on a character
  • A shield of magical energy deflects up to 
  -2harm that was  just given
  • Ward up to -2shock that was just given
  • Magical blessing gives you or a character 
  +1forward for the next hour
  • Magical aura adds +1armor for the next 
  hour
  • On a 7-9, choose one of the following effects.
  • Magical energy blasts from your finger-
  tips or hands and strikes a character, 
  causing +1harm
  • Create a terrible vision that inflicts 
  +1shock on a character
  • A shield of magical energy deflects up to 
  -1harm that was just given
  • Ward up to -1shock that was just given
  • Magical blessing gives you or a character 
  +1forward for the next minute
  • Magical aura adds +1armor for the next 
  minute
  • On a 6 or less, there is no effect and you gain 
  a Twinkle.
  FIND BEAUTY FROM WITHIN (ROLL +SWEET)
  When you want to engineer a miracle using 
  whimsy, art, or some sort of theatrics or attraction 
  that can be used once like wish upon a star, but 
  without accumulating Twinkle, roll +sweet. 
  • On a 10+ you’re able to create a miracle as 
  intended right away, and may negate harm or 
  shock, or reroll a die.
  • On a 7-9 you’re able to create a miracle as 
  intended, and may negate harm or shock, or 
  reroll a die, but an unintended consequence 
  also occurs that causes a new problem, delay, 
  Geoff:  
  I can’t take more harm! Okay. Fine, I’m going to 
  look up to the sky and wish upon a star.
  Peter:  
  Wait! I’m going to wish a dream for you!
  Narrator:  
  Okay, so you ask the Great Mouse for help, roll 
  plus Twinkle.
  Peter rolls 10 with 1 Twinkle is 11. 
  Narrator:  
  Okay, Geoff you do not accumulate a Twinkle and 
  you get to reroll. You jump out of the way of the 
  creature, and with the guidance of the Great Mouse 
  it misses you, but you stumble and trip, losing your 
  footing. What do you do?\
  EXAMPLE
  Narrator:  
  The ax is buried deep inside your body, roll your 
  harm . . . 
  Alex:  
  Nope, I’m going to wish upon a star and negate all 
  harm.
  Narrator:  
  Alright, so you call upon the Great Mouse for help. 
  Roll minus Twinkle.
  Alex:  
  Nope, I’m going to use remove the strings that hold 
  you down.
  Narrator:  
  Well don’t you get the cookie.
  Alex:  
  Yep.
  Narrator:  
  The ax hole in your body suddenly heals itself to the 
  astonishment of the lumberjack. You’ve accrued no 
  Twinkle and the Mouse is smiling upon you. What 
  do you do?
  EXAMPLE
  Narrator:  
  Fifty robotic costumed dolls have swarmed upon 
  you, running down the hills of Scotland and past 
  the Eiffel Tower, rushing the boat with gnashing 
  teeth. What do you do?
  Jackie:  
  I stand up and face the mob of animatronic dolls 
  and raise my hands, then call upon the energy of 
  Mouse Park.  
  Narrator:  
  You’re going to fill the world with sunshine?
  Jackie rolls ten, plus Twinkle is 12.
  Narrator:  
  Okay, so what’s the effect?
  Jackie:  
  I’m going to give us all magical armor.
  Narrator:  
  You and everyone on the boat are suddenly 
  glowing with a black radiance. You feel stronger. 
  What do you do?
  
  55
  EXAMPLE
  Narrator:  
  Wyatt has coughed up blood and is now taking his 
  last breath in your arms, as the giant jousting lance 
  protrudes from his stomach. What do you do?
  Courtney:  
  I’m going to make up a song about how beautiful 
  he is and how much he’ll be missed, and then sing 
  it to him.
  Narrator:  
  Okay, roll find beauty from within.
  Courtney gets 12 adds Sweet, making it 14.
  Narrator:  
  Okay, your comforting music mysteriously and 
  magically cures him of all harm, and the lance 
  drops uselessly at your feet. What do you do now?
  or too much attention.
  • On a 6 or less you fail to create the miracle 
  and you gain +1twinkle for disrupting the 
  Great Mouse.
  
  56
  Figuring out your Pal stat with others is an 
  opportunity during character creation to establish 
  relationships with the other characters. This is 
  especially important for the game on two levels. 
  For cooperative storytelling, things are always 
  more interesting when characters know each other 
  and have some sort of past baggage or chemistry. 
  On another level, many of the moves are affected 
  by how well you know someone and to what 
  capacity. When you make a move against or with 
  another character you roll +pal and, in some cases, 
  you use Pal instead of another stat. 
  If you have a good relationship with someone, 
  you have +1 to +3pal with them and get bonuses 
  to moves with that person. If you have a bad 
  relationship, then your Pal will be -1 to -3 and will 
  deduct from moves used with that person.
  This needs to be done at the table and in a 
  collaborative way. You may ask as many questions 
  as you like to determine Pal scores with others. 
  You may also choose to not ask any, but the more 
  you ask, the better you can build relationships and 
  the deeper the story can go.  
  Ask any number of these questions at the table, 
  or none at all. A player can answer more than 
  once, but no one can have more than +3pal or 
  -3pal with anyone.
  PERSONAL
  PROFESSIONAL
  FINANCIAL
  Which one of you is my 
  sibling? (+3pal with that 
  character and they can 
  choose to have +0pal, 
  +3pal, or -3pal with you)
  Which one of you would 
  help me move if I called 
  and paid with pizza and 
  beer? (+2pal with that 
  character and they can 
  choose to either have 
  +2pal or +0pal with you)
  Which one of you did 
  my significant other leave 
  me for? (-3pal with that 
  character and they can 
  choose to have +0pal or 
  -3pal with you)
  Which one of you is 
  my best friend at work? 
  (+3pal with that charac-
  ter and they can choose 
  to have +3pal, +0pal, or 
  -1pal with you)
  Which one of you have I 
  done favors for to make 
  your job easier? (+2pal 
  with that character and 
  they can choose to have 
  +2pal or +0pal with you)
  Which one of you turned 
  me in to the boss for 
  doing something wrong? 
  (-3pal with that character 
  and they can choose to 
  have -3pal or +0pal with 
  you)
  Which one of you do I go 
  to for financial advice? 
  (+2pal with that character 
  and they can choose to 
  have +2pal, +0pal, or -2pal 
  with you)
  Which one of you have 
  I loaned a large amount 
  of money to? (+2pal with 
  that character and they 
  can choose to have +3pal 
  or +0pal with you)
  Which one of you ripped 
  me off and refuses to pay 
  me back? (-3pal with that 
  character and they can 
  choose to have +0pal or 
  -3pal with you)
  WHO ARE YOUR PALS?
  
  57
  CHARACTER VERSUS CHARACTER
  While your playing group will have very dif-
  ferent agendas, personalities, and skills, it is im-
  portant to recognize that ultimately The Happiest 
  Apocalypse on Earth is a collaborative storytelling 
  game. That doesn't mean that characters can't 
  disagree or try to get in each other's way, but it 
  does mean that no matter what the characters do, 
  the players are on the same page. The focus of the 
  game is not inter-character conflict, but rather to 
  tell the story of a group of characters trying to 
  understand, survive, and protect each other against 
  the face of unspeakable horrors. As players, talk 
  to one another and make sure that character 
  conflict is support of the story and aim to resolve 
  it accordingly.
  GUESTS AND ALL THE DEPARTMENTS
  The game can be played 
  with any number of charac-
  ter types. One player group 
  may consist of multiple 
  departments and guests that 
  work through a single story 
  that brings them together. 
  Pal is a good tool to make 
  sure that characters have 
  personal connections that 
  would also drive them to 
  be together. It is up to the 
  Narrator to use moves that 
  ensure everyone gets a share 
  of the spotlight and that, 
  when needed, characters are 
  in the same scene.
  Groups with multiple 
  departments or a mix of 
  Mousineer and Guest can 
  be challenging for a short 
  campaign or single session. 
  The group should consider 
  keeping everyone together 
  in the same department, or 
  playing entirely guests, so 
  that there is no time wasted 
  on pulling everyone together 
  into the same scene. Howev-
  er, with some coordination, 
  one shots can be done with 
  a mix of character types.
  COMING BACK TO MOUSE PARK
  If your group is playing multiple sessions of the 
  game, there will need to be some discussion as to 
  why they would come back to Mouse Park (espe-
  cially if some players are playing guests). It need 
  not be overly involved, but something to keep in 
  mind. Following are some good reasons for trau-
  matized and fearful people would return:
  • To collect more evidence in order to report to 
  the authorities
  • Recover something valuable that was lost
  • Rescue someone in trouble
  • Too afraid to leave and so must join
  • Drawn to the powers there
  
  58
  We go to this place and we think 
  we’re being entertained. The 
  entertainment becomes horrible, yet 
  we are still entertained. And when at 
  last we realize the horror is real, it is 
  too late and all is lost.
  
  59
  NARRATOR
  A
  s the Narrator, your job is to set up the 
  situation and then determine what happens 
  to the setting and people within it based on 
  the characters’ choices and actions. You are still 
  very much in control of the story, but only in the 
  sense that you are responsible for reacting to what 
  the characters do, for delivering consequences of 
  character choices, and to determine the outcomes 
  of character actions.
  In The Happiest Apocalypse on Earth, the 
  players come together and decide what the setting 
  is, how they know each other, and generally what 
  the conflict is going to be. There is nothing for you 
  to prepare. There is nothing for you to mandate. 
  Your job is to take the situation your players 
  created and do three things: 
  1) Figure out what the dangers are in that 
  situation 
  2) Determine what those dangers want or why 
  they are there 
  3) Know what those dangers do
  After that, it is the player’s role to interact with, 
  stop, assist, or in some way affect the dangers that 
  are present. Those actions then have consequences 
  that you describe, and after this happens 
  throughout the session a collaborative story is 
  born.
  This section will provide all the tools you need 
  to do that. But remember beyond it all, your job 
  is not to tell a story that players get to witness, 
  your job is to narrate the story based on what the 
  characters do.
  Even though this is a collaborative storytelling 
  experience, the Narrator is in control over a lot of 
  the story’s moving parts. You embody the setting 
  and all of the non-player characters within it, 
  identify the dangers, create motivations for the 
  dangers, engineer conflict, and act as the arbitrator 
  of the game rules.
  Narrator Agenda
  The Narrator agenda for The Happiest Apoca-
  lypse on Earth is embodied by the three following 
  statements:
  • Bring conflict to player characters and then 
  raise the stakes
  • Play to find out what happens
  • Transform the innocent into the horrifying
  BRING CONFLICT TO PLAYER CHARACTERS AND 
  THEN RAISE THE STAKES
  They are just trying to get through their work 
  day. Or maybe they’re just visiting Mouse Park 
  with their kids and want to have a good time. 
  Their motivation is rather simple—coast through 
  with no problems. Disrupt that peace and quiet. 
  Make the roller coaster attraction they are work-
  ing on or in line for malfunction, sending the cars 
  plummeting at 55 mph 60 feet below, killing or 
  maiming the guests inside. Make them decide 
  what their characters do.
  After they react, raise the stakes. Make things 
  worse. Escalate the conflict, put in a time con-
  straint, make the cost of failure much higher, 
  add another concurrent, but opposed conflict to 
  complicate the original one. Catch the cars on fire. 
  Make them explode if they don’t rescue survivors 
  in time. Give them the choice between the burning 
  guests in the crashed cars, or the kid hanging from 
  the broken tracks above about to fall. Make it so 
  that if they don’t find someone to sacrifice to the 
  Great Mouse within an hour, another fatal ride 
  breakdown will occur.
  Mouse Park is relentless, so you should be 
  relentless too.
  PLAY TO FIND OUT WHAT HAPPENS
  If you play to find out what happens, you don’t 
  know how it will end. You don’t know what the 
  characters will do, you don’t know where they 
  will go, and you certainly don’t know how they 
  will behave. Your job as Narrator is to simply 
  provide the consequences of their actions and to 
  chart out the course of what the dangers will do. 
  The opening part of the session is built so that 
  the players decide what the setting is and what 
  dangers will likely be there. So, you simply cannot 
  plan because you have no idea what the park 
  will have, what the attractions are, or even what 
  department the characters are in. You simply 
  take what is given to you and then chart out the 
  incident.
  Don’t invest your own ideas on what should 
  
  60
  or should not happen, but instead respond to the 
  players who are the stars of the story.
  TRANSFORM THE INNOCENT INTO THE HORRIFYING
  Nothing in Mouse Park is as it seems, and those 
  that are in the world the longest have succumbed 
  to its darkness. Every move the Narrator makes 
  should feed into this experience—a slow slip into 
  madness and the complete reversal of everything 
  we cherish about theme parks.
  Corrupt innocence into something unnatural, 
  unsettling, strange, evil, or horrible. Dismantle the 
  common understanding of childhood memories 
  and make horrifying what was once joyful. It is 
  the evil clown in an amusement park, a murderous 
  princess, an undead pirate, a costumed character 
  transformed into a monster. It is superficial joy 
  with an undercurrent of fatality.
  It is not enough to have a monster in the park. 
  It’s that the monster is an integral part of the park 
  and that they appeared to be something wonderful 
  or hopeful, but were really something terrible and 
  horrifying.
  It is an exercise in creating nightmares from fond 
  memories and making horrible what was once 
  beautiful.
  Narrator Principles
  The Narrator Principles are a list of “best prac-
  tices” for you to keep in mind when you are run-
  ning the game. Whenever you feel lost, off-track, 
  frustrated, or in some way conflicted, refer to this 
  list. 
  • Sprinkle the strange everywhere
  • Make the world seem real
  • Create interesting dilemmas, not interesting 
  plots
  • Address yourself to the characters, not the 
  players
  • Make your move, but misdirect
  • Make your move, but never speak its name
  • Name everyone, make everyone a person
  • Ask provocative questions and build on the 
  answers
  • Respond with challenging circumstances and 
  occasional rewards
  • Be a fan of the players’ characters
  • Respect the dark power of Mouse Park
  • Reveal the dark power of Mouse Park
  • Think offscreen, too
  • Cast fear and shadows with the magical
  • Transform dreams into nightmares
  • Nothing is ever as it appears
  SPRINKLE THE STRANGE EVERYWHERE
  Mouse Park is not normal. There are details 
  around every corner that scream about the fact it 
  is not normal. Drop those details, those specific 
  things that make one cock an eyebrow. What is 
  that? Why is it there?
  MAKE THE WORLD SEEM REAL
  For the people in Mouse Park, this is no comedy. 
  Take it seriously, show the detail, and experience 
  the emotion. Everyone has a motive. Everyone has 
  a reaction. Everyone has a name.
  CREATE INTERESTING DILEMMAS, NOT INTERESTING 
  PLOTS
  Your job is not to create a story, it is to create a 
  situation. What is the setting from which players 
  must make decisions? What are their hard choices? 
  Save the kid in danger, or catch the monster? What 
  do you do? Why?
  ADDRESS YOURSELF TO THE CHARACTERS, NOT THE 
  PLAYERS
  This game is not about the players, it is about 
  the characters. Put the character names on index 
  cards if you need to.
  MAKE YOUR MOVE, BUT MISDIRECT
  Your Narrator moves are there to move the story 
  along. But don’t be obvious. Make your Narrator 
  move, but then point them elsewhere. Someone 
  is hanging from a rope on Galaxy Mountain, but 
  even as the victim struggles to live, her murderer is 
  scampering backwards in the darkness.
  MAKE YOUR MOVE, BUT NEVER SPEAK ITS NAME
  You have moves, but players should never know 
  you are using those moves. It should be a natural 
  course of the story’s events.
  NAME EVERYONE, MAKE EVERYONE A PERSON
  Everyone in Mouse Park has a name. Name 
  them.
  
  61
  ASK PROVOCATIVE QUESTIONS AND BUILD ON THE 
  ANSWERS
  It is great to ask questions of players and hear 
  what they believe to be true of Mouse Park. Make 
  what they say true.
  RESPOND WITH CHALLENGING CIRCUMSTANCES 
  AND OCCASIONAL REWARDS
  Make the characters fight for success. Mouse 
  Park does not want them to succeed, they should 
  feel accomplished when they do.
  BE A FAN OF THE PLAYERS’ CHARACTERS
  This is the players’ story. Let them shine. Bring 
  them fear.
  RESPECT THE DARK POWER OF MOUSE PARK
  In spite of its surface illusion, Mouse Park is not 
  a nice place. Bathe in the darkness it presents.
  REVEAL THE DARK POWER OF MOUSE PARK
  It should be very clear, very quickly, that things 
  are not safe at Mouse Park.
  THINK OFFSCREEN, TOO
  Mouse Park moves on with or without the char-
  acters. Incidents unfold. Things happen whether 
  or not they interfere. Don’t forget what’s going on 
  elsewhere.
  CAST FEAR AND SHADOWS WITH THE MAGICAL
  The powers of Mouse Park are not to be trifled 
  with. Make that clear.
  TRANSFORM DREAMS INTO NIGHTMARES
  All that is beautiful is terrifying, all that is hope-
  ful is desperate. Mouse Park strips away what is 
  innocent to reveal the true horror beneath.
  NOTHING IS EVER AS IT APPEARS
  What is true? None can say. The evil has no 
  depths, and all that is presented is done so to hide 
  the terrible truth.
  Whenever you are experiencing a moment when 
  the players are looking to you to say something, 
  always say:
  • What the principles demand
  • What the rules demand
  • What your incident demands
  • What honesty demands
  Always Say
  WHAT THE PRINCIPLES DEMAND
  Narrator principles define how the Narrator 
  achieves the goals of the game—or specifically, 
  how the Narrator accomplishes the agenda. When-
  ever you need to say something, what you say 
  should be on the path of your principles.
  WHAT THE RULES DEMAND
  The Happiest Apocalypse on Earth is, after all, 
  a game. Game rules are more than protocols for 
  how scenarios work, however. Rules are a social 
  contract. They are a way for everyone in the 
  playing field to know what can be done and what 
  cannot be done. If you skimp on the game rules, 
  you are no longer on a level playing field. Your 
  players will no longer know what is possible and 
  what isn’t. In cases where the game rules don’t 
  specifically handle a situation, it is your job to 
  adjudicate it to the best of your ability. But when 
  you arbitrarily change rules in game it isn’t fair to 
  the players and it isn’t fair to the story.
  WHAT THE INCIDENT DEMANDS
  You will learn how to create an incident in 
  Mouse Park (p. 72), built from game mechanics 
  that help you design the situation that the charac-
  ters will be involved with. It does not determine 
  the outcome of the situation, but rather the set-up, 
  who is involved, why it is dangerous, and what 
  their motivations are. When you speak, it should 
  be within the confines of what your incident is. 
  Everything should come back to the core plot in 
  one way or another. Forgetting the incident and 
  the motivations does not help to creative a cohe-
  sive story, which is, after all, why we’re playing 
  this game to begin with.
  WHAT HONESTY DEMANDS
  This is not only about being honest with the 
  rules (one shouldn’t cheat), but also about being 
  honest with the narrative. It is delivering honest 
  consequences for actions and being truthful on 
  the information provided to the characters. Your 
  role is not to obscure the truth, hide the truth, 
  or spring something arbitrarily in the characters’ 
  path, but to deliver a cohesive and interesting 
  story. When something bad happens, it happens. 
  
  62
  When something good happens, it happens. When 
  information is found, it is true. Honesty in story-
  telling develops the trust needed to collaborate on 
  a story with your players.
  Before the First Game
  As Narrator for The Happiest Apocalypse on 
  Earth, you are responsible for the game as a 
  whole. The game is engineered so that there is 
  little preparation, however it is your role to make 
  sure the players are prepared with everything they 
  need, that they are acquainted with the game and 
  with each other, that the story moves smoothly, 
  and that the narrative follows an arc to a natural 
  resolution. 
   The first thing you should do is read this book 
  cover to cover. You will likely not need to refer-
  ence much in the book during game play because 
  the important things are broken out on a cheat 
  sheet for you, however you should have a holistic 
  understanding of the game, how it works, and 
  how to manage the unexpected. Reading the book 
  will help accomplish that necessary on-boarding 
  you’ll need.
   Next, make sure you have supplies for your 
  players. They will need character sheets and cheat 
  sheets, dice, pencils, paper, etc. And it’s always an 
  interesting idea to prepare props as well, such as 
  pictures of important NPCs, novelty hats, music, 
  Mouse Park cupcakes, whatever else you may need 
  to set the mood.
   It is part of normal game play to set up the 
  park and potential dangers, however you can 
  have a map prepared where players help to fill in 
  the blanks on attractions and areas of the park. 
  Something visual is always good for telling the 
  story, and the more interactive you can make it, 
  the better.
   Before the first game also take a look at the 
  incidents in this book and keep them in mind in 
  case one fits a scenario the players lay out. Also 
  construct potential incidents based upon what you 
  know of the players’ playstyle and think ahead 
  for potential dangers they may encounter. You 
  can also set up a series of minor incidents that 
  are baked in no matter what scenario they build 
  up that can be useful for complicating the session 
  or simply adding texture. Many dangers can be 
  planned ahead of time as well, including prom-
  inent NPCs in the park, or certain “evergreen” 
  always present dangers. Additionally, you can 
  come to the session with a list of NPC names on 
  an index card to help you come up with NPCs on 
  the fly.
   Much of that is to help prepare you to think on 
  your feet. The game works largely at the whims of 
  the players, so if you can backfill tools to help you 
  navigate the story, include them.
  Running the Game
  Your role as Narrator is to direct a movie that 
  erupts from a core of twisted horror, and to inflict 
  horror according to your agenda and by using 
  Narrator moves. Much of your creative work will 
  be around reacting to player choices and then 
  making moves against them to escalate the story, 
  raise tensions, and put obstacles in their path. 
  There is a unique challenge when running a game 
  in this way, in that you do not have a tremendous 
  amount of narrative control and so therefore are 
  not adequately prepared for what may happen. 
  You must use creative agility to navigate the 
  ever-changing waters of the story and then stick 
  to your agenda. If you ever get stuck, look at the 
  Always Say section (p. 61) and choose a move that 
  will impact the story and propel the characters 
  forward.
  READ THE TABLE
  Be cognitive of how players are responding to 
  the game. Are they leaning forward, engaged, 
  and actively participating? Are they disengaged, 
  leaning back, checking their phone, not paying 
  attention? Are they uncomfortable? Avoiding eye 
  contact? It is the Narrator’s role to understand the 
  table and make real-time changes according to the 
  body language the players are emoting. If they are 
  disengaged, move the narration over to them. Put 
  a point of decision in their character’s path. If the 
  table’s energy is low, pick up the conflict. Stand 
  up and become enraptured in the story yourself. 
  Use your voice to escalate excitement, or lower it 
  to increase tension. You can’t fix every table, but 
  if you are plugged into their level of interaction 
  you can course-correct. Empathy is an important 
  quality to being an effective Narrator.
  
  63
  
  64
  LISTEN AND REACT
  Narrators do not create the story, Narrators 
  react to player characters. If a Narrator is doing 
  all of the talking, describing every detail of Mouse 
  Park, and acting out all of the NPCs to the point 
  where NPCs are talking to NPCs, then the ses-
  sion’s spotlight is no longer on the players. Let 
  them be in their own story. Let them talk. Listen to 
  what they say, then react to what their characters 
  do. Don’t use the characters’ spotlight to tell your 
  NPCs story, or to drive a plot you have been ready 
  to use. See the world from the characters’ point of 
  view and steer the story based upon their actions. 
  If the players are quiet and not filling the silence 
  with their character actions, then start asking 
  questions. Get them to answer questions so that 
  they guide where the narrative is going. Ask them 
  what their character wants, what she would be 
  willing to do to get what is wanted, and what has 
  gotten in the way of that. Stories are all about 
  character motivations, and with some targeted 
  questions you can find those motivations and act 
  upon them.
  RE-CHART AN UNPREDICTABLE INCIDENT
  By their very nature incidents are unpredictable, 
  however it is possible for the players to take the 
  incident so off the rails that you are ill-prepared 
  to handle the journey. Don’t panic. Incidents are 
  more like large ships than cars. You can chart a 
  course to a place of comfort and stability and let 
  the forward motion of character actions take you 
  there. Plant a seed based upon a character motiva-
  tion and help steer them in that direction. Running 
  incidents requires little structure, so a simple 
  Narrator Move can course correct the situation 
  and bring things back to a place where you feel 
  comfortable again.
  RESPOND TO HARASSMENT
  Beyond narrative control, your de facto respon-
  sibility is to make sure players feel safe at your 
  table. Use the X card when necessary, but beyond 
  that, pay attention. Horror games can go in many 
  uncomfortable places and so be conscious of body 
  language. Police potentially harassing or abusive 
  behavior—do not allow it. For tables to be safe, 
  handle those situations quickly and sternly. Do not 
  be afraid to remove players that are disrespectful, 
  abusive, or harassing of other players.
  BASIC NARRATOR MOVES
  Narrators have moves just like the players do, 
  except they are far less structured. There are 
  essentially only two types of moves: soft moves 
  and hard moves. A soft move is something you do 
  in the story that compels an action out of a player, 
  but that does not force one, whereas a hard move 
  will not necessarily allow a player to react to what 
  you do.
  For the soft move, the players had an opportuni-
  ty to intervene and stop the narrative. In the hard 
  move example, they did not.
  USING HARD MOVES ON MISSES
  When a player rolls a 6 or less on a move, that 
  means that they have a complication. This does 
  not necessarily imply that they fail, but it does 
  mean something complicates the situation or caus-
  es issues for the character. This can result in harm 
  and shock, or something entirely narrative such 
  as blocking the character’s way, creating a tough 
  decision, or making them lose something. Many 
  player moves stipulate what a hard move could en-
  tail, but you are not limited to only that. Whatever 
  you choose to do, you should make certain that it 
  moves the story forward and provides something 
  for the player to do next.
  For example, suppose a character attempted to 
  grab the monster before it went inside the office. 
  You tell them to roll go the distance and she gets a 
  3 on the die roll.  You could simply have the door 
  slam on her arm, causing harm, but that alone 
  doesn’t push the story forward—it means only 
  that she got hurt. A stronger way to handle it is 
  to say that her arm blocks the door from closing, 
  and she takes harm. That means the player has an 
  opportunity to shove the door open or make some 
  sort of decision about what is happening.
  Situations like this tend to snowball, and as 
  SOFT MOVE EXAMPLE
  As you run through the corridor, you see that the creature has 
  a hold of a guest, dragging her by the ankle toward an office 
  ahead. As it gets inside the office it tries to close the door. What 
  do you do?
  HARD MOVE EXAMPLE
  As you run through the corridor, you see the 
  creature has a guest, dragging her by the ankle 
  toward an office ahead. Before you can react, it 
  slips inside and slams the door, locking it. What do 
  you do?
  
  65
  moves begin escalating you’ll know you are pro-
  pelling the story forward. 
  USING HARD MOVES TO CHANGE BEATS
  Hard moves can be effective in forcing a change 
  in the beat. They can be particularly useful if 
  players are getting bored, the situation is becoming 
  repetitive, or things are feeling too comfortable. 
  When using a hard move in this way, be conscious 
  of player agency. Your goal here isn’t to unexpect-
  edly harm the characters or to cheat the players 
  out of defending themselves or making choices. 
  Your goal is to force the characters into taking a 
  different action to change the story’s pace.
  For example, let’s say a character has been 
  searching for clues on a closed down attraction 
  and has spent a significant amount of time going 
  back and forth on information discovered and 
  what that information could mean. It has begun to 
  get repetitive, and there doesn’t appear to be any 
  compelling reason for the character to stop doing 
  this. This would be a good place to make a hard 
  move.
  In this situation, the Narrator could announce 
  future badness. Perhaps, in this case, the character 
  stumbles upon a dismembered arm while he is 
  exploring the ride, and streaks of blood lead to the 
  maintenance corridor. That would then compel 
  them to do something even if it was to run the hell 
  away.
  Narrator Moves
  SEPARATE THEM
  Create a situation that splits the party, even 
  if temporarily; close and lock a door, knock a 
  character into the log ride water channel, someone 
  falls behind to buy a funnel cake, the phone rings 
  upstairs in the office while a kid knocks over a 
  display in the store. Separating the party will add 
  suspense and depth to the experience and expand 
  the potential narrative.
  PUT THEM TOGETHER
  If a party is split, then use this move to put them 
  back together again; it can be as simple as allow-
  ing them to see where they are, providing help 
  from an NPC, or by delivering an incentive for 
  them to come to the same place at the same time.
  PUT SOMEONE IN A HIGH-STAKES SITUATION
  Raise the stakes by introducing a high cost for 
  failure; it can be a time limit after which some-
  thing horrible will happen, a change of the tables 
  wherein someone important is at risk, a compli-
  cation that gets in the way of what would have 
  normally been a success, or putting something 
  valuable on the line that will be lost.
  TRADE HARM FOR HARM (AS ESTABLISHED)
  In a situation where player characters have used 
  a move that requires NPCs or monsters to inflict 
  and also take harm, then do so with this move, 
  using whatever harm bonus the NPC or PC  has.
  DEAL HARM (AS ESTABLISHED)
  If the NPC or monster cannot be seen or is using 
  an ability that will not enable the Player Character 
  to respond, inflict harm with no warning, using 
  whatever harm bonus the NPC or monster has.
  ANNOUNCE FUTURE BADNESS
  Fear of evil is worse than evil itself. Use this 
  move to provide a glimpse of the horror to 
  come—a slew of dead guests in a doorway, a 
  shadowy figure peering down from a window 
  EXAMPLE
  You both crawl through the ventilation shaft, army-crawling, as fast as 
  you can. You can hear the metallic scuttling from behind as the creature 
  advances and closes the distance. Jason busts through the grate and onto 
  the surface of Main Street, but just as Aaron comes up as well, he feels 
  tentacles snatch his ankle and pull him back down into the depths below. 
  What do you do?
  EXAMPLE
  The darkness begins to subside as you slowly come to consciousness. 
  A haziness drifts over you as if in a deep fog, and when the fog lifts a 
  horrible headache descends. The clearer your thoughts, the worse the 
  pain is until at last you are awake and alert. You are both sitting in 
  chairs, tied together, back to back. You are gagged. There is nothing in 
  the room except for a single blindingly bright light in the ceiling and red 
  wallpaper featuring rows of cartoon mice. What do you do?
  EXAMPLE
   You reel across the room, closing the distance as you see her princess 
  skirt flip out of sight as she dashes behind a corner. As you came around 
  you see her stopped with a young boy in her grip, butcher knife to his 
  throat. She smiles broadly, her long blond hair falling into her face. 
  “Little boys bleed easily, don’t they?” What do you do?
  EXAMPLE
  As you punch the bear you break a knuckle, causing +1harm to the bear 
  and +1harm to you. What do you do?
  EXAMPLE
  You point carefully, take aim and release the bowstring. The arrow 
  flies true and thwonks into the back of the clown’s head, who drops 
  unconscious from the harm. What do you do?
  
  66
  above, the sounds of screams beyond. Demon-
  strate through the narrative that things are about 
  to get really terrible.
  GIVE THEM A DIFFICULT DECISION TO MAKE
  Few things are worse than having to deal with 
  two horns of a dilemma. This move can transcend 
  only making hard choices; it is about taking the 
  lesser of two evils, or deciding who or what to let 
  go in order to succeed. These can be things like 
  saving your friend from falling off a roller coaster 
  or catching something before it falls into the lake.
  TELL THEM THE POSSIBLE CONSEQUENCES AND ASK
  Players may be stumped, and characters may be 
  doing something that they don’t actually under-
  stand the implications of. It is part of your role as 
  Narrator to move the story forward, so use this 
  move to help players get a better picture of what 
  to do, ask them what they are trying to accom-
  plish, or better illustrate what could happen.
  TURN THEIR MOVE BACK ON THEM
  If a player character fails a roll, use this move to 
  turn their move around, and do to them what they 
  were trying to do to the NPC or monster.
  MAKE A MOVE FROM YOUR DANGERS
  Use the many moves your dangers have available 
  to them, whether weird (monsters or supernat-
  ural), Mousineers (other staff at Mouse Park), 
  management (bosses of Mouse Park), the guests, 
  the park itself.
  CREATE A MALFUNCTION
  Break something that is useful to the player 
  characters when they fail to use it or create a 
  breakdown somewhere else that adversely affects 
  the characters. Shut down the park’s electrical sys-
  tems, give a computer a virus, or break a hammer. 
  Whatever the case, the malfunction should drive 
  the narrative forward.
  PUT UP A BARRIER
  There are many ways to block the characters 
  from their objective, especially if they fail a roll. 
  Doors are closed and locked, buildings are col-
  lapsed, mobs of zombies block the path, etc.
  OBSCURE THE ENVIRONMENT
  Use this move to make things more challenging 
  and to raise the stakes. You can use natural phe-
  nomena like fog or rain, use illusions from some 
  evil supernatural power, or shut off the lights.
  ESCALATE THINGS
  Increasing the stakes is one thing, but escalating 
  a scenario can be an entirely different move. Use 
  this move to make the same problem worse. The 
  out of control car has lost its break, the homicidal 
  maniac is now also angry, the malfunctioning 
  animatronic now has a weapon, or any other 
  escalation that increases danger and fear.
  EXAMPLE
  As you stand in line, it shuffles forward slowly. People chat quietly, check 
  their phones, and wait. From inside the attraction you hear a “THUD!” 
  sound and then the panicked sounds of men and women suddenly 
  shouting and screaming “OH MY GOD! DEAR GOD NO!” You can’t 
  see the source of the commotion from the crowd. What do you do?
  EXAMPLE
  The Flying Rhino attraction has increased its speed to the point where 
  the entire apparatus is trembling. You can see bolts flying off it and the 
  metal arms holding the Rhino cars shake and shimmy from the stress. 
  Parents and children are screaming and looking down at the long fall 
  below should the machinery fail. The cloaked figure is now running 
  away from the ride, disappearing into the crowd. You can see the stop 
  switch but if you get there, you’ll ose the perpetrator. What do you do?
  EXAMPLE
  If you punch that bear, its powerful jaws will likely be used to smash 
  your head. Are you sure you want to do that? What do you do?
  EXAMPLE
  You pull the trigger and the bullet misses the animatronic duck by an 
  inch, hits the cast iron door behind it, then ricochets back at you—
  penetrating your right leg and causing +2harm. What do you do?
  EXAMPLE
  The creature appears from the darkness, shimmering in the moonlight, 
  but otherwise without definite form—a ghostly apparition that appears 
  to be made of volatile and rumbling smoke, almost like the darkness of 
  a thunder cloud. It flows forward like a gas and overwhelms you and the 
  others with complete and blinding darkness. What do you do?
  EXAMPLE
  As you try to jimmy the ignition, there’s an electric short that jolts you for 
  +1harm and then shuts down the computer before surging into the engine 
  block and melting it into a useless piece of metal. 
  EXAMPLE
  There is an enormously loud screeching sound coming from above as metal 
  pylons collapse and fold in on themselves. This is all accented with terrified 
  screams as the Ferris Wheel tumbles off its axis and rolls through the park, 
  smashing through a hot dog stand and a family of tourists before tumbling, 
  uncontrolled and quite quickly, into you. What do you do?
  EXAMPLE
  The blue sky is suddenly overwhelmed by unnaturally dark and tall thunder 
  clouds. In the next moment thunder crashes and a torrent of rain pours 
  down, followed by a steady stream of golf ball-sized hail. What do you do?
  EXAMPLE
  The log ride’s boat is hanging precariously over the edge of the drop, but 
  it is askew and will tumble, rather than slide. As the reptilian monster 
  shoves you forward, it breaks the pipes and the water is diverted, drying 
  up the waterfall and eliminating a smooth slide. What do you do?
  
  67
  
  68
  D
  angers are like a Narrator’s playing pieces in 
  the game. They are always in opposition to the 
  player characters and their goals (even if they aren’t 
  intentionally in opposition), and serve as sources of 
  conflict for the overall story. The different types of 
  dangers behave in a variety of ways and can be used 
  alone or in combinations with one another. Each 
  danger has a different set of moves and in a further 
  section, using the dangers in a campaign can be 
  done systematically or on the fly. The danger types 
  are:
  • Weird (monsters, supernatural presences, evil, 
  magic, bad guys)
  • Mousineers
  • Management (the business people and 
  administrators of the park, or cult/faction 
  leaders)
  • Guests
  • Mouse Park
  • Big Picture (overall narrative themes that 
  affect the characters)
  Weird
  Weird Dangers are one of the more common 
  ones that players will interact with. They are typi-
  cally the monsters, villains, supernatural creatures, 
  and magical forces the characters must confront. 
  Weird Dangers can include any number of crea-
  tures ranging from werewolves and vampires to 
  psychotic murderers and malfunctioning machines. 
  It can also include villains or humans that have 
  been touched by evil, the supernatural, or magic. It 
  constitutes all ranges from beastly minions to the 
  big bad guy.
  WEIRD DANGER MOVES:
  USING WEIRD:
  Weird Dangers will often be the center of a 
  session. The pirates have come alive on the Pirate 
  Ride and are slaughtering guests, Cinderella has 
  lost her mind and is murdering people in Princess 
  Castle, a poisonous fog has come from the Haunt-
  ed House and is turning people into zombies, a 
  demon has come from the abyss and is terrorizing 
  the ice cream shop on Main Street, etc. There may 
  be other dangers involved as well, and multiple 
  Weird ones, but these dangers are the source of the 
  narrative’s conflict.
  Mousineers
  The staff members of Mouse Park are called 
  Mousineers, and the term describes anyone from 
  entry-level positions and guest services to upper 
  management and executives. Unless a manager or 
  executive is using his or her power to influence 
  the narrative or harm the characters or guests, 
  he or she is considered merely a Mousineer. They 
  are the minions of Management or, if not, in the 
  way of character goals and so can be a danger by 
  deterring or distracting the characters, or in some 
  way sabotaging what needs to be done.
  MOUSINEER DANGERS HAVE THE FOLLOWING 
  MOVES:
  USING MOUSINEERS:
  The primary role of Mousineers is to carry out 
  the will of Management, or to in some way get in 
  the way of characters. They are the minions that 
  do the dirty work for Management, the thralls 
  that characters must get past, or the obstacles 
  that are in the way of a character’s goal. They are 
  not all bad and they may not even know they are 
  minions, but some certainly do. They can influence 
  Weird Dangers and Guest Dangers and can impact 
  a character’s narrative. Moves are used to create 
  drama and trials on the way to the climax.
  DANGERS
  Appear suddenly
  Disappear suddenly
  Hint at its presence
  Reveal its full power
  Reveal its weirdness
  Threaten, taunt, or 
  mock
  Give chase
  Make a bargain
  Escape
  Attack with ferocity
  Attack with recklessness
  Attack with calculation
  Attack with restraint
  Use a power or special 
  ability
  Get away
  Stop a Guest move
  Stop a Weird move
  Enforce a mandate 
  from Management
  Make a show of force
  Assert authority
  Assist
  Inform and educate
  Attack or defend
  Capture
  Interrogate
  
  69
  Management
  Management are the Mousineers in charge at 
  Mouse Park. They can include actual management, 
  such as executives or middle management in the 
  park, but can also include other people of power 
  or influence such as park investors, celebrities or 
  influential people, politicians, or even parents (if 
  characters are kids). Just because someone is in 
  “management” at Mouse Park does not make 
  them a Management Danger. In most cases, 
  Management Dangers are on the periphery of a 
  narrative, influencing from without and staying 
  out of the way of Weird Dangers. They may be 
  what implemented the Weird Dangers, or they 
  may be simply trying to mitigate or avoid them. 
  They rarely act directly and will use other dangers 
  (especially Mousineers, but also Guests and Weird) 
  to inflict harm, or influence characters. 
  MANAGEMENT DANGERS HAVE THE FOLLOWING 
  MOVES:
  USING MANAGEMENT:
  Management Dangers can be omnipresent, but 
  rarely seen. The effects of their decisions, their 
  sphere of control, and their actions are widely felt 
  and observed, but they themselves stay at a safe 
  distance, content to use minions and underlings 
  to do their dirty work and clean up. Management 
  can often be the “big bad guy” of the story, or the 
  trigger of the conflict, but are either hard to get 
  to, or their involvement is unknown. While Weird 
  Dangers often create the conflict for characters, 
  Management are often the reason there was a 
  conflict to begin with.
  Guests
  The guests of Mouse Park are innocent bystand-
  ers, and most of them don’t mean to be a danger, 
  but they often get in the way, are victims of the 
  Weird Dangers, or become mouthy and problem-
  atic and so interfere with the player characters. 
  Guest Dangers generally include the visitors of 
  Mouse Park but can include other bystanders such 
  as artisans, musicians, street performers, or people 
  that are completely unaware of anything strange 
  happening in the park at all.
  GUEST DANGERS HAVE THE FOLLOWING MOVES:
  USING GUESTS:
  Guest Dangers should always be used to compel 
  characters to act or to complicate a character’s 
  narrative. Either they need to be rescued, moved 
  out of the way, or dealt with upon witnessing the 
  Weird Dangers. Mouse Park cannot allow stories 
  of evil to leave its walls, so much of what the 
  characters need to do is to protect the guests from 
  other dangers, divert them so they don’t notice 
  other dangers, or to somehow take care of them 
  if they do witness the other dangers. Guests are 
  obstacles, MacGuffins, and victims.
  Mouse Park
  Mouse Park is an intelligent living thing. The fell 
  forces at play here make the very earth alive with 
  darkness. It has a presence and a will. These are 
  forces beyond character comprehension and much 
  of the time they will not know that it is happening 
  at all. But for those that are attuned to Mouse 
  Park, they will see the ripples of the moves and the 
  texture and tone of the movement. They will know 
  when the park is pleased, and when it is not.
  • Stop a guest’s 
  move
  • Stop a Weird move
  • Stop a Mousineer 
  move
  • Make a mandate
  • Demonstrate force 
  or authority
  • Attack suddenly or 
  brutally
  • Negotiate
  • Leverage some-
  thing or someone
  • Claim territory
  • Allocate resources
  • Appoint a task or 
  delegate
  • Play politics
  • Show restraint
  • Secretly attack
  • Get in the way
  • Plea for help
  • Tell stories
  • Become a mob
  • Become organized
  • Collectively 
  accept/deny au-
  thority
  • Make a coordinat-
  ed attack
  • Demand accom-
  modations
  • Cling to or defy 
  reason
  • Make a mess of 
  things 
  
  70
  MOUSE PARK DANGERS HAVE THE FOLLOWING 
  MOVES:
  USING MOUSE PARK:
  Mouse Park Dangers are those unexplainable 
  moments of darkness and terror that persist in 
  every corner of the park. It is a higher intelligence 
  behaving with its own agenda and desires. Ulti-
  mately the park wants to keep its home safe; from 
  exposure, from being found out, from destruction. 
  But it has an insatiable appetite and needs blood 
  and terror on its soil to thrive. There is a constant 
  tug of war between causing doom and over-cor-
  recting so that knowledge of the doom cannot 
  escape the walls. Mouse Park moves should be 
  reserved for moments when characters need 
  reminding of where they are and the power that is 
  present. It can establish the mood of severity, but 
  it can also open up avenues so that the characters 
  can stop other dangers or conceal them. Moves 
  should be mysterious, cloaked in shadow, and 
  unexplainable. Mouse Park moves should also 
  be used following encounters so that witnesses to 
  doom and horror are either eliminated, or mem-
  ories are wiped. The park will clone dead people, 
  use pineapple juice and hot chocolate vendors to 
  wipe memories, or simply consume witnesses in 
  its darkness. No one can know and no one who 
  knows can leave.
  Big Picture
  The Big Picture may be the toughest of the 
  dangers to organize. It is really the overall tone of 
  the game. The hard-to-define stuff that needs to 
  be done at the highest level of the narrative. It is a 
  step down from Narrator agendas, though, be-
  cause they are specific tactical things you can do to 
  make sure the tone is where you want it. Much of 
  this can be deployed when there is nothing else to 
  do or when no other dangers are around. Moves 
  at the beginning of the game will show a flavor of 
  what to expect, and moves throughout will punc-
  tuate what the other dangers are doing. 
  Big Picture Dangers cannot be easily mitigated, 
  easily defined, nor easily attributed to a particular 
  person, place, or thing. But their effects are real 
  and are designed to be destabilizing. They are 
  meant to unseat complacency and remind charac-
  ters where they are and what they are up against.
  BIG PICTURE DANGERS HAVE THE FOLLOWING 
  MOVES:
  USING BIG PICTURE:
  Big Picture moves are generally hard moves that 
  force a narrative forward and put characters in 
  terrible situations. They aren’t pretty and shouldn’t 
  be used lightly. If used as a soft move, they can 
  set the tone early on, but once the story proceeds 
  they can be used to punctuate evil and escalate 
  the moves of the other dangers. They are the 
  Narrator’s ace card to be thrown down whenever 
  the players are getting a little too comfortable. The 
  best reaction to a Big Picture move is wide eyes, 
  gaping mouths, and open pleas to something holy.
  • Create malfunc-
  tion or disaster
  • Erase the memory 
  of witnesses
  • Cover up crimes 
  or suppress infor-
  mation
  • Clone dead guests
  • Reveal something
  • Expose weirdness
  • Empower or 
  prohibit
  • Make magic
  • Hide something
  • Rearrange or 
  relocate
  • Create an obstacle
  • Create an alterna-
  tive path
  • Redirect or dis-
  tract
  • Introduce insanity
  • Dismantle what is 
  normal
  • Unseen threats
  • Create doom
  • Compel servitude 
  or resignation
  • Compel danger
  • Compel rage
  • Become dormant/
  active
  • Create dismay or 
  sadness
  • Hide / reveal 
  horror
  • Kill or destroy
  
  71
  The dark places feel safe and I have 
  some friends there, but no one can 
  know. You won’t tell, will you?
  
  72
  INCIDENTS
  D
  angers are not static. They have motivations, 
  goals, trust issues, churros, visions of murder, 
  fear, a Ferrari at home that they never drive. 
  As Narrator, your job is to find out what happens 
  in the story—but to do so, you need to understand 
  who is there and what they are doing.
  The player characters will naturally run into 
  trouble. They can’t help it. But no matter what it 
  is they are doing, you should be tracking what the 
  dangers are all doing. Inevitably the characters 
  will get in the way of the journey the dangers are 
  on, but without understanding the whole picture, 
  you will be unable to adequately respond to the 
  characters’ decisions.
  One effective way to do this is to essentially 
  create a clock for each of your major dangers. 
  Identify what, of all the dangers, will be present 
  during this session, figure out what they want, and 
  then figure out the steps they are going to take to 
  get what they want. Also, figure out the triggers 
  that will move them each step of the way. That 
  way, when the characters are out doing their stuff 
  they will trigger the dangers to move.
  A player may come upon more than one danger, 
  and each danger will have its own clock outlining 
  the steps it is taking to get what it wants.
  This is where incidents come into play. An 
  incident is the structure of a game session, from 
  beginning to end, that organizes all of the dangers, 
  their motivations, and anticipated outcomes. 
  Think of an incident as the whole story, the 
  episode in the show, or the plot of a movie. The 
  big difference between incidents and regular plots 
  is that you don’t have control over what the main 
  characters do. Rather, you build the situation and 
  chart the direction of the dangers and conflict, and 
  then react to what the characters do.
  A tried and true way to set this up is to use the 
  tools of human storytelling, the traditional plot 
  structure. Now, remember when creating these 
  that the structure is in place to demonstrate what 
  happens with the dangers if the characters do 
  nothing. It is designed so that at any step of the 
  process, the characters can change, stop, redirect, 
  escalate or in some way impact the danger’s path. 
  And most importantly, each stage of the structure’s 
  progress should be made apparent to or triggered 
  by the characters. Also, note that you may have as 
  many dangers involved as you like, and it’s even 
  better if they can be connected thematically.
  Create the Major Incident
  Start by building the session’s Major Incident. 
  This could be part of a larger multi-session inci-
  dent, or it could be just for the one-off session. 
  Whatever the case, use what you discovered about 
  Mouse Park and the characters during your initial 
  session to determine what the primary danger 
  is. This should tie directly into something about 
  the characters, an attraction the player’s built, or 
  something to do with the characteristics of Mouse 
  Park they’ve determined. So, you see that you can’t 
  really plan ahead much—or if you do, you need to 
  be flexible about what the details are.
  When choosing the primary danger, look over 
  the danger types. What would cause the most 
  amount of drama for the characters? What would 
  make sense given who the characters are and what 
  the players decided they wanted in the game? Is it 
  a monster (Weird Danger)? Is it a restaurant chef 
  that has snapped and is cooking guests (Mousineer 
  Danger)? Is it a tourist that is trying to throw him-
  self off Galaxy Mountain (Guest Danger)? Is it the 
  New Moon and so Mouse Park is spontaneously 
  creating fatal malfunctions (Mouse Park Danger)? 
  Has Halloween roused the spirits of all those that 
  perished at Mouse Park (Big Picture Danger)?
  Once you choose the danger, outline the incident.
  COMPLETE THE FOLLOWING STATEMENTS:
  Once upon a time, there was ________________ 
  (who or what is the danger), who/what was 
  _____________ (where is the danger), and wanted 
  ____________ (what does the danger want), 
  because ___________ (why does the danger want 
  that). 
  One day, _____________ (what changed or in-
  cited the danger into action), and because of that, 
  ________________ (what does the danger do), 
  until finally ________________ (what will happen 
  if the danger gets what it wants).
  
  73
  You have just defined a “clock” for the danger—
  or, in other words, charted out the countdown the 
  danger will undergo throughout the session until 
  the player characters start affecting the story.
  1. Introduction: Where the danger starts.
  2. Exposition: The danger identifies the goal.
  3. Conflict: Something gets in the way of the 
  danger and the goal.
  4. Rising Action: The danger moves toward the 
  goal. 
  5. Climax: The danger confronts what gets in the 
  way of the goal.
  6. Resolution:  The danger does or does not 
  achieve its goal.
  WEIRD DANGER EXAMPLE
  Once upon a time, there was a demon that pos-
  sessed a young princess actress, who was working 
  in the Princess Castle at Mouse Park, and wanted 
  to eat small children alive because it lives on terror 
  and fear. One day, the authorities at Mouse Park 
  stopped allowing the princess to meet kids in her 
  chamber at the castle, and because of that the 
  princess went into the park and started grabbing 
  and eating children openly to satiate her hunger, 
  until finally the authorities shot her and erased the 
  memories of all the guests that witnessed the event.
  1. Introduction: The princess is waiting and 
  locked in the castle.
  2. Exposition: The princess breaks out of the 
  castle to hunt children.
  3. Conflict: The authorities chase the princess 
  down while she eats the children.
  4. Rising Action: The princess confronts the 
  Mouse Park authorities.
  5. Resolution: The Mouse Park authorities shoot 
  the princess and erase the memories of the 
  witnesses with the Mouse Park pineapple 
  juice.
  MOUSINEER DANGER EXAMPLE
  Once upon a time, there was a popcorn cart 
  Mousineer, who was always stationed at the 
  entrance of Mouse Park, and wanted to sell more 
  popcorn than his rival on the other side of the 
  street because he always got the bonus $20 gift 
  card for popcorn sales. One day, the Mousineer 
  saw an opportunity to sabotage his rival when he 
  suddenly had to leave his cart unattended, and 
  because of that, he poisoned his rival’s popcorn, 
  until finally it was discovered that the popcorn 
  had been poisoned and the Mousineer was repri-
  manded and cast into the abyss as a sacrifice to the 
  Great Mouse.
  1. Introduction: The popcorn guy is at the 
  entrance of Mouse Park.
  2. Exposition: He sees the rival’s cart unattend-
  ed, and so poisons the popcorn.
  3. Conflict: People begin getting sick and dying 
  while he sells his non-poisoned popcorn.
  4. Rising Action: Park authorities shut down 
  popcorn sales and take care of the bodies.
  5. Climax: He blames his rival for poisoning 
  guests.
  6. Resolution: The authorities find out the ruse 
  and sacrifice the Mousineer.
  MANAGEMENT DANGER EXAMPLE
  Once upon a time, there was an Attraction 
  Manager in charge of Wilderness Mountain and 
  he wanted to have a problem-free day, because 
  he is on his final write-up of accidents at the 
  attraction. One day, a guest is beheaded during the 
  roller coaster ride, and because of that he hides 
  the corpse to cover it up and erases the memories 
  of the other passengers, until finally the corpse 
  falls out of the attraction’s hiding place in front of 
  everyone and his boss.
  1. Introduction: The manager oversees the ride 
  and does a safety check.
  2. Exposition: The guest is killed on the ride.
  3. Conflict: The manager decides to cover it up.
  4. Rising Action: The manager hides the guest 
  and erases the memories of the other people.
  5. Climax: The body falls from its hiding place 
  in the middle of the line and in front of upper 
  management.
  6. Resolution: The manager is promoted for his 
  ingenuity.
  GUEST DANGER EXAMPLE
  Once upon a time, there was a teenager, who was 
  on Swiss Mountain and wanted to get a selfie with 
  the Yeti for social media, because he thought it 
  would be cool. One day, he climbed up the moun-
  tain while the ride was going and took a picture, 
  
  74
  and because of that, the live yeti that was on the 
  loose found someone he could eat and chased the 
  teenager, until finally the teenager was eaten by the 
  Yeti.
  1. Introduction: The teenager goes to Swiss 
  Mountain.
  2. Exposition: The teenager climbs the moun-
  tain and looks for the yeti.
  3. Conflict: The Yeti is alive.
  4. Rising Action: The Yeti chases the teenager as 
  the ride is going around them.
  5. Climax: The Yeti traps the teenager.
  6. Resolution: The Yeti eats the teenager.
  MOUSE PARK DANGER EXAMPLE
  Once upon a time, there was an insatiable 
  ancient god who lived beneath Mouse Park, who 
  wanted human sacrifices, because only blood 
  spilled on the soil could keep his hunger at bay. 
  One day, the idiots in charge of Mouse Park failed 
  to give him a sacrifice, and because of that he rose 
  from his slumber and crashed through Mouse 
  Park destroying all that he saw, until finally they 
  sacrificed the Mouse Park president as an apology 
  and the god went back to sleep.
  1. Introduction: The sacrifice fails to happen.
  2. Exposition: The god wakes up and wonders 
  what the hell is going on.
  3. Conflict: The god crawls from the abyss 
  destroying the park in his path.
  4. Rising Action: The god destroys the park 
  around him demanding recompense, but they 
  are too frightened to do anything about it.
  5. Climax: The president of the park is sacri-
  ficed publicly.
  6. Resolution: The god is appeased and returns 
  to the Abyss.
  BIG PICTURE DANGER EXAMPLE
  Once upon a time, there was a lunar eclipse that 
  was coming over Mouse Park and wanted to fill 
  the park with psychosis and insanity, because a 
  curse on Mouse Park is activated under a lunar 
  eclipse. One day, the lunar eclipse occurred, and 
  because of that most people in the park became 
  bloodthirsty, ravenous, and bestial, until finally 
  the lunar eclipse ended and everyone came back to 
  their senses.
  1. Introduction: The lunar eclipse begins.
  2. Exposition: The people in Mouse Park go 
  psychotic.
  3. Conflict: Those that go psychotic begin 
  killing each other.
  4. Rising Action: The effect of psychosis 
  spreads, except for those that find sanctuary 
  inside attractions. 
  5. Climax: The psychotics break through attrac-
  tions to kill the sane people.
  6. Resolution:  The psychosis passes as the lunar 
  eclipse ends.
  Create the Minor Incident(s)
  Now that you defined the Major Incident, 
  complicate it by introducing Minor Incident(s). 
  Think of other dangers that are associated with 
  the danger in the Major Incident, but with a 
  different “clock.” You can come up with as many 
  of these as you like, but note that the more 
  complex your overall incident is, the longer it will 
  take to play out.
  Minor Incidents can be set into motion as a 
  result of the Major Incident, or perhaps they 
  are simply running parallel and by existing are 
  complicating the Major Incident. Your Minor 
  Incident should not be a part of your Major 
  Incident’s description and should operate 
  independently, even if they do affect one another. 
  The idea here is not necessarily to create subplots, 
  although Minor Incidents can do that, but to 
  create more levels and texture to the overall 
  narrative—and ultimately to escalate the conflict 
  and raise the stakes.
  Building Minor Incidents are a little less involved 
  than Major Incidents, but follow a similar 
  structure:
  Meanwhile, _______________ (who or what 
  is the danger) was _________________________ 
  (what is the danger doing), because ____________ 
  (why is the danger doing that), until finally 
  _______________ (what will happen if the danger 
  continues doing it).
  
  75
  1. Rising Action: The danger moves toward the 
  goal. 
  2. Climax: The danger confronts what gets in 
  the way of the goal.
  3. Resolution:  The danger does or does not 
  achieve its goal.
  It’s smaller than the Major Incident and is so by 
  design. Since Minor Incidents are not the focus of 
  the narrative, it will complicate things too much 
  to develop them as widely as Major Incidents. 
  This is essentially a vector in the story that has a 
  beginning, a direction, and an end that will occur 
  if nothing prevents it.
  GUEST MINOR INCIDENT
  Meanwhile, a guest was running recklessly into a 
  roller coaster attraction in full operation, because 
  he was trying to get his young daughter away from 
  the princess, until finally a runaway roller coaster 
  car crushes them both.
  1. Rising Action: The guest tries to escape with 
  his young daughter.
  2. Climax: The guest and his daughter are in 
  danger of getting hit by a roller coaster.
  3. Resolution:  The guest and daughter get 
  crushed by the rollercoaster.
  WEIRD MINOR INCIDENT
  Meanwhile, the guests who were poisoned were 
  mindlessly and violently attacking other guests, 
  because the poison has made them insane, until 
  finally security hauls them off and executes them.
  1. Rising Action: The poisoned guests turn into 
  zombies.
  2. Climax: The zombies attack other guests.
  3. Resolution: The Mousineers take the zombies 
  away and kill them.
  
  76
  BIG PICTURE MINOR INCIDENT
  Meanwhile, a freak winter blizzard was 
  descending upon the park, because the Great 
  Mouse fell too deeply into His sleep, until finally 
  the deep sleep passed and the storm subsided.
  1. Rising Action: It begins to snow.
  2. Climax: A horrible blizzard descends.
  3. Resolution: The blizzard suddenly stops.
  MOUSINEER MINOR INCIDENT
  Meanwhile, a disgruntled Mousineer at the 
  Swiss Mountain attraction shut down the cameras, 
  because he was sick of working, until finally is 
  forced by management to turn it back on.
  1. Rising Action: The Mousineer shuts down the 
  attraction.
  2. Climax: The Mousineer abandons the 
  attraction.
  3. Resolution:  The Mousineer is forced to 
  return and turn the attraction back on.
  MANAGEMENT MINOR INCIDENT
  Meanwhile, the president of Mouse Park was 
  trapped inside an attraction, because he was 
  looking for the perfect person to sacrifice and 
  chased a kid until he sprained his ankle and fell 
  into the track of a ride, until finally the ride is 
  activated and crushes him.
  1. Rising Action: The president looks for the 
  sacrifice. 
  2. Climax: He gets trapped in a ride.
  3. Resolution:  The ride crushes him.
  MOUSE PARK MINOR INCIDENT
  Meanwhile, the park power grid completely fails, 
  because of an unknown malfunction, until finally a 
  maintenance employee fixes it. 
  1. Rising Action: The power suddenly goes off.
  2. Climax: No one can enter or leave the park 
  and there is no light or electricity.
  3. Resolution: The power is restored.
  Create the Dangers
  Once you’ve identified the major and minor 
  incidents, it’s time to specify what the specific 
  traits and qualities of the dangers are. Some 
  dangers are more abstract or environmental and 
  so will require nothing more than Narrator Moves 
  or simple narration. However, other more tangible 
  dangers such as guests, monsters, or any NPC 
  may have unique traits that can make things more 
  difficult on the player characters.
  You will need to go through your incidents and 
  call out NPCs, monsters, or other dangers that will 
  directly interact with the player characters and 
  then choose their traits and their merchandise.
  DANGER TRAITS
  If your danger is a person, start by choosing a 
  personality (starting on page 34). Beyond that, 
  your danger may have other special qualities that 
  could impact Narrator Moves. NPCs and monsters 
  may have special moves, deal harm or shock, 
  withstand harm or shock, carry merchandise, or 
  have weaknesses.
  SPECIAL MOVES
  You can create any special move you want, but 
  following are a list of ideas that you may see in 
  Mouse Park. You’ll also find in the Incident File 
  section (p. 80) several unique NPCs and monsters 
  with their own unique special moves. When 
  thinking of moves and creating them, think about 
  how their moves are, in fact, special. They should 
  be something that defines them and that most 
  other creatures are unable to do. 
  Following are some thought-starters:
  HARM AND SHOCK
  • Be exceptionally 
  good with a 
  particular weapon
  • Breathe under water
  • Come alive
  • Control someone’s 
  mind
  • Disguise yourself or 
  someone else
  • Fly
  • Force people to sing 
  and dance
  • Go to another realm
  • Make a curse
  • Make a magical 
  attack
  • Make a ward
  • Make animals talk
  • Make inanimate 
  things alive
  • Never die
  • Poison
  • Steal someone’s 
  voice
  • Swing dramatically 
  from high places
  • Throw a strong 
  punch
  • Turn someone into a 
  creature
  • Turn someone into 
  something
  • Turn yourself into a 
  creature
  • Use claws
  • Use pointy fangs
  • Use brute strength
  
  77
  Next, you’ll need to decide the following about 
  your danger:
  • Harm Capacity: how much harm can they 
  take?
  • Shock Capacity: how much shock can they 
  take?
  • Harm or Shock Dealt: How much harm do 
  they do when they cause harm? Remember 
  that characters can only take 3 harm or 
  shock before they are out of play.
  • Wards: Do they have natural wards to 
  protect them from shock? Can they create a 
  ward?
  • Armor: Do they have armor to protect them 
  from harm? Can they create armor, or crate 
  magical effects that act like armor?
  ATTACKS AND WEAKNESSES 
     Next, you’ll need to decide what the danger 
  does when in a fight with player characters, 
  or in short, what their attack is. Do they use a 
  special move, or do they use a weapon, their fists? 
  Talons? Are they using merchandise (refer to 
  Armor, Wards, and Merchandise on page 20) to 
  help with their attacks or defense? Describe what 
  harm or shock the attack does and how it affects 
  a character when used. Conversely, describe 
  any weaknesses the danger may have that the 
  characters can exploit.
  Create the Setting
  You will already have attractions that the players 
  made which you should include in the incident. 
  Below are tags to help guide your thinking on the 
  overall feel of the setting. If you need more, you 
  can use the “Custom Mouse Park” rules on page 
  20.
  CHOOSE UP TO 3 TAGS FOR EACH SETTING:
  Starting the Incident
  An incident is the framework for a gaming 
  session. It is the background, setting, and cast of 
  characters that the players will be interacting with. 
  While incidents have a start and finish, they are 
  not necessarily defined ahead of time. They may 
  define what will happen if players do nothing, but 
  they do not determine what players do. That’s up 
  to the players.
  When kicking off an incident, it is important to 
  lay out all of the groundwork the players will need 
  in order to take actions. You should build the set, 
  explain the opening situation, and present hooks 
  with which the players interact. You should have 
  also already identified which dangers will likely 
  be lurking there on this occasion, what they want, 
  and their timeframe for getting what they want—
  but leave that for players to discover through the 
  session.
  Incidents can open any number of ways, but 
  think of all the things a character would notice or 
  know. What time of day is it? What’s the weather 
  like? What are the crowds like today? Are there 
  special events and activities happening? Who are 
  the primary NPCs, what are they doing, where are 
  they, and what’s their mood? What details can you 
  bring up to suggest a mood or evoke a tone?
  • You can choose to open in media res: “As 
  you walk onto Main Street, you see Swiss 
  Mountain suddenly burst into flames as a 
  crowd of guests pour away in panic. What do 
  you do?”
  • You can open passively: “It’s a warm 
  cloudless day, the crowds are thick but not 
  Adorable
  Ancient
  Bewildering
  Big
  Boring
  Breezy
  Bright
  Broad
  Charming
  Chilly
  Cold
  Colorful
  Colossal
  Creepy
  Crowded
  Cuddly
  Damaged
  Dark
  Deep
  Elegant
  Empty
  Fancy
  Fantastic
  Flat
  Fluffy
  Hollow
  Hot
  Littered
  Little
  Loud
  Low
  Magnificent
  Miniature
  Narrow
  Old-fashioned
  Prickly
  Quaint
  Rainy
  Rotten
  Round
  Shallow
  Salty
  Skinny
  Sparkling
  Sparse
  Square
  Steep
  Straight
  Ugly
  Wet
  Wide
  
  78
  overwhelming and you have been assigned to 
  work on Swiss Mountain. What is it you’re 
  doing there today?”
  • You can openly assertively: “As soon as 
  you clock in to work, your supervisor Andy 
  stomps up to you and says that if you don’t 
  get to Swiss Mountain in three minutes you’ll 
  be written up for being late. What do you 
  do?”
  • You can simply open with a question: 
  “What’s the day like today and what are you 
  up to?”
  However you open, you should take this time to 
  introduce the players to potential dangers and set 
  the tone for what the session will entail. Following 
  that, your job is simply to react to what they do.
  You may find trouble getting the story rolling 
  once you’ve kicked off your incident. It could be 
  because players are not quite used to the game or 
  are acclimating to their characters, or it simply 
  could be because the players haven’t latched onto 
  any hooks or ideas you’ve thrown out. In this 
  game, the best way to progress is to ask questions.
  Questions can be about the setting, particularly 
  if it is an area of Mouse Park that the players 
  created (e.g. So you know about Bear Paw Pass 
  tell us what’s going on there today), however it’s 
  good to ask questions about the player characters. 
  Questions can be as leading or as vague as you like 
  (e.g. Did you sleep well last night? Or, What do 
  you expect to do be doing today?) Whatever ques-
  tion you choose, listen carefully to the response, 
  because the player is giving you hooks that he or 
  she is interested in, and those hooks can be used to 
  bring them into the incident.
  USING INCIDENTS
  Incidents are a tool to help structure the game 
  play in The Happiest Apocalypse on Earth. While 
  they can be run literally, by the text, and in a very 
  structured way, they can also serve as a source of 
  inspiration to take the session wherever it may go. 
  They are not designed to dictate plot to the play-
  ers. To the contrary, they are designed to deliver 
  a scenario from which the players can create the 
  story. Each incident assumes a certain course of 
  events if player characters do not interfere or inter-
  act. It is up to the players to divert the story based 
  upon what has happened in the set-up. Therefore, 
  the incidents provided here are not gospel, but 
  rather fuel for your efforts as a Narrator.
  If you are making a truly collaborative experi-
  ence, you will need to use the character generation 
  and park generation mechanics to set up a 
  scenario everyone wants to play. Now, this may 
  or may not coincide with an incident. However, if 
  you have a bunch of them in your quiver, you'll be 
  able to quickly conjure up conflicts, dangers, and 
  motivations and adapt them to your scenario.
  Remember that your goal is to create a horror 
  story with a cast of characters, not to dictate 
  a pre-programmed session onto players. The 
  incidents in this book are a starting point to 
  inspire ideas for whatever scenario you may end 
  up stumbling into. They also provide mechanical 
  options to choose from: including monsters and 
  NPCs with special powers and motivations. 
  You can also use the format for your own pre-
  made incidents. There is no limit to possibilities, 
  time, place, or situations. I hope you enjoy these as 
  a source of morbid glee before you start.
  
  79
  
  80
  INCIDENT FILE
  Yo Ho, Yo Ho,
  The Pirates Are Alive!
  The original Pirate’s Landing attraction at 
  Mouse Park’s Exploration Territory in Southern 
  California is famous, beloved, and well past its 
  prime. Workers have just taken out some of the 
  elements of the attraction that were no longer 
  considered politically correct according to modern 
  sensibilities. Ever since the attraction reopened, 
  something’s not right.
  MAJOR INCIDENT
  Once upon a time, there was a demonic curse 
  put upon the animatronics of Pirate’s Landing by 
  a long dead Mousineer who wanted his beautiful 
  creation to stay unchanged forever because his 
  life’s work, The Hall of World Dictators, was 
  unceremoniously closed and dismantled. One 
  day, there was a public outcry about culturally 
  insensitive elements in the attraction and so the 
  Mousineers took out several of the animatronics, 
  and because of that the curse brought the 
  animatronics to life, filling them with a blood lust 
  against any person who enters the attraction. Until 
  finally, the removed animatronics are returned and 
  the rest of the animatronics return to their normal 
  state.
  Meanwhile, guests are stuck inside the attraction, 
  because the animatronics came to life in the 
  middle of the park’s busiest day of the year. They’ll 
  be okay until the animatronics rip them apart, one 
  by one.
  Meanwhile, the managers of the attraction 
  are trying to keep everything contained so that 
  word doesn’t spread, until finally they decide to 
  obliterate the attraction with a ritual to the Great 
  Mouse, who consumes it all in a fiery abyss. 
  Without action from the player characters, the 
  incident will proceed according to the following 
  timeline:
  • Introduction: The animatronics come to life 
  on the busiest day of the year.
  • Exposition: The animatronics begin attacking 
  guests and staff.
  • Conflict: The animatronics will not relent 
  until the attraction is restored to its former 
  status.
  • Rising Action: The management closes the 
  ride while guests try to escape, but cannot.
  • Climax: As guests are torn apart, 
  management decides that it cannot be 
  contained and so they present a ritual to The 
  Great Mouse.
  • Resolution: The Great Mouse brings the 
  entire attraction into the Abyss.
  PIRATES LANDING
  Mouse Park’s signature boat ride that brings 
  guests on a slow-moving jaunt through a Ca-
  ribbean village being pillaged by pirates. When 
  functioning properly it moves boats several feet 
  apart through a swamp, down a waterfall and into 
  a cave network with treasure and skeleton pirate 
  animatronics. Following that they are moved into 
  a burning village where pirate animatronics sing 
  music, before being pulled back to the attraction’s 
  surface. There are several separate chambers with 
  different dioramas all connected by the waterway, 
  but not necessarily accessible outside of it. When 
  shut down, the attraction is closed off at the 
  entrance by steel gates.
  CURSED ANIMATRONIC PIRATES
  For the past 60 years the pirates of Pirate’s Land-
  ing have been a jovial and singing group of misfits 
  who are simply happy to raid, plunder, and drink 
  themselves into unconsciousness. And that was 
  the way they were supposed to be for all time, but 
  because of a Mousineer’s curse when a politically 
  incorrect set of pirates were removed from the 
  attraction, they became bloodthirsty and ravenous 
  demons, powered by a supernatural fuel of hatred 
  and evil. Even though they are still animatronics, 
  they are possessed by a thoughtless living essence 
  conjured through the resentment and hatred of a 
  Mousineer who has long ago passed away.
  They do not run on electricity, but they are still 
  electrical in nature. Any move that takes that into 
  account should have the expected results. They 
  attack with blind rage and cannot be reasoned 
  with, for they don’t reason. They use whatever 
  prop weapons they have, or their very powerful 
  
  81
  metallic fingers, to rip apart all that lives until the 
  screams stop.
  SPECIAL ABILITIES
  • Will not stop
  • Cannot be exhausted, do not age, no organic 
  qualities
  • Do not have minds
  HARM AND SHOCK
  • Harm Capacity: 5
  • Shock Capacity: They do not sustain shock 
  damage
  • Armor: +2, and will reduce by one with every 
  +1harm
  ATTACKS AND WEAKNESSES
  • Ripping at flesh with metallic fingers and 
  pirate weapons +1harm
  • Terrifyingly gory +1shock (the shock damage 
  only upon first witnessing one of their 
  attacks)
  MANAGEMENT
  Ethan Martin, in his 20s, below average height 
  and thin with round features, straight brown hair 
  and pale brown eyes, has low confidence, and is 
  sullen and insincere. He is motivated by avoiding 
  trouble. He does not know why this is happening 
  and his only recourse is to close it down.
  Blake Gomez, in his 60s, is short with soft 
  features, long gray hair and dark green eyes, and 
  has a calm and satisfying temperament. He is 
  motivated by keeping the situation contained and 
  knows how to call upon the Great Mouse.
  SOME GUESTS
  • Jamie Scott, cranky nurse in her 30s
  • Giles Wolfe, psychotic carpenter in his 40s
  • Jessica Miles, teacher in her 80s
  • Tyler Weaver, authoritative mechanic in his 
  40s
  • Sarah Weaver, rough housewife in her 40s
  • Kelly Weaver, troublesome 8-year-old 
  daughter of Tyler and Sarah
  Retro Apprentice
   
  Special Thanks to Tom Van Blarcom
  Elias Roy’s vision for Mouse Park was realized in 
  1955. Just ten years later, the founder has not been 
  acting himself. Edgy, unclean, and foul-mouthed 
  it seems something inside him has cracked. Many 
  of the Mousineers think it’s the stress of his work 
  on the Apprentice Mouse attraction, featured in 
  Mouse Park’s Animator Avenue. But even as the 
  press arrives and the crowds line up, Mr. Roy 
  appears to be getting much worse.
  MAJOR INCIDENT
  Once upon a time, there was Mouse Park’s 
  Founder Elias Roy, who was opening up his new 
  attraction called Apprentice Mouse and wanted to 
  use this attraction to murder the guests and press 
  that attended, because he’d been pulled under the 
  command of the Great Mouse who demands to be 
  satiated with blood. One day, Mr. Roy finished the 
  attraction, and because of that secretly controlled 
  the robotics to murder the guests. Until finally, 
  the Great Mouse was kept at bay, the dead were 
  cleaned up, and the incident covered up.
  Meanwhile, a custodian named Tommybear 
  is cleaning up the murderous mess, because he 
  is dutiful to Mr. Roy and The Great Mouse, 
  until finally he has cleaned up any evidence that 
  anything went wrong.
  Meanwhile, the guests are trying to escape from 
  the bloodbath, until finally they are all murdered 
  by the attraction. 
  Without action from the player characters, the 
  incident will proceed according to the following 
  timeline:
  • Introduction: The guests and press arrive to 
  the launching of the attraction.
  • Exposition: The animatronics begin attacking 
  guests and press.
  • Conflict: Mr. Roy will continue to control the 
  animatronics until every attendee is killed.
  • Rising Action: The guests try to escape, but 
  cannot, while Tommybear gruffly cleans up 
  the mess.
  • Climax: Mr. Roy receives a sign from The 
  Great Mouse that the blood has satiated it.
  
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  • Resolution: Mr. Roy and Tommybear clean 
  up until there is no trace of an incident.
  MOUSE APPRENTICE
  The Mouse Apprentice attraction is a beacon of 
  innovation and the summit of Elias Roy’s career. 
  Inspired by the World’s Fair, Mr. Roy put all of 
  his Mousineers efforts into its sophisticated and 
  jaw-dropping design. The press has been chomping 
  at the bit to get a glimpse of this thing during its 
  6-month construction, and only those building the 
  project have been permitted to see it.
  It is something of a show, with a stage in an 
  arena full of benches. The stage has a set that 
  looks like a medieval wizard’s chamber, complete 
  with alchemy tools, magical tomes, and cauldron. 
  Once the show begins, an animatronic Mr. Mouse 
  begins cleaning the stage with a broom and knocks 
  into the cauldron, which, on gears, spills. The stage 
  then fills with water and brooms come dancing 
  out with jolly music playing, while Mr. Mouse 
  conducts the broom’s movements with his magical 
  wand.
  Elias Roy has secretly engineered radio controls 
  into the robots and can steer them together, or 
  individually, wherever he likes. The brooms each 
  have sharp blades hidden in the handles and Mr. 
  Mouse can crush with his heavy robotic arm, or 
  use his razor-sharp wand. When he is ready to do 
  the deed, he locks the arena and then sits hidden 
  above the stage controlling the robotics out into 
  the audience as the arena fills with water. Those 
  that don’t get crushed or sliced to death will 
  eventually drown.
  APPRENTICE MR. MOUSE
  The robot is made of early 1960s technology 
  and while, for the time, is rather sophisticated, it 
  is very limited in movement and motion. It rolls 
  forward on casters, and has a plaster frame and 
  steel skeleton. It can only be controlled by remote 
  and receives the signal through its pointy wizard 
  hat. Its movements are very basic and not precise.
  HARM AND SHOCK
  • Harm Capacity: 6
  • Shock Capacity: It does not sustain shock 
  damage
  • Armor: +3, and will be reduced by one with 
  every +1harm
  ATTACKS AND WEAKNESSES
  • Crush with robotic arm +1harm
  • Stab with pointy wand +2harm
  • Water does not affect the machinery
  • Disabling the remote, destroying the hat, or 
  covering up the hat will stop the signal and it 
  will fall inert
  BROOMS
  The brooms are actually very sharp blades 
  painted to look like brooms. The broom’s bottom 
  is made of synthetic grass and covers up a single 
  caster, which is how it moves. It takes its signal 
  into a receiver at the top of the broomstick. It 
  rotates quickly downward in a chopping motion 
  to slice people.
  HARM AND SHOCK
  • Harm Capacity: 2
  • Shock Capacity: They do not sustain shock 
  damage
  • Armor: None
  ATTACKS AND WEAKNESSES
  • Broom Chop +1harm
  • Water does not affect the machinery
  • Disabling the remote, destroying the sensor, 
  or covering up the broom handle will stop 
  the signal and it will fall inert
  ELIAS ROY
  Eccentric and possibly psychotic founder of 
  Mouse Park. In his zealotry to create something 
  the human race has never seen, he chose to make 
  a bargain with the Great Mouse Who Lies Below. 
  As part of this bargain, he must feed Mouse Park 
  the blood of its guests. He had fallen behind on his 
  bargain and so created this attraction to pay off 
  the debt. He is very nervous about it going well, 
  because if it does not he could suffer doom from 
  the Great Mouse. Once it begins working, he goes 
  back to his normal playful and warm demeanor.
  TOMMYBEAR
  Mr. Roy’s trusted custodian was the first in the 
  park to take care of the park’s dirty business. He’s 
  gruff and sarcastic, but has a heart of gold. He 
  is very loyal to the park and to Elias and will do 
  unspeakable things to protect his boss and the 
  place he loves. He will not suffer a fool and if 
  
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  contested will stand up to anyone to make sure 
  Mouse Park is protected.
  A FEW GUESTS
  • Tom Sutton, embittered real estate broker in 
  his mid-40s
  • Jacklyn Sutton, polite secretary in her early 
  40s
  • Tom Sutton Jr., interrupting 12-year-old son 
  of Tom and Jacklyn
  • Claire Hansen, indiscriminate gardener in her 
  early 30s
  • Sarah Burke crazy student in her teens
  What's That in My Frozen Treat?
   
  Designed and Written by Wendy Wojda and Adam 
  "Teddy" Byrd
  A frozen treat that’s delightful to eat!  At 
  least that’s how it started.  To save on costs, the 
  Mouse Park went with a discount ice dealer.  
  Little did Management know, there’s something 
  sinister lurking within the mini iceberg that they 
  purchased.  Ever since they started using the new 
  ice in the park’s shaved ice stand, something’s not 
  right.
  MAJOR INCIDENT
  Once upon a time, there was a zealous Dagon 
  cultist named Mr. N, who was selling shaved ice 
  from an iceberg he brought into Mouse Park’s 
  lagoon, and wanted to get as many people to 
  eat and sell the shaved ice as possible, because 
  eating the ice means they’ve ingested part of the 
  elder god’s essence, so they incubate and turn 
  into tentacled monsters that drag people into the 
  lagoon in order to warm the iceberg with their 
  sacrifices so the elder god Dagon rises. 
  One day, Mouse Park Management took him up 
  on buying the ice, and soon there will be a terrible 
  battle between Dagon and the Great Mouse. 
   
  Without action from the player characters, the 
  incident will proceed according to the following 
  timeline:
  • Introduction:  Everyone seems to be talking 
  about how fantastic the shaved ice is in this 
  park.  It’s weird. Some people say they’ve 
  only come to the park to get more of that 
  yummy treat.  Still, a few workers are 
  hesitant to try it— they say they’ve seen 
  things moving in it.
  • Exposition:  A guest incubates long enough 
  and a tentacle explodes from his head.  The 
  crowd isn’t sure what is happening – is this 
  part of the park?  
  • Conflict:  If nothing is done, more and more 
  consumers of the shaved ice stand sprout 
  tentacles and begin attacking those nearby, 
  dragging anyone they can into the lagoon.
  • Rising Action:  Mr. N. is seen dragging fresh 
  bodies back to the lagoon so their flowing 
  blood can warm his ancient master.
  • Climax:  As cracks form in the glacier, Mr. N. 
  hurls one last body into the lagoon, bringing 
  its temperature up just enough for the Great 
  Old One to break free of its icy prison.  A 
  preternatural howl echoes through the park 
  as Management races to complete the ritual 
  to raise the Great Mouse.
  • Resolution: The Great Mouse arises and 
  does epic battle with the awakened Ancient, 
  causing havoc and mayhem.
  THE SHAVED ICE STAND
  The Mouse Park Shaved Ice Stand has become 
  a must-taste destination for people all over.  It 
  sits on the edge of the lagoon on the boardwalk 
  between the Pirate’s Landing and Mark Twain 
  Island attractions.  During operating hours, the 
  stand is covered in a brightly-colored canopy 
  providing shade to the throngs of park-goers 
  waiting in long lines for their chance to purchase 
  the treat.  At night, the canopy hangs down over 
  the entrance, and a quiet shuffling can be heard 
  from within.  The very perceptive may even see 
  a rubbery tentacle snake out from underneath it 
  from time to time.
  There’s nothing special about the stand itself, but 
  the infected will defend it with their lives, just for 
  another taste of that sweet, sweet ice.  Players may 
  want to avoid killing them since many can still be 
  saved.  Also, if enough of the shaved ice already in 
  the stand isn’t cleansed with something like bleach 
  before the stand is attacked (burnt down, pushed 
  into the lagoon, chopped up with axes, etc.), all of 
  it will congeal into a multi-tentacled monstrosity 
  that attempts to defend its home.  Mr. N. will not 
  defend the stand himself, but rather flee to protect 
  himself and his future plans of raising a dark god.
  
  84
  THE ICE ITSELF
  Affordable and tasty, this cool treat is hard to 
  resist (and becomes even harder to resist the more 
  of it you have!).  Most people have to wait at least 
  half an hour in line to get one, but the proprietor 
  (Mr. N.) has graciously offered all Mousineers one 
  free small shaved ice on their break. 
  SPECIAL ABILITIES
  Sweetness drives people insane. When consumed, 
  +1shock and player characters must go the 
  distance to refuse additional helpings, receiving a 
  -1forward on the move for every shock they have 
  accumulated (not to exceed -3). If a character 
  becomes insane from eating the ice, he or she 
  becomes a Servitor.
  MR. N
  Mr. N has only worked at the park for a couple 
  of weeks.  In those weeks, his shaved ice stand has 
  become quite popular.  He’s a great salesman, and 
  people find him easy to talk to.  Too bad he’s on a 
  mission to raise an Elder God.  Who is he really?  
  Some have said he is the Elder God Nyarlathotep, 
  some have said he’s just a crazy old man. Mr. N 
  came from the frozen north with a massive chunk 
  of broken-off glacier to sell to Mouse Park, who 
  was facing financial difficulties but still needed 
  to provide sugary goodness to the kids.  This 
  frozen piece of sea hadn’t seen the light of day in 
  a millennia and faint flashes of movement can be 
  briefly glimpsed within the crystallized water—but 
  that wasn’t too odd for Management. They 
  happily bought Mr. N’s iceberg and stored it in the 
  middle of the lagoon, the tip sticking up above the 
  water.  Mousineers immediately began chiseling off 
  bits of it into brightly-colored cups, and drizzling 
  the chilly delight with thick sugary syrup.
  Little did Management know, Mr. N. had 
  actually uncovered the frozen, sleeping corpse of 
  the elder god Dagon and was actively working 
  to bring the fiend back to all its horrid glory.  
  Centuries frozen beneath the caustic sea had 
  not been kind to the Old One and the salt had 
  corroded the beast, schluffing off the scaly exterior 
  and infecting the surrounding ocean.  Still, it lives 
  on, even in bits of shaved ice.  The park employees 
  went on selling what they thought would be 
  normal shaved ice.
  Meanwhile, Mr. N. got a job at the park selling 
  the befouled shaved ice, so he could monitor the 
  progression of things.  Every time someone eats 
  the shaved ice, they become incredibly susceptible 
  to suggestion.  The purveyor of icy treats is 
  encouraging patrons to eat the shaved ice, tell 
  their friends and family and even strangers how 
  wonderfully delicious it is, and is even suggesting 
  that people apply for jobs at the park so they can 
  help him sell the ice.  He is just biding his time 
  until the brainwashed customers have incubated 
  long enough.  Then, tentacles will erupt out of 
  their heads and they will start grabbing patrons, 
  bringing them to the lagoon to slit their throats 
  and feed them to the frozen god.
  He’s not interested in fighting, and will flee if he 
  finds himself receiving harm.  If servitors see Mr. 
  N being attacked, they will form a mob to protect 
  him, allowing him to get away.
  SPECIAL ABILITIES
  • Control servitors
  • Has seen it all, so cannot sustain shock
  HARM AND SHOCK
  • Harm Capacity: 3, if he sustains any harm, 
  he will flee
  • Shock Capacity: he does not sustain shock 
  damage
  ATTACKS AND WEAKNESSES
  • Will not attack characters directly
  • Coward 
  SERVITOR
  They used to be regular people, but too much 
  shaved ice has changed them.  Now, they are 
  practically mindless zombies, catering to Mr. N’s 
  every whim, and obsessed with the shaved ice.  
  They will protect Mr. N at any cost.  Their heads 
  are just one giant tentacle.  How can they even 
  see?
  SPECIAL ABILITIES
  • Can form a mob, +1harm for every Servitor 
  in the mob
  • Once the tentacle erupts, causes +2shock (on 
  first time seeing)
  
  85
   
  HARM AND SHOCK
  • Harm Capacity: 3
  • Shock Capacity: their minds have been taken 
  over, so cannot sustain shock damage
  • Armor: The transformation has hardened 
  their skin, +1armor
  ATTACKS AND WEAKNESSES
  • Attack with recklessness
  • Fists: bludgeon for +1harm
  • Tentacle: grapple in order to drag you to the 
  lagoon. Once there, the tentacle exposes a 
  sharp beak and slits your throat
  • Can’t stand heat or fire 
  • Bleach or acid really hurts them 
  • Weakened with proximity—Once someone 
  is infected, and prior to full incubation, the 
  only way for them to recover is to keep them 
  away from more of the ice.  Unfortunately, 
  every taste of the ice makes the subject crave 
  it more and more.
  DAGON, THE ELDER GOD
  A massive, 20-foot-tall, quadrupedal angler fish 
  with a tail that ends in a mass of tentacles. Webbed 
  hands and feet, he can flare his dorsal fin for added 
  horror.  Jagged teeth jut from his gaping maw.  
  Nettles cover his body like an armor.   His skin a 
  murky blue-green, the color of the primordial sea.
  If the players cannot stop the awakening, or are 
  instead actively assisting it, then Dagon wakes in 
  much the same way one would expect someone 
  who has had a restless, thousand-year sleep . . 
  . grouchy, angry, and hungry.   The first thing 
  observers will notice is the horrid stench, as if a 
  thousand dead fish have been left to rot in a port-
  o-potty.  This shock to the senses inflicts +2shock 
  damage instantly.  
  After breaking out of the last vestiges of iceberg 
  over the course of an hour, Dagon will begin 
  thrashing about in the lagoon, causing huge waves 
  of water to issue forth from the lagoon, drenching 
  everyone, and launching strollers across the 
  boardwalk.  He will then begin rampaging through 
  the park, crushing attractions, and swallowing 
  park patrons whole.
  Once Dagon is awakened, the only way to stop 
  him is by summoning the Great Mouse to engage 
  in epic kaiju battle.
  The Hanging Tree
   
  Special thanks to Steven M. Smith
  Castaway Tree House has been a beloved icon 
  of Mouse Park’s Exploration Territory since the 
  1960s. The multi-story interactive tree towers high 
  above the park and features rope bridges, hanging 
  vines, and a winding stairway that takes guests to 
  the top. There are some Mousineers that refuse to 
  work this attraction, but not because of a fear of 
  heights. Many have said over the years that the 
  tree talks to them. And the things it says are not 
  comforting.
  MAJOR INCIDENT
  Once upon a time, there was an elder spirit 
  that lived within the structure of the Castaway 
  Tree House, and wanted the tree house to be 
  consecrated and for the Mousineers that work the 
  attraction to be in service of him, because he has 
  become jealous of the Great Mouse and wants to 
  
  86
  ascend to greatness. One day, a child dropped ice 
  cream on the staircase leading up into the tree, and 
  because of that the elder spirit brought the tree 
  to life and hung the child, and continued to hang 
  others that desecrated his “temple,” until finally 
  the tree became an official temple in Mouse Park 
  and guests are no longer allowed.
  Meanwhile, a costumed character actor named 
  Thud the Squirrel is annoying, misleading, 
  and causing unwanted attention to guests and 
  Mousineers at the attraction, because he has gone 
  mad from the influence of the elder spirit, until 
  finally the elder spirit makes him a priest of the 
  consecrated grounds.
  Meanwhile, the guests are trying to find their 
  way off the tree, until finally they are all hung by 
  the elder spirit. 
  Without action from the player characters, the 
  incident will proceed according to the following 
  timeline:
  • Introduction: A young guest is found hanging 
  from the tree.
  • Exposition: The tree becomes subtly alive 
  and misdirects guests and Mousineers as 
  does Thud the Squirrel who is inadvertently 
  helping the spirit through slapstick.
  • Conflict: Guests and Mousineers still on the 
  tree are led to their deaths either through the 
  living movement of the tree or accidentally 
  because Thud the Squirrel has gotten in the 
  way or mislead them.
  • Rising Action: Anyone who is on the tree 
  is hung or cast off the tree, and Thud the 
  Squirrel becomes more zealous in support of 
  the elder spirit whom he calls Birdie.
  • Climax: The elder spirit rises from the tree in 
  its true form and uses the human sacrifices to 
  consecrate the tree into a temple.
  • Resolution: Thud the Squirrel becomes the 
  temple’s high priest.
  CASTAWAY TREE
  Castaway Tree House was a tribute to a beloved 
  classic movie where a family became stranded in 
  the tropical wilderness and created a huge tree 
  house. The attraction is a near replica of the one 
  in the movie, including some prop mock-ups of 
  native statues that were on the island where the 
  movie was filmed. These statues were real and 
  made in service to the elder spirit Exu who was 
  brought to the New World from Yorubaland in 
  West Africa, and then to the Castaway Tree House 
  because of the movie, accidentally but eternally 
  capturing its essence.
  An ancient trickster spirit, Exu is devilish, 
  cunning, and jealous. He resents having been 
  trapped in this attraction, and under the thumb of 
  the Great Mouse, and decides that he must make 
  it a consecrated temple so he can rise to power 
  and ultimately overthrow the Mouse. His plot is 
  initiated when a small child drops ice cream on his 
  stairs, triggering an unstoppable rage.
  THUD THE SQUIRREL
  Thud the Squirrel, a playful character that 
  works the attraction, has heard the whispers 
  of Exu for many years before finally becoming 
  completely insane from it. He has physically 
  become the squirrel character underneath his 
  costume and his personality has been taken over 
  by the fictional character as well. If his costume is 
  removed, a monstrosity is beneath—a contorted 
  flesh-scrambled tooth-filled version of the squirrel 
  he embodies. Exu uses him as an extension of his 
  will and takes advantage of his trickster persona 
  to mislead people to their deaths. Thud himself, is 
  innocent—a victim of madness and the corruption 
  of Exu’s ancient influence. He has no desire to 
  harm, however through his tricks and games 
  causes grief and calamity.
  Thud wears a hat and carries a mallet. He is 
  talented at slipping, falling, hitting himself with 
  the mallet for comedic affect and can seemingly 
  disappear and reappear at a moment’s notice. He 
  carries a bag full of bandages, splints, crutches, 
  and salves and can use them to heal himself and 
  others. His voice has two settings: stage whisper 
  and obnoxiously loud.
  He is clingy to people that are nice to him and 
  will lead them on “short cuts” that inevitably 
  cause problems, get people lost, or cause harm or 
  death. If his “friends” are in trouble he will defend 
  them with his mallet but cause more harm and 
  self-harm than help. He causes too much attention 
  when no attention is wanted and will appear at 
  moments, especially if his friends are trying to lose 
  him or if they are trying to hide, with a happy 
  “Oh, there you are!”
  
  87
  HARM AND SHOCK
  • Harm Capacity: 3
  • Shock Capacity: 6
  • Armor: +1 if wearing the costume, +0 if not
  ATTACKS AND WEAKNESSES
  • Smack with Mallet +1harm
  • Heal with stuff in the sack -1harm/-1shock
  EXU
  The ancient spirit needs enough human sacrifices 
  to consecrate the Castaway Tree as his new 
  temple. Until then he can work through the walls, 
  tree branches, and props of the attraction. To 
  work, the sacrifices must be by hanging, so he will 
  try to save those that fall in order to rope them 
  up. The tree is full of ropes and rope bridges that 
  he can untie and capture guests and Mousineers 
  with. Once the grounds are consecrated, he can 
  emerge from the tree in his true form, a horrifying 
  and deformed goblin-like creature with horns. As a 
  spirit incarnate, he has tremendous power.
  HARM AND SHOCK (WITHIN THE TREE)
  • Exu cannot be harmed while within the tree.
  HARM AND SHOCK (TRUE FORM)
  • Harm Capacity: 10
  • Shock Capacity: He does not sustain shock 
  damage
  • Armor: +2
  ATTACKS AND WEAKNESSES (WITHIN THE TREE)
  • Whip or entangle with a rope +1harm
  ATTACKS AND WEAKNESSES (TRUE FORM)
  • Menacing Laughter +1shock
  • He can control the minds of people within 
  his temple and cause them to harm others or 
  themselves
  A FEW GUESTS
  • Grace Webb, accomplished retired physicist 
  in her 80s and friend of Jennifer
  • Jennifer Page, tolerant librarian in her 90s 
  and friend of Grace
  • Kaylee Gomez., messy photographer in her 
  early 40s
  • Jason Turner, sensitive navy officer in his 40s
  • Brandy Reed, glamorous artist in her 40s
  Can You Lend Me a Hand?
  Designed and Written Bri
  Though Mouse Park is known for its family-
  friendly attractions and entertainment, that 
  doesn’t mean they haven’t dabbled in darker 
  genres from time to time.  Mouse Park’s love for 
  horror is represented by the affectionately named 
  Spooky Land.  Several structures exist here, but 
  dominating the area is Nightmare Castle.  While 
  the Castle is currently closed off for its yearly 
  cleaning, there are rumors that something darker 
  is going on.
  Once upon a time, there was the ghost of a 
  princess actress who haunted Nightmare Castle, 
  and wanted to become a physical person, because 
  she fell in love with a Mousineer. One day, the 
  Mousineer figures out how to bring her spirit into 
  a body, and because of that she starts practicing by 
  killing, reassembling and resurrecting animals and 
  killing guests for their body parts, until finally the 
  Mousineer brings the ghost into a body built just 
  for her and they live together happily ever after.
  Without action from the player characters, the 
  incident will proceed according to the following 
  timeline. 
  • Introduction:  Bodies of guests and 
  employees are turning up with missing body 
  parts.  There are also reports of attacks from 
  animals on the guests, but there is something 
  wrong with these animals.
  • Exposition:  Patchwork creatures, initial 
  experiments, get loose and attack people.
  • Conflict:  The attacks, as well as dead 
  guests and employees will continue until the 
  Mousineer builds the perfect princess.
  • Rising Action: As her new body nears 
  completion, the ghost princess will also 
  defend the deranged Mousineer for her 
  resurrection. 
  • Climax: The final person is captured, and the 
  Mousineer makes ready to raise the princess 
  from the dead.
  • Resolution: The ghost princess gets a second 
  chance at life, and she lives happily ever after 
  with the Mousineer.
  
  88
  NIGHTMARE CASTLE
  Nightmare Castle was a staple for some of 
  Mouse Park’s earliest monster movies, though 
  nowadays it is a tribute to mad scientists.  People 
  would go from one room to another, interacting 
  with various creatures which they took for 
  animatronics, but were actually living creatures.  
  When closed, the castle’s drawbridge is raised, 
  preventing anyone from entering or exiting—
  however employees in the know could still access 
  it from the park’s tunnels underneath.
  TWO-HEADED DOG
  It is said two heads are better than one, but in 
  the case of this creature, it proves twice as deadly.  
  This creature was one of the Mousineer’s earliest 
  experiments, learning how to carve a creature up, 
  and keep it alive.  
  This is a living creature, and thus prone to 
  damage from other sources.  However, considering 
  the hell it went through in its creation, it doesn’t 
  register pain as much as others would.
  SPECIAL ABILITIES:
  • Possesses great loyalty to its creator 
  • Always aware (even if one head sleeps, the 
  other is awake)
  • Doesn’t register pain
  HARM AND SHOCK:
  • Harm Capacity: 3
  • Shock Capacity: 3
  • Armor: None
  ATTACKS AND WEAKNESSES:
  • Attacks twice where a person can only attack 
  once +2harm
  • Looks terrifying +1shock when first seen
  • Loves to play fetch
  • Always hungry
  GHOST PRINCESS
  She was a beautiful young woman who once 
  worked as a princess actress.  She really enjoyed 
  her job until the night some of the Mouse Park 
  management sacrificed her in an eldritch ritual.  
  Given her untimely demise, her spirit did not pass 
  into the afterworld, but stayed in the park like 
  so many hapless victims before her.  As the years 
  passed, she kept boredom at bay by scaring the 
  occasional visitor, or haunting a green employee.
  Things might have continued in this fashion 
  until she encountered a Mousineer who wasn’t 
  frightened by her antics.  Intrigued, the princess 
  started to spend time around this Mousineer.  The 
  Mousineer was rather desensitized after working 
  at the park for a number of years . . . but this 
  didn’t mean she wasn’t lonely.  Suddenly, her 
  dreams were filled with visits and long talks with 
  a beautiful princess . . . who disappeared upon 
  waking up.  The ghost hinted that it was a shame 
  that there was no way for them to be together in 
  a more physical fashion.  However, the Mousineer 
  did have a passing interest in the occult, and after 
  watching a re-run of Frankenstein, conceived of a 
  way for the two to be together.  The ghost could 
  live once more, but only if a suitable vessel was 
  prepared for her.
  SPECIAL ABILITIES:
  • Immune to most physical harm
  • Invisible most of the time
  ATTACKS AND WEAKNESSES:
  • Using her abilities severely drains the ghost of 
  her power
  • Hurl Objects +1harm
  • The ghost emits a ghostly wail which causes 
  +2shock
  MAD MOUSINEER/SCIENTIST
  A very lonely but deranged Mousineer with 
  entirely too much time on her hands.  She holds 
  Dr. Moreau and Dr. Frankenstein as personal 
  inspirations.  As evidenced by the people she’s 
  kidnapped and killed, she will stop at nothing to 
  achieve her goals.
  However, unlike other threats, there is an end 
  goal; make the perfect vessel for her princess to 
  inhabit, and the two will walk off to live their 
  happily ever after.
  SPECIAL ABILITIES:
  • Scientific genius who is good at making traps 
  and using the  
    attraction’s technology to attack or block 
  characters
  ATTACKS AND WEAKNESSES:
  • Prone to monologues
  • Savage with a scalpel +1harm
  
  89
  HARM AND SHOCK
  • Harm Capacity: 3
  • Shock Capacity: 3
  • Armor: None
  What a Wittle World
   
  Special Thanks to Maxime Bouchard 
  Created for the World’s Fair, What a Wittle 
  World is a treasure and beloved by guests from 
  all over the globe. Its infectious heart-filled song 
  about world-unity and diversity will ring in one’s 
  ears until the end of time. The darling robotic dolls 
  do a charming dance and repeat the song over 
  and over again. Repeating the same song over and 
  over. Like a repetitious repeating of the song over 
  and over and over. And over again. Repeating, 
  repeating, repeating, over and over until one day 
  they stopped. Still moving, but the music was 
  gone? It was only the beginning of a horror that 
  was to come.
  MAJOR INCIDENT
  Once upon a time, there were demonic spirits, 
  who lived in the realm of shadows in and around 
  Mouse Park’s What a Wittle World, and wanted 
  to rise and feast on the families and children that 
  passed by their vision, but could not because the 
  ritualistically created attraction’s song imprisoned 
  them in the shadow. One day, the sound system 
  broke, and because of that the demons were able 
  to possess the animatronic dolls on the attraction 
  and eat the flesh of guests and Mousineers, until 
  finally the system was repaired and the ritual cast 
  again, imprisoning them once more in the shadow.
  Meanwhile, Meg Wittgenstein is trying to get 
  the components of the ritual, because she wants to 
  restore order, until finally she finds everything she 
  needs and commences the ritual.
  Meanwhile, the guests are trying to escape the 
  bloody onslaught, until finally they are devoured 
  by the demonic dolls. 
  Without action from the player characters, the 
  incident will proceed according to the following 
  timeline:
  • Introduction: There is a malfunction with the 
  audio system.
  • Exposition: The dolls come alive and shut in 
  the guests.
  • Conflict: The dolls begin eating the guests 
  while Meg Wittgenstein tries to get inside.
  • Rising Action: Guests are slaughtered while 
  Meg gathers items for the ritual.
  • Climax: As the dolls descend upon Meg, she 
  conducts the ritual.
  • Resolution: The dolls devour her before she 
  can complete the ritual.
  MEG WITTGENSTEIN
  Keeper of the Wittle World, Meg Wittgenstein is 
  a high ranking cultist in Mouse Park Management. 
  Her entire role is to create and maintain protective 
  charms and rituals to protect the park from 
  demons and ghosts. An accomplished occultist 
  from Germany, Wittgenstein caught the attention 
  of the Great Mouse when she conducted a 
  conjuring as a party trick on a Mouse Park Cruise. 
  Captivated by the power of the Mouse she began 
  using her occult knowledge to serve Mouse Park 
  and the elder spirits there.
  She has no official title in the park, but is feared 
  and avoided by even top-level Management. She 
  speaks to the Great Mouse personally and is 
  involved in almost every ritual-related practice 
  or decision that the park undergoes. A gentle and 
  harmless woman, her objectives are to keep the 
  servants of the Great Mouse safe against all of the 
  evil attracted to the park.
  WITTLE POSSESSED DOLLS
  The demonic spirits take control of hundreds 
  of the animatronic dolls and change their shapes 
  to contort and grow fangs and claws. They rip 
  through their prey and feast on them en masse, 
  attacking and tearing and eating with groups of 
  six or more. They are fearful alone and so will 
  scurry away and hide, but will regroup with each 
  other and attack three to ten at a time, devouring 
  everything in their path.
  HARM AND SHOCK:
  • Harm Capacity: 3
  • Shock Capacity: They cannot be shocked
  • Armor: +3, made of metal
  ATTACKS AND WEAKNESSES:
  • Attack alone +1harm
  
  90
  • Attack in a group +1harm for every one of 
  them attacking
  • Reckless Devouring of Screaming Innocent 
  People: +2shock the first time it is witnessed
  • They can look inanimate if they want to
  • They need their heads to see and operate the 
  bodies, so while they’re still alive if beheaded, 
  they are ineffective
  A FEW GUESTS
  • • Hawthorne Medina, immature therapist in 
  his 60s and friend of Dominic
  • Dominic Moss, quick marketing consultant 
  in his 60s and friend of Hawthorne
  • Forrest Allen, accommodating police officer 
  in his early 50s, husband of Joan
  • Joan Allen, honest lawyer in her 50s, wife of 
  Forrest
  • Austin Allen, lying student in his teens and 
  son of Joan and Forrest.
  Heart’s Desire
   
  Designed and Written By Bri
  Mouse Park is a place near and dear to people 
  the world over, so it should come as no surprise 
  that so many want to get married at the Happily 
  Ever After Wedding Chapel.  While there are 
  plenty of ways in and out of the chapel, it is 
  expected for most guests to enter via the Tunnel 
  of Love.  One might mistakenly think that love 
  would be free of Mouse Park’s foul touch.  Within 
  the confines of the Wedding Chapel lies a twisted 
  Goddess of Love capable of granting you the love 
  of your life, but at a cost. 
  MAJOR INCIDENT
  Once upon a time there was a goddess of love 
  and light who lived in the Tunnel of Love at the 
  Happily Ever After Wedding Chapel and wanted 
  the Great Mouse. One day, The Great Mouse 
  asked for blood offerings to stay at Mouse Park, 
  and because of that, the goddess will give guests 
  the love of their life if they give her the heart of 
  someone close to them, until finally the Great 
  Mouse is satiated and the goddess is allowed to 
  continue to stay until three months later when she 
  needs to sacrifice again.
  Without action from the player characters, the 
  incident will proceed according to the following 
  timeline.
  • Introduction: Bodies are discovered at the 
  chapel with their hearts removed. 
  • Exposition:  Guests and Mousineers are 
  fighting with each other throughout the day 
  with unusual hostility.
  • Conflict:  Fighting and arguing escalate and 
  many are drawn to the chapel.
  • Rising Action:  The Love Goddess draws in 
  victims, targeting those that are looking for 
  love.
  • Climax:  The Love Goddess accepts hearts 
  from victims and gives those with offerings 
  the loves of their lives.
  • Resolution:  Once offerings are complete, the 
  Love Goddess invites the Great Mouse into 
  her chapel as she does every three months the 
  sacrifices are made and the Great Mouse is 
  satiated.
  TUNNEL OF LOVE
  The Tunnel of Love is just what it sounds like; 
  it is a very slow ride in which couples get into 
  swan shaped boats and travel down its length.  
  The tunnel itself is a gaudy affair done up in a 
  romantic style.  Cupids, roses, heart-shaped lights, 
  soft music, candles—the works.  While this may 
  seem like overkill, couples who do go through will 
  often be more devoted to each other upon exiting.  
  The Tunnel of Love isn’t just a tunnel, though.  
  In the middle is a large atrium, which leads to the 
  Happily Ever After Chapel.  When the goddess 
  holds court, this is the only way to get to the 
  chapel.
  HAPPILY EVER AFTER WEDDING CHAPEL
  A wedding chapel which is booked several 
  years in advance, especially for those with a great 
  abiding love of the Great Mouse and all its works.  
  Themed weddings are the rule rather than the 
  exception.  
  Sumptuously decorated, the Wedding Chapel 
  also holds a sinister façade.  Every three months, 
  for three nights, a twisted goddess of love holds 
  court.  A small cult of acolytes drawn from Mouse 
  Park Mousineers serve the goddess, protecting her 
  from any outside interference.
  
  91
  Long ago the goddess brought love and joy to 
  her followers.  In her travels, she came upon a 
  being like no other, the Great Mouse, and was 
  drawn to it like a moth to a flame.  She grew 
  smitten with the Great Mouse, and desired 
  nothing more than to win its heart.  While amused, 
  the Great Mouse didn’t reciprocate these feelings.  
  However, knowing an opportunity when it sees 
  one, the Great Mouse allowed the love goddess to 
  remain in its court, but only as long as she offered 
  blood sacrifices to satiate its hunger. In return, 
  the Great Mouse will join her at court every three 
  months to reciprocate love for the goddess.
  So, for three nights every three months, people 
  are drawn to seek out the goddess.  Those who 
  pass the hurdle of the Tunnel of Love find that she 
  can grant them the love of their life, that person 
  who will complete their existence, all for one low 
  cost: the heart of someone that loves them.  This 
  could be a spouse, lover, family member, or friend; 
  it doesn’t matter, but the intent must be true.  
  When the goddess holds court, the chapel goes 
  into lockdown, and the only way to approach is 
  via the Tunnel of Love.  Those with business can 
  pass unhindered, otherwise you must overcome 
  the dangers of the tunnel.
  CUPIDS
  Small statuary that resemble Cupid, the god of 
  love.  However, that is just a rocky skin which 
  hides a demonic presence within.  When roused, 
  they will move from their pedestals, and seek to 
  prevent entry to the residence of their goddess.
  HARM AND SHOCK:
  • Harm Capacity: 2
  • Shock Capacity: 10
  • Armor: None
  SPECIAL ABILITIES:
  • Fly – The wings aren’t just for show
  ATTACKS AND WEAKNESSES:
  • Easily hurt – They are the size of a small 
  child, so it doesn’t take much to hurt them 
  badly
  • Love Bow +1shock and if hit then that 
  person falls in love with the first person he or 
  she sees unless someone can shake the person 
  out of it
  • 
  GODDESS CULTISTS
  Mousineers that worship the Love Goddess and 
  help to cut out people’s hearts that are offered 
  to her. Their uniforms are accented with many 
  different types of hearts, patches, and pins.
  HARM AND SHOCK:
  • Harm Capacity: 3
  • Shock Capacity: 3
  • Armor: Pins provide +1ward and +1armor, 
  but lose their  
    effectiveness if taken off or damaged.
  ATTACKS AND WEAKNESSES:
  • Ritual Knife +1harm and +1shock
  • Valentine Candy Hearts will heal -1harm and 
  -1shock
  LOVE GODDESS
  A radiant and striking image of Venus with long 
  beautiful hair, the Love Goddess embodies all that 
  love is and all that love will force one to do. She 
  will not raise her hand to harm or scare anyone, 
  but will lovingly accept the gifts given to her and 
  provide everlasting love to those that do give to 
  her. If someone gives her the heart of someone 
  that loves them (the person or the cultists can take 
  the heart out), then she will pair that person with 
  the perfect love, brought into the chapel with her 
  magic and completely unafraid to reciprocate.
  HARM AND SHOCK:
  The Love Goddess cannot be harmed or 
  shocked.
  ATTACKS AND WEAKNESSES:
  The Love Goddess does not harm or shock 
  anyone.
  A FEW GUESTS
  • Austin Miller, careful guidance counselor in 
  his mid 60s
  • Jessica McDonald, extravagant medical 
  student in her 30s
  • Patrick Gray, dependable researcher in his 
  40s
  • Katherine Bell, protective trainer in her mid-
  30s
  • Ashley Carver, uncouth anthropologist in her 
  late 20s
  
  92
  Soul Cake
   
  Special Thanks to James Millburn
  Many of the princesses of Mouse Park are not 
  as they seem. Some of them have been kissed by 
  the night and live without aging—but they must 
  feed. The princesses are content with the blood of 
  families and children, but the matron has a much 
  more sophisticated appetite . . . involving funnel 
  cakes—specifically the ones at Countess Castle, the 
  park’s homage to Dracula’s Castle.
  MAJOR INCIDENT
  Once upon a time there was a vampire queen 
  with seven princesses that lived in Countess 
  Castle, and they wanted to feed on the blood of 
  guests. One day, the vampire queen found out that 
  Alexander Weech, a funnel cake baker, puts parts 
  of his soul into the food, and because of that, she 
  wants to feed on his soul, until finally she eats all 
  the cakes to consume his soul, transforming him 
  into a mindless thrall.
  Without action from the player characters, the 
  incident will proceed according to the following 
  timeline.
  • Introduction: Alexander Weech makes his 
  funnel cakes addictive by putting parts of his 
  soul in there.
  • Conflict:  The vampire princesses discover his 
  secret when he is serving at the castle.
  • Rising Action:  The vampire queen takes all 
  of his cakes and the princesses feast on all 
  of the guests present as part of a blood-bath 
  ritual.
  • Climax:  The vampire queen eats the cakes 
  while the vampire princesses feast on the 
  guests in a bloodbath, releasing Weech’s soul.
  • Resolution:  The vampire queen consumes his 
  soul, transforming him into a mindless and 
  obedient (soulless) servant.
  COUNTESS CASTLE
  The Countess Castle is a museum attraction 
  where guests can walk through and see sets and 
  props, as well as haunted house jump-scare actors. 
  There are amazing special effects, gothic music, 
  and a terrifying ambiance. Guests that go through 
  the maze witness a sort of story through the props 
  where they are guided deep into the castle until 
  they meet the Countess and the princesses. They 
  are not actors, they are actually vampires and 
  they will often take a guest or two during the 
  attraction’s tour each day to keep their appetites at 
  bay.
  THE COUNTESS AND HER PRINCESSES
  An ancient vampire with insatiable appetites. She 
  will feast on a dozen or more guests a day and still 
  lust for more. She is trying to seek out the ultimate 
  feast that will at last pat down her appetites. 
  Something like a person’s soul would be perfect 
  for that. Her seven daughters (the princesses) Lila, 
  Mila, Nila, Sheila, Layla, Tila, and Raven are not 
  as insatiable. They are fine to share a single kill 
  and will savor it for some time.
  HARM AND SHOCK:
  • Harm Capacity: They cannot be harmed, 
  except for a stake in the heart which will 
  make them explode in a horrific bloody mess
  • Shock Capacity: They cannot be shocked
  • Armor: None
  SPECIAL ABILITIES:
  • Undead – They don’t age and can’t die of 
  natural causes
  • Vampirism – They drink the blood of dying 
  victims in order to keep their immortality
  • Blood-bath Ritual – In order to make a kill 
  substantially more filling, the princesses bathe 
  in the blood of victims within a circle of 
  candles while the Countess makes her kill
  ATTACKS AND WEAKNESSES:
  Nasty Bite – They do +1harm and +1shock for 
  every minute they suck a victim’s blood; but they 
  can slow this down to every ten minutes.
  ALEXANDER WEECH
  A weak and pale man who has figured out how 
  to put a portion of his soul into every funnel cake 
  he makes. He did this as a way to outshine the 
  other vendors at Mouse Park, making his cakes 
  more delicious and addicting. The ability to do 
  this was granted to him by a pact with the Great 
  Mouse, who has taken ownership of his soul. He 
  usually works in another part of the park, but the 
  
  93
  Great Mouse relocated him to Countess Castle so 
  that the Countess could have his soul. She’s killing 
  too many guests and the Great Mouse believes this 
  will calm her appetites for a while.
  HARM AND SHOCK:
  • Harm Capacity: 3
  • Shock Capacity: 3
  • Armor: None.
  ATTACKS AND WEAKNESSES:
  • Punch and Kick: +1harm
  The Hall of Assassins
   
  Special Thanks to Monkeyfun Studios
  Thirty years ago, when Mouse Park needed 
  a new attraction for Pennsylvania Square, the 
  Mousineers turned to the history books and 
  created what would become their most famous 
  attraction: The Hall of Assassins. Equally loved 
  and reviled, the attraction has become a landmark 
  destination for the park. But for all of the 
  presidential assassins featured in the attraction, it 
  seems they’ve left one out.
  MAJOR INCIDENT
  Once upon a time there was an animatronic 
  designed in the image of Ronald Reagan’s 
  attempted assassin John Hinckley Jr., but he 
  was never included in the attraction’s feature 
  show because his assassination attempt was 
  unsuccessful, and he wanted to be included. One 
  day, the Mousineers added Lynette “Squeaky” 
  Fromme who attempted to assassinate Gerald 
  Ford in the line-up, and because of that, Hinckley 
  goes on a rampage and sets out to prove he is an 
  assassin worthy of including in the show, until 
  finally he assassinates the park’s president, and so 
  gets included in the attraction in place of Fromme.
  Without action from the player characters, the 
  incident will proceed according to the following 
  timeline.
  • Introduction: There is a grand reopening with 
  praise for Lynette “Squeaky” Fromme who 
  has been added to the show alongside the 
  others.
  • Conflict:  John Hinckley Jr. who was in 
  storage in the attraction’s basement, becomes 
  self-aware and incensed that he is not 
  included as well since Fromme’s assassination 
  attempt didn’t work either.
  • Rising Action:  Hinckley breaks into the 
  attraction and slaughters all the guests he 
  sees, after deactivating or breaking all of the  
  assassin animatronics. He takes Booth’s gun 
  and goes into the park to find Mouse Park’s 
  president Mr. Igor.
  • Climax:  Hinckley finds Mr. Igor, who is 
  hiding in the attraction’s theatre, in a booth 
  over the auditorium.
  • Resolution:  Hinckley shoots Mr. Igor and 
  now having assassinated a president is put in 
  the attraction in place of Fromme, after it is 
  repaired.
  THE HALL OF ASSASSINS
  The attraction is a theatrical production with 
  audio-animatronics of presidential assassins John 
  Wilkes Booth (assassinated Abraham Lincoln), 
  Leon Czolgosz (assassinated William McKinley), 
  and Lee Harvey Oswald (assassinated John F. 
  Kennedy). The audience comes in and sits in a 
  large theatre by a stage, and when the curtains 
  open each assassin tells their story to the audience. 
  It ends with an impassioned speech from Lee 
  Harvey Oswald. The newest member is not an 
  actual assassin, but the Mousineers thought the 
  line-up could use some freshening up. Lynette 
  “Squeaky” Fromme, a follower of Charles 
  Manson, was added and she gives a speech.
  JOHN HINCKLEY, JR.
  An animatronic fashioned after the man who 
  attempted to assassinate President Reagan in 1981. 
  While the bullet hit the president, he survived and 
  recovered. Hinckley was built by Mouse Park after 
  the event, but when Reagan survived, they decided 
  not to install him since he didn’t “technically” 
  assassinate anyone. He remained in storage all of 
  this time. But when Fromme was added, another 
  would-be assassin with no track record, he became 
  self-aware and will stop at nothing to become an 
  official assassin.
  HARM AND SHOCK:
  • Harm Capacity: 3
  • Shock Capacity: He cannot be shocked
  
  94
  SPECIAL ABILITIES:
  • Not alive – He just thinks he is
  ATTACKS AND WEAKNESSES:
  • Assassinate – He can take lethal shots with 
  his gun, +3harm
  MR. IGOR
  Mouse Park President Igor has been a fixture 
  at Mouse Park for more than twenty years. He is 
  loved by his staff and the guests and does a very 
  good job of keeping things under wraps so that the 
  horrors of Mouse Park are not unleashed. Upon 
  hearing about the incident, he secretly goes to the 
  attraction and hides in the audience booth above 
  the stage. His hope is to surprise the animatronic 
  so that he can disable it, but he doesn’t want to 
  be found (even by accident), so told no one of his 
  plan. 
  A FEW GUESTS
  • Ethan Morris, petulant law student in his 
  mid-40s
  • Isaac Walsh, distraught activist in his late 50s
  • Tiffany Gomez, critical marketing consultant 
  in her late 30s (Married to Sam)
  • Sam Gomez, materialistic urban planner in 
  his 40s (Married to Tiffany)
  • Faith Gomez, excessively attentive daughter 
  of Sam and Tiffany, in her teens
  Sword Out of the Stone
  Special Thanks to Jon Liming
  Knight’s Court is a charming section of Mouse 
  Park that celebrates the Arthurian legends. It is 
  surrounded by medieval buildings, a castle with 
  an audience hall and tavern, and in the center 
  the sword Excalibur stuck in a large stone. It is a 
  wonderful photo opportunity and a classic piece of 
  Mouse Park history. It is also useful for rituals.
  MAJOR INCIDENT
  Once upon a time there was a young Prince of 
  He Who Rests Below, named Artie, who would 
  become King of Mouse Park, but he must wait 
  for the priest Myrddin’s ritual on the first night of 
  the New Moon following the Autumnal Equinox. 
  One day, Myrddin approached Artie to tell him 
  the time was right and the ritual was prepared, 
  and because of that, Artie takes the sword from 
  the stone and goes to ritualistically sacrifice the 
  current King of Mouse Park, the Merking, until 
  finally the ritual is complete and Artie becomes the 
  new king.
  Without action from the player characters, the 
  incident will proceed according to the following 
  timeline.
  • Introduction: Myrddin announces a parade 
  and performance, presenting the arrival of 
  the Merking and Merfolk court.
  • Conflict:  During the performance, Artie 
  takes the sword and no one notices it is gone 
  until afterwards.
  • Rising Action:  Myrddin captures the 
  Merking and brings him into the audience 
  chamber.
  • Climax:  Artie ceremonially sacrifices the 
  Merking.
  • Resolution:  King Artie becomes King of 
  Mouse Park.
  Meanwhile, Jon “Law Dog” Liming, head 
  of security wants to find Excalibur, because he 
  believes it is stolen, until finally he tracks it to 
  Myrddin who destroys him with magic.
  KNIGHT'S COURT 
  An homage to the Arthurian legends, Knights 
  Court is a small area of Mouse Park that is 
  designed to look like the inside courtyard of 
  a medieval castle. The area is home largely to 
  shops, restaurants and a famous tavern - Sir 
  Skewersalot. There is also a small animatronic 
  jousting attraction nearby that has been closed 
  down because of a recent incident when a 
  Mousineer was stabbed by a lance (memorialized 
  by a placard reading R.I.P. Plussy, we miss you.) 
  Since its closure, there is nothing there except for 
  the nightly royal parade when the Mouse Park 
  King and court come in to present themselves 
  before the audience. The current Mouse Park 
  King is the Merking from the Princess Grotto area 
  of the park. The show is really part of a ritual 
  for the Great Mouse that keeps the park’s royal 
  pecking order in check. The Merking took the 
  title a number of years ago and now Myrddin is 
  positioning Artie to be King so that Knight’s Court 
  could once again rise to prominence.
  
  95
  MYRDDIN
  Mouse Park’s legendary occultist and ceremonial 
  magic expert, Myrddin has been an important 
  figure for more than forty years. While he puts on 
  a friendly character for the guests, he is a vicious 
  and ruthless lieutenant of the Great Mouse. Many 
  consider him to be the right-hand man of the 
  Great Mouse (though he would prefer the moniker 
  “left-hand” man). He is very powerful and uses his 
  power to enact the will of the Great Mouse at all 
  costs.
  HARM AND SHOCK:
  • Harm Capacity: 5
  • Shock Capacity: He cannot be shocked
  SPECIAL ABILITIES:
  • Magic: He can conjure beasts, demons, and 
  monsters; blast fire from his wand; transform 
  creatures into anything he wants; fly; create a 
  magical force field; create convincing illusions
  ATTACKS AND WEAKNESSES:
  • Magical Blast – His magic can do anywhere 
  between +1harm to +3harm and +1shock to 
  +3shock.
  ARTIE
  The young prince has been raised by Myrddin 
  at the park specifically to inherit the kingdom. To 
  the guests, he is a talented actor and completely 
  invested in his character. But in reality, he believes 
  that this is his God-given duty and knows no 
  world outside of Mouse Park.
  HARM AND SHOCK:
  • Harm Capacity: 3
  • Shock Capacity: 3
  • Armor: None.
  ATTACKS AND WEAKNESSES:
  • Punch and Kick: +1harm
  THE MERKING
  Guests are always amazed at how realistic the 
  Merking’s costume is. He has a brawny torso 
  on top of a very realistic fish body. His wavy 
  white hair and beard appear to glisten in the sun 
  and he carries a sparkling trident. He is usually 
  transported on a float with a saltwater tank in 
  which he can swim comfortably. In truth, he really 
  is a merman and if he stays out of the saltwater for 
  longer than an hour he begins to dry up and has 
  difficulty breathing.
  HARM AND SHOCK:
  • Harm Capacity: 5
  • Shock Capacity: 5
  • Armor: None.
  ATTACKS AND WEAKNESSES:
  • Trident: +2harm
  JON "LAW DOG" LIMING
  An ex-cop, now head of security and a real 
  jerk to boot. He was forcibly retired from the 
  police department for causing too many “critical 
  incidents.” He uses unnecessary force and runs 
  his security force like he thinks he is still a peace 
  officer. He secretly carries a firearm and has been 
  known to use it. Following the event, he has taken 
  notice that Excalibur has been stolen. He will stop 
  at nothing to find the sword and bring the heavy 
  hand of justice to the thieving pond scum that 
  stole it.
  HARM AND SHOCK:
  • Harm Capacity: 3
  • Shock Capacity: 3
  • Armor: +2 (bullet-proof vest)
  ATTACKS AND WEAKNESSES:
  • Firearm: +2harm
  A FEW GUESTS
  • Diana Peterson, useful executive in her late 
  50s
  • Leah Sky, vindictive Air Force officer in her 
  late 20s
  • Joseph Bennet, simple preacher in his 40s
  • Nick Miller, resourceful producer in his 40s
  • Brianna Scott, grouchy interior designer in 
  her 50s
  
  96
  AND THEY LIVED EVER AFTER.
  
  Assign the following to 
  the stat of your choice: 
  +2, +1, +0, +0, -1
  Attractions
  Entertainment
  Guests
  Guest Relations
  Maintenance
  Management
  Security
  Service
  YOU:
  ❑ BRAVE
  ❑ STOUT
  ❑ SWEET
  ❑ WICKED
  ❑ WISE
  HARM:
  ❑ SERIOUS
  ❑ SEVERE
  ❑ CRITICAL
  SHOCK:
  ❑ SERIOUS
  ❑ SEVERE
  ❑ CRITICAL
  INJURY:
  ❑ _________
  ❑ _________
  ❑ _________
  TRAUMA:
  ❑ _________
  ❑ _________
  ❑ _________
  DEPARTMENT:
  PAL:
  PERSONALITY: 
  (paste moves here)
  EXPERIENCE
  ❑ ❑ ❑ ❑ ❑ 
  TWINKLE
  ❑ ❑ ❑
  MOUSINEER OR GUEST: 
  (paste moves here)
  CHARACTER _________ PAL _________
  CHARACTER _________ PAL _________
  CHARACTER _________ PAL _________
  CHARACTER _________ PAL _________
  CHARACTER _________ PAL _________
  
  BASIC MOVES:
  (Basic Moves Continued...)
  WORK HISTORY: 
  (paste moves here)
  Be Bold and Daring (+brave)
  • On a 10+ you keep calm and do what you need to do.
  • On 7-9 your courage falters, so while you manage to 
  do what you need to do, something else goes wrong. 
  • On a 6 or less, prepare for the worst.
  Help a Friend Get Unstuck/Stick it to a Friend (+pal)
  • On a 10+ they take +2 or -2 to their roll. 
  • On a 7-9, they take +1 (get a friend unstuck) or -1 
  (stick it to a friend) to their roll (or to the roll that just 
  prompted this move).
  • On a 6 or less you make a mess of things.
  Find Something There That Wasn't There Before 
  (+wise)
  On a 10+ hold 2, and on a 7-9 hold 1. 1 hold can be spent 
  to ask the Narrator one of the following questions.
  • What happened here?
  • What here is useful?
  • How much time has passed?
  • Which enemy is the biggest threat?
  • Is there something secret or hidden about this?
  • What or who should I be on the lookout for?
  If you act on the answers, you take +1ongoing as you act 
  using the relevant information. On 6 or less, you will have a 
  missed opportunity, a horrible distraction, or an obstacle.
  Break Some Femurs (+wicked)
  • On a 7+, you inflict harm according to the rating of 
  your weapon and your enemy inflicts their attack’s 
  harm rating on you.
  • On a 10+ choose an extra effect:
  • You gain the advantage: take +1forward, or give 
  +1forward  to another player character.
  • You inflict terrible harm (+1harm).
  • You suffer less harm (-1harm).
  • You physically force them where you want them.
  • You impress, dismay, or frighten them and they get  
  +1shock.
  • On a 6 you will suffer +1harm, suffer +1shock), or 
  suffer -2forward.
  Dig a Little Deeper(+wise/+pal)
  • On a 10+, hold 2. On a 7-9, hold 1. When you are 
  talking or engaging with the person, spend your hold 
  to ask the Narrator or the Player questions, 1 for 1.
  • Are you telling the truth?
  • What are you really feeling?
  • What do you intend to do?
  • What do you wish I’d do?
  • What do you not want me to know?
  • How could I get you to _______? 
  • On 6 or less prepare for a terrible reaction, and if 
  missed against a player, he or she gets +1experience for 
  not answering.
  Charm A Heart Into Deciding(+sweet/+pal)
  • On a 10+, an NPC will comply if you promise them to 
  do something they want, a PC gets +1experience and 
  +1pal with you if he or she complies. 
  • On a 7-9, an NPC will do it but only if you do 
  something they want for them right then and there to 
  show that you mean it; a PC will get +1pal with you if 
  they do what you asked. 
  • On 6 or less, an NPC is offended or enraged at 
  your audacity and will react accordingly; a PC gets 
  +1experience if they decide not to do what you ask.
  Bare Your Teeth and Ambitions (+wicked/+pal)
  • On a 7+ an NPC will do what you want, within reason 
  and a PC must be bold and daring or suffer -1forward 
  on the next move involving you if he or she refuses
  • On a 10+ choose an extra effect:
  • You make the character ridiculously frightened 
  (+1shock)
  • You stun the character with your threat (-1forward 
  for a PC, or a hesitation from the NPC)
  • You make an NPC hide or run away, or you gain  
  +1 experience if a PC agrees to do what was wanted
  • On a 6 or less you fail to intimidate the NPC, and for 
  a PC you can choose to take +1experience and suffer a 
  -1pal with the PC, and they can do the same.
  Go the Distance (+stout)
  • On 10+ succeed in the physical feat and take no harm 
  yourself
  • On 7-9 you succeed in the physical feat, but must 
  choose one of the following:
  • You take +1harm
  • If someone is near you, he or she takes +1harm
  • You avoid harm but stumble, taking -2forward
  • On 6 or less, prepare for the worst. 
  Wish Upon a Star (+1 Twinkle)
  When you make a wish in Mouse Park to better your 
  situation, you may choose to negate all harm, negate all 
  shock, or reroll a die roll you just made. Every time you do 
  this you earn +1twinkle. When you get to 3 twinkles, you’ve 
  exhausted the park’s generosity and a horrible doom befalls 
  you causing either +1trauma or +1injury. Once you’ve 
  suffered the trauma or injury, your debt is paid and all 
  twinkles are erased. 
  
  GUEST MOVES:
  Control Your Destiny (+brave)
  When you use your knowledge of Mouse Park and 
  understanding of routines and policy to get away with 
  doing something wrong or against the rules in the park, 
  roll +brave. 
  • On a 10+ you are left alone to do whatever it was 
  they “thought” was against the rules, but was 
  apparently not. 
  • On 7-9 they let you pass or look the other way 
  with a warning not to do it again, and they close 
  the loophole so you won’t be able to try taking 
  advantage of it in the future.
  • On a 6 or less you are caught, and the natural and 
  terrible consequences take place.
  GUEST MOVES:
  Know What Fire Is and the Word “Burn” (+wise)
  When you use your life-long love for Mouse Park to 
  draw upon its hidden powers and look for the truth of 
  what is going on, roll +wise.
  • On a 10+, hold 2. On a 7-9, hold 1. When you want 
  to find hidden meaning in something at Mouse Park, 
  spend your hold to ask the Narrator questions, 1 for 
  1.
  • Is this what it appears to be?
  • Will this hurt someone?
  • Will this help someone?
  • What is the purpose of this? 
  • How can I use this to help my situation?
  • How do I get rid of this? 
  Find the Second Star to the Right (+wise)
  When you use your innate knowledge of Mouse Park to 
  know the quickest or most efficient way to a destination, 
  roll +wise. On a 10+, hold 2. On a 7-9, hold 1. When you 
  want to find the best way through, spend your hold to 
  ask the Narrator questions, 1 for 1.
  • What is the quickest way to get to a destination?
  • What is the best way to get to a destination without 
  being seen?
  • What is the path of least resistance?
  • Where is the best place to hide?
  • What is the best way to escape?
  • What is the best way to lose those following me?
  If you act on the answers, you get a +1ongoing as you 
  move using the relevant information. On a 6 or less you 
  chose the worst way through and will get a -1forward 
  until you make it to your intended destination.
  Say a Wonderful Phrase (+wise)
  Whenever you get an autograph, roll +sweet. On a 10+ 
  hold 2. On a 7-9, hold 1. On 6 or less, gain +1experience 
  but you do not get an autograph. When you want to 
  protect yourself from something in Mouse Park, spend 
  your hold for an effect.
  • Use 1 hold to negate 1 harm
  • Use 1 hold to negate 1 shock
  • Use 1 hold to negate 1 twinkle
  • Use 1 hold for +1ward
  Be A Guest (stat increase)
  Your standing as an annual passholder with Mouse Park 
  gives you certain advantages and perks. Get +1ongoing 
  with any Mousineer. 
  Control Your Destiny (+brave)
  When you use your knowledge of Mouse Park and 
  understanding of routines and policy to get away with 
  doing something wrong or against the rules in the park, 
  roll +brave. 
  • On a 10+ you are left alone to do whatever it was 
  they “thought” was against the rules, but was 
  apparently not. 
  • On 7-9 they let you pass or look the other way 
  with a warning not to do it again, and they close 
  the loophole so you won’t be able to try taking 
  advantage of it in the future.
  • On a 6 or less you are caught, and the natural and 
  terrible consequences take place.
  Know What Fire Is and the Word “Burn” (+wise)
  When you use your life-long love for Mouse Park to 
  draw upon its hidden powers and look for the truth of 
  what is going on, roll +wise.
  • On a 10+, hold 2. On a 7-9, hold 1. When you want 
  to find hidden meaning in something at Mouse Park, 
  spend your hold to ask the Narrator questions, 1 for 
  1.
  • Is this what it appears to be?
  • Will this hurt someone?
  • Will this help someone?
  • What is the purpose of this? 
  • How can I use this to help my situation?
  • How do I get rid of this? 
  Find the Second Star to the Right (+wise)
  When you use your innate knowledge of Mouse Park to 
  know the quickest or most efficient way to a destination, 
  roll +wise. On a 10+, hold 2. On a 7-9, hold 1. When you 
  want to find the best way through, spend your hold to 
  ask the Narrator questions, 1 for 1.
  • What is the quickest way to get to a destination?
  • What is the best way to get to a destination without 
  being seen?
  • What is the path of least resistance?
  • Where is the best place to hide?
  • What is the best way to escape?
  • What is the best way to lose those following me?
  If you act on the answers, you get a +1ongoing as you 
  move using the relevant information. On a 6 or less you 
  chose the worst way through and will get a -1forward 
  until you make it to your intended destination.
  Say a Wonderful Phrase (+wise)
  Whenever you get an autograph, roll +sweet. On a 10+ 
  hold 2. On a 7-9, hold 1. On 6 or less, gain +1experience 
  but you do not get an autograph. When you want to 
  protect yourself from something in Mouse Park, spend 
  your hold for an effect.
  • Use 1 hold to negate 1 harm
  • Use 1 hold to negate 1 shock
  • Use 1 hold to negate 1 twinkle
  • Use 1 hold for +1ward
  Be A Guest (stat increase)
  Your standing as an annual passholder with Mouse Park 
  gives you certain advantages and perks. Get +1ongoing 
  with any Mousineer. 
  Cut on dotted line and paste into Moves section of your character sheet
  
  
  Cut on dotted line and paste into Moves section of your character sheet
  
  MOUSINEER MOVES:
  Paint with the Colors of the Wind (+wise)
  When you provide a Mouse Park-inspired metaphor to 
  inspire someone before they make a move, roll +wise.
  • On a 10+ you inspire the character, and the wisdom 
  you impart makes them a better person so they get 
  +1experience and +1forward.
  • On a 7-9 you inspire the character and they get 
  +1forward. 
  • On a 6 or less they can choose to gain +1experience 
  to take -1pal with you.
  Wish a Dream(+twinkle)
  When someone is trying using the wish upon a star move, 
  touch that person or hold their hand to get a blessing 
  from the power of Mouse Park and roll +twinkle. 
  • On a 7+ the wish does not add a Twinkle to the 
  character. 
  • On a 10+ you get -1twinkle as you have lovingly 
  taken in the power of the park. 
  • On a 6 or less the wish proceeds as normal, the 
  character gets +1twinkle and so do you.
  Remove the Strings That Hold You Down(effect)
  Once per day you can wish upon a star without 
  accumulating Twinkle. 
  Fill the World With Sunshine (+twinkle)
  When you want to perform a miracle, roll +twinkle.
  • On a 10+ choose one of the following effects
  • Magical energy blasts from your fingertips or 
  hands and strikes a character, causing +2harm
  • Create a horrible vision that inflicts +2shock on 
  a character
  • A shield of magical energy deflects up to -2harm 
  that was just given
  • Ward up to -2shock that was just given
  • Magical blessing gives you or a character 
  +1forward for the next hour
  • Magical aura adds +1armor for the next hour
  • On a 7-9, choose one of the following effects.
  • Magical energy blasts from your fingertips or 
  hands and strikes a character, causing +1harm
  • Create a terrible vision that inflicts +1shock on a 
  character
  • A shield of magical energy deflects up to -1harm 
  that was just given
  • Ward up to -1shock that was just given
  • Magical blessing gives you or a character 
  +1forward for the next minute
  • Magical aura adds +1armor for the next minute
  • On 6 or less, there is no effect and you gain a 
  Twinkle.
  Find Beauty Within(+sweet)
  When you want to engineer a miracle using whimsy, art, 
  or some sort of theatrics or attraction, roll +sweet. 
  • On a 10+ you’re able to create a miracle and may 
  negate harm or shock, or reroll a die.
  • On a 7-9 you’re able to create a miracle as intended, 
  and may negate harm or shock, or reroll a die, but 
  an unintended consequence also occurs that causes a 
  new problem, delay, or too much attention.
  • On a 6 or less you fail to create the miracle and you 
  gain +1twinkle for disrupting the Great Mouse.
  MOUSINEER MOVES:
  Paint with the Colors of the Wind (+wise)
  When you provide a Mouse Park-inspired metaphor to 
  inspire someone before they make a move, roll +wise.
  • On a 10+ you inspire the character, and the wisdom 
  you impart makes them a better person so they get 
  +1experience and +1forward.
  • On a 7-9 you inspire the character and they get 
  +1forward. 
  • On a 6 or less they can choose to gain +1experience 
  to take -1pal with you.
  Wish a Dream(+twinkle)
  When someone is trying using the wish upon a star move, 
  touch that person or hold their hand to get a blessing 
  from the power of Mouse Park and roll +twinkle. 
  • On a 7+ the wish does not add a Twinkle to the 
  character. 
  • On a 10+ you get -1twinkle as you have lovingly 
  taken in the power of the park. 
  • On a 6 or less the wish proceeds as normal, the 
  character gets +1twinkle and so do you.
  Remove the Strings That Hold You Down(effect)
  Once per day you can wish upon a star without 
  accumulating Twinkle. 
  Fill the World With Sunshine (+twinkle)
  When you want to perform a miracle, roll +twinkle.
  • On a 10+ choose one of the following effects
  • Magical energy blasts from your fingertips or 
  hands and strikes a character, causing +2harm
  • Create a horrible vision that inflicts +2shock on 
  a character
  • A shield of magical energy deflects up to -2harm 
  that was just given
  • Ward up to -2shock that was just given
  • Magical blessing gives you or a character 
  +1forward for the next hour
  • Magical aura adds +1armor for the next hour
  • On a 7-9, choose one of the following effects.
  • Magical energy blasts from your fingertips or 
  hands and strikes a character, causing +1harm
  • Create a terrible vision that inflicts +1shock on a 
  character
  • A shield of magical energy deflects up to -1harm 
  that was just given
  • Ward up to -1shock that was just given
  • Magical blessing gives you or a character 
  +1forward for the next minute
  • Magical aura adds +1armor for the next minute
  • On 6 or less, there is no effect and you gain a 
  Twinkle.
  Find Beauty Within(+sweet)
  When you want to engineer a miracle using whimsy, art, 
  or some sort of theatrics or attraction, roll +sweet. 
  • On a 10+ you’re able to create a miracle and may 
  negate harm or shock, or reroll a die.
  • On a 7-9 you’re able to create a miracle as intended, 
  and may negate harm or shock, or reroll a die, but 
  an unintended consequence also occurs that causes a 
  new problem, delay, or too much attention.
  • On a 6 or less you fail to create the miracle and you 
  gain +1twinkle for disrupting the Great Mouse.
  
  SANGUINE (enthusiastic, emotional, social)
  Hold Your Banner High(+brave)
  Roll +brave when you want to inspire with rallying 
  words or song and improve a character’s moves. 
  • On a 7+, anyone within the sound of your voice 
  gets a +1forward. 
  • On 10+ choose one extra effect:
  • You get +1experience for being so awe-inspiring
  • Player characters that are inspired by you get 
  +1experience for going along with what you say
  • On a 6 or less prepare for a terrible reaction and 
  PCs get +1experience for ignoring you.
  Welcome to Your Family (stat swap)
  Since everyone is your friend, you can choose to use 
  +sweet on every move that uses +pal.
  Be Brave Enough to See Your Fate (+brave)
  After you fail a move using +stout, you can try the same 
  move again using +brave instead.
  SANGUINE (enthusiastic, emotional, social)
  Hold Your Banner High(+brave)
  Roll +brave when you want to inspire with rallying 
  words or song and improve a character’s moves. 
  • On a 7+, anyone within the sound of your voice 
  gets a +1forward. 
  • On 10+ choose one extra effect:
  • You get +1experience for being so awe-inspiring
  • Player characters that are inspired by you get 
  +1experience for going along with what you say
  • On a 6 or less prepare for a terrible reaction and 
  PCs get +1experience for ignoring you.
  Welcome to Your Family (stat swap)
  Since everyone is your friend, you can choose to use 
  +sweet on every move that uses +pal.
  Be Brave Enough to See Your Fate (+brave)
  After you fail a move using +stout, you can try the same 
  move again using +brave instead.
  SANGUINE (enthusiastic, emotional, social)
  Hold Your Banner High(+brave)
  Roll +brave when you want to inspire with rallying 
  words or song and improve a character’s moves. 
  • On a 7+, anyone within the sound of your voice 
  gets a +1forward. 
  • On 10+ choose one extra effect:
  • You get +1experience for being so awe-inspiring
  • Player characters that are inspired by you get 
  +1experience for going along with what you say
  • On a 6 or less prepare for a terrible reaction and 
  PCs get +1experience for ignoring you.
  Welcome to Your Family (stat swap)
  Since everyone is your friend, you can choose to use 
  +sweet on every move that uses +pal.
  Be Brave Enough to See Your Fate (+brave)
  After you fail a move using +stout, you can try the same 
  move again using +brave instead.
  CHOLERIC (short-tempered, leader, secure)
  Expose Those Who Don't Think(+wicked)
  When you insult someone, roll +wicked.
  • On 10+ the person you insulted is dismayed and 
  you and the other player characters get a +1ongoing 
  on any move against that person.
  • On a 7-9 the character you insulted is now a 
  target, so you and the other player characters get a 
  +1forward on any move against that person.
  • On a 6 or less, prepare for a terrible reaction.
  Show How Snakelike You Can Be (move bonus)
  Get a +1 to your bare your teeth and ambitions move by 
  including an empty and ridiculous threat.
  Let It Go(move bonus)
  Get a +1 to harm whenever you fight angry.
  CHOLERIC (short-tempered, leader, secure)
  Expose Those Who Don't Think(+wicked)
  When you insult someone, roll +wicked.
  • On 10+ the person you insulted is dismayed and 
  you and the other player characters get a +1ongoing 
  on any move against that person.
  • On a 7-9 the character you insulted is now a 
  target, so you and the other player characters get a 
  +1forward on any move against that person.
  • On a 6 or less, prepare for a terrible reaction.
  Show How Snakelike You Can Be (move bonus)
  Get a +1 to your bare your teeth and ambitions move by 
  including an empty and ridiculous threat.
  Let It Go(move bonus)
  Get a +1 to harm whenever you fight angry.
  CHOLERIC (short-tempered, leader, secure)
  Expose Those Who Don't Think(+wicked)
  When you insult someone, roll +wicked.
  • On 10+ the person you insulted is dismayed and 
  you and the other player characters get a +1ongoing 
  on any move against that person.
  • On a 7-9 the character you insulted is now a 
  target, so you and the other player characters get a 
  +1forward on any move against that person.
  • On a 6 or less, prepare for a terrible reaction.
  Show How Snakelike You Can Be (move bonus)
  Get a +1 to your bare your teeth and ambitions move by 
  including an empty and ridiculous threat.
  Let It Go(move bonus)
  Get a +1 to harm whenever you fight angry.
  Cut on dotted line and paste into Moves section of your character sheet
  
  
  Cut on dotted line and paste into Moves section of your character sheet
  
  MELANCHOLIC (analytical, wise, quiet)
  Just Keep Swimming(+brave)
  Roll +brave when you fail at another move. 
  • On a 7+ you accomplish the move.
  • On a 10+ you get a +1forward for related moves. 
  • On a 6 or less, your inner spark fizzles.
  Find Out What All This Is (+wise)
  • On a 7+ you find the information.
  • On a 10+ you can choose an additional effect:
  • +1forward on moves using the information.
  • The Narrator reveals an additional secret.
  • Your research restores -1shock.
  • On a 6 or less -1ongoing on moves using info.
  Get That Boneheaded Contraption To Work(+wise)
  When you want to fix something, roll +wise.
  • On a 10+ you fix the thing.
  • On a 7-9, you fix it but it will break again, it takes 
  a long time, or breaks an important tool.
  • On a 6 or less, there are problems.
  MELANCHOLIC (analytical, wise, quiet)
  Just Keep Swimming(+brave)
  Roll +brave when you fail at another move. 
  • On a 7+ you accomplish the move.
  • On a 10+ you get a +1forward for related moves. 
  • On a 6 or less, your inner spark fizzles.
  Find Out What All This Is (+wise)
  • On a 7+ you find the information.
  • On a 10+ you can choose an additional effect:
  • +1forward on moves using the information.
  • The Narrator reveals an additional secret.
  • Your research restores -1shock.
  • On a 6 or less -1ongoing on moves using info.
  Get That Boneheaded Contraption To Work(+wise)
  When you want to fix something, roll +wise.
  • On a 10+ you fix the thing.
  • On a 7-9, you fix it but it will break again, it takes 
  a long time, or breaks an important tool.
  • On a 6 or less, there are problems.
  MELANCHOLIC (analytical, wise, quiet)
  Just Keep Swimming(+brave)
  Roll +brave when you fail at another move. 
  • On a 7+ you accomplish the move.
  • On a 10+ you get a +1forward for related moves. 
  • On a 6 or less, your inner spark fizzles.
  Find Out What All This Is (+wise)
  • On a 7+ you find the information.
  • On a 10+ you can choose an additional effect:
  • +1forward on moves using the information.
  • The Narrator reveals an additional secret.
  • Your research restores -1shock.
  • On a 6 or less -1ongoing on moves using info.
  Get That Boneheaded Contraption To Work(+wise)
  When you want to fix something, roll +wise.
  • On a 10+ you fix the thing.
  • On a 7-9, you fix it but it will break again, it takes 
  a long time, or breaks an important tool.
  • On a 6 or less, there are problems.
  Tell the Tale As Old As Time (+sweet)
  When you try to increase Pal by telling a story, roll 
  +sweet.
  • On 7+ you get a +1pal with that person.
  • On 10+ PCs get +1experience to increase their Pal. 
  • On a 6 or lower the story does not work and PCs 
  can take +1experience for taking -1pal with you. 
  PHLEGMATIC (meek, relaxed, peaceful)
  Let Your Conscience Be Your Guide(stat swap)
  When you use inspirational mannerisms or idioms, roll 
  +wise instead of +sweet for charm a heart into deciding. 
  Don't Let Fear Control You (+brave)
  If you continue to confront a danger that has caused 
  you harm or shock, roll +brave. 
  • On a 7+ you get a +1forward on any move against 
  that danger. 
  • On a 10+ any harm or shock that you just 
  withstood is turned back onto the source of it.
  • On a 6 or less, -1forward against that danger.
  Tell the Tale As Old As Time (+sweet)
  When you try to increase Pal by telling a story, roll 
  +sweet.
  • On 7+ you get a +1pal with that person.
  • On 10+ PCs get +1experience to increase their Pal. 
  • On a 6 or lower the story does not work and PCs 
  can take +1experience for taking -1pal with you. 
  PHLEGMATIC (meek, relaxed, peaceful)
  Let Your Conscience Be Your Guide(stat swap)
  When you use inspirational mannerisms or idioms, roll 
  +wise instead of +sweet for charm a heart into deciding. 
  Don't Let Fear Control You (+brave)
  If you continue to confront a danger that has caused 
  you harm or shock, roll +brave. 
  • On a 7+ you get a +1forward on any move against 
  that danger. 
  • On a 10+ any harm or shock that you just 
  withstood is turned back onto the source of it.
  • On a 6 or less, -1forward against that danger.
  Tell the Tale As Old As Time (+sweet)
  When you try to increase Pal by telling a story, roll 
  +sweet.
  • On 7+ you get a +1pal with that person.
  • On 10+ PCs get +1experience to increase their Pal. 
  • On a 6 or lower the story does not work and PCs 
  can take +1experience for taking -1pal with you. 
  PHLEGMATIC (meek, relaxed, peaceful)
  Let Your Conscience Be Your Guide(stat swap)
  When you use inspirational mannerisms or idioms, roll 
  +wise instead of +sweet for charm a heart into deciding. 
  Don't Let Fear Control You (+brave)
  If you continue to confront a danger that has caused 
  you harm or shock, roll +brave. 
  • On a 7+ you get a +1forward on any move against 
  that danger. 
  • On a 10+ any harm or shock that you just 
  withstood is turned back onto the source of it.
  • On a 6 or less, -1forward against that danger.
  
  UNEMPLOYED
  Accomplish the Impossible (move bonus)
  Choose one talent for a stat bonus (no more than +3):
  • Actor, +1stout when you perform to go the distance.
  • Musician, +1sweet when you play music or sing to 
  charm a heart into deciding.
  • Dancer, +1brave when you dance to be bold and 
  daring.
  • Comedian, +1wicked when you use humor to bare 
  your teeth and ambitions.
  • Artist, +1wise when you use art to dig a little deeper.
  Make What is Inside of You Count (move bonus)
  Take a moment and find the inner hero that will rise and 
  conquer all odds, and then add +2 to go the distance.
  Take a Little Snack, Guys (+wicked)
  When you want to skillfully steal something, roll +wicked. 
  • On a 10+ you take it without being detected.
  • On a 7-9 you take it, but you are noticed.
  • On a 6 or less, you don't take it and are also noticed.
  SERVICE INDUSTRY
  Make Sure It’ll All Turn Out Right in the End (+sweet)
  When you use your people skills to help someone recover 
  from shock, roll +sweet for NPCs or +pal for PCs.
  • On 7+ the character loses -1shock from your words.
  • On a 10+ the character loses -1shock and a you get 
  +1pal with a PC.
  • On a 6 or less, the character gets  +1shock, and a 
  PC can accept +1shock for +1experience.
  Show That You're a Hugger (stat swap)
  When you break some femurs, roll +sweet instead of 
  +wicked, but you must do it in a friendly way.
  Have the Exceptionally Rare (+wicked)
  Roll +wicked when you want expensive merchandise.
  • On a 10+ you are able to get the item for free.
  • On a 7-9 you are able to get the item for fewer 
  bucks than you have and it takes a few hours.
  • On a 6 or less you can only get the item at the 
  amount of bucks it is worth.
  Cut on dotted line and paste into Moves section of your character sheet
  
  UNEMPLOYED
  Accomplish the Impossible (move bonus)
  Choose one talent for a stat bonus (no more than +3):
  • Actor, +1stout when you perform to go the distance.
  • Musician, +1sweet when you play music or sing to 
  charm a heart into deciding.
  • Dancer, +1brave when you dance to be bold and 
  daring.
  • Comedian, +1wicked when you use humor to bare 
  your teeth and ambitions.
  • Artist, +1wise when you use art to dig a little deeper.
  Make What is Inside of You Count (move bonus)
  Take a moment and find the inner hero that will rise and 
  conquer all odds, and then add +2 to go the distance.
  Take a Little Snack, Guys (+wicked)
  When you want to skillfully steal something, roll +wicked. 
  • On a 10+ you take it without being detected.
  • On a 7-9 you take it, but you are noticed.
  • On a 6 or less, you don't take it and are also noticed.
  UNEMPLOYED
  Accomplish the Impossible (move bonus)
  Choose one talent for a stat bonus (no more than +3):
  • Actor, +1stout when you perform to go the distance.
  • Musician, +1sweet when you play music or sing to 
  charm a heart into deciding.
  • Dancer, +1brave when you dance to be bold and 
  daring.
  • Comedian, +1wicked when you use humor to bare 
  your teeth and ambitions.
  • Artist, +1wise when you use art to dig a little deeper.
  Make What is Inside of You Count (move bonus)
  Take a moment and find the inner hero that will rise and 
  conquer all odds, and then add +2 to go the distance.
  Take a Little Snack, Guys (+wicked)
  When you want to skillfully steal something, roll +wicked. 
  • On a 10+ you take it without being detected.
  • On a 7-9 you take it, but you are noticed.
  • On a 6 or less, you don't take it and are also noticed.
  SERVICE INDUSTRY
  Make Sure It’ll All Turn Out Right in the End (+sweet)
  When you use your people skills to help someone recover 
  from shock, roll +sweet for NPCs or +pal for PCs.
  • On 7+ the character loses -1shock from your words.
  • On a 10+ the character loses -1shock and a you get 
  +1pal with a PC.
  • On a 6 or less, the character gets  +1shock, and a 
  PC can accept +1shock for +1experience.
  Show That You're a Hugger (stat swap)
  When you break some femurs, roll +sweet instead of 
  +wicked, but you must do it in a friendly way.
  Have the Exceptionally Rare (+wicked)
  Roll +wicked when you want expensive merchandise.
  • On a 10+ you are able to get the item for free.
  • On a 7-9 you are able to get the item for fewer 
  bucks than you have and it takes a few hours.
  • On a 6 or less you can only get the item at the 
  amount of bucks it is worth.
  SERVICE INDUSTRY
  Make Sure It’ll All Turn Out Right in the End (+sweet)
  When you use your people skills to help someone recover 
  from shock, roll +sweet for NPCs or +pal for PCs.
  • On 7+ the character loses -1shock from your words.
  • On a 10+ the character loses -1shock and a you get 
  +1pal with a PC.
  • On a 6 or less, the character gets  +1shock, and a 
  PC can accept +1shock for +1experience.
  Show That You're a Hugger (stat swap)
  When you break some femurs, roll +sweet instead of 
  +wicked, but you must do it in a friendly way.
  Have the Exceptionally Rare (+wicked)
  Roll +wicked when you want expensive merchandise.
  • On a 10+ you are able to get the item for free.
  • On a 7-9 you are able to get the item for fewer 
  bucks than you have and it takes a few hours.
  • On a 6 or less you can only get the item at the 
  amount of bucks it is worth.
  
  Cut on dotted line and paste into Moves section of your character sheet
  
  Make A Bare Necessity (+wise)
  Roll +wise when you adapt or change an object.
  • On a 7-9 your work adds a +1armor, +1ward, 
  +1shock, or +1harm 
  • On a 10+ choose an additional +1 to the effect.
  • On a 6 or less, you are unable to improve anything 
  and there are consequences.
  BLUE COLLAR
  Use this metal . . . looking . . . thing (+stout)
  When you want to operate heavy machinery, roll +stout. 
  • On a 10+ it operates as intended.
  • On a 7-9 be bold and daring to continue using it
  • On a 6 or less you have broken the machine.
  Tell the Computer You Want to Live (+wise)
  When you need to code a computer, roll +wise. 
  • On a 10+ you successfully accomplish your task.
  • On a 7-9 you accomplish your task, but you’ve 
  created another related issue or problem.
  • On a 6 or less you’ve created a major problem.
  Stop Deliberate Disobedience (stat swap)
  When you want to change someone’s mind or stop 
  someone’s behavior with authority, use charm a heart 
  into deciding but with +wicked, instead of +sweet. 
  PROFESSIONAL
  You Help Them, Yes You DO (+wise)
  When you want to use basic medical equipment such as a 
  first aid kit to recover -1harm, roll +wise.
  • On a 10+ you can restore up to -2harm.
  • On a 7-9 you can restore -1harm.
  • On a 6 or less you cause +1harm; if treating a PC 
  they can choose to take the harm for +1experience.
  Bid Your Cares Goodbye (+sweet/+pal)
  When you make a gesture of support to help soothe 
  shock, roll +sweet or +pal with a PC. 
  • On a 10+ you can restore up to -2shock.
  • On a 7-9 you can restore -1shock.
  • On a 6 or less you cause an additional +1shock, if a 
  PC they can take the shock for +1experience.
  Make A Bare Necessity (+wise)
  Roll +wise when you adapt or change an object.
  • On a 7-9 your work adds a +1armor, +1ward, 
  +1shock, or +1harm 
  • On a 10+ choose an additional +1 to the effect.
  • On a 6 or less, you are unable to improve anything 
  and there are consequences.
  BLUE COLLAR
  Use this metal . . . looking . . . thing (+stout)
  When you want to operate heavy machinery, roll +stout. 
  • On a 10+ it operates as intended.
  • On a 7-9 be bold and daring to continue using it
  • On a 6 or less you have broken the machine.
  Tell the Computer You Want to Live (+wise)
  When you need to code a computer, roll +wise. 
  • On a 10+ you successfully accomplish your task.
  • On a 7-9 you accomplish your task, but you’ve 
  created another related issue or problem.
  • On a 6 or less you’ve created a major problem.
  Make A Bare Necessity (+wise)
  Roll +wise when you adapt or change an object.
  • On a 7-9 your work adds a +1armor, +1ward, 
  +1shock, or +1harm 
  • On a 10+ choose an additional +1 to the effect.
  • On a 6 or less, you are unable to improve anything 
  and there are consequences.
  BLUE COLLAR
  Use this metal . . . looking . . . thing (+stout)
  When you want to operate heavy machinery, roll +stout. 
  • On a 10+ it operates as intended.
  • On a 7-9 be bold and daring to continue using it
  • On a 6 or less you have broken the machine.
  Tell the Computer You Want to Live (+wise)
  When you need to code a computer, roll +wise. 
  • On a 10+ you successfully accomplish your task.
  • On a 7-9 you accomplish your task, but you’ve 
  created another related issue or problem.
  • On a 6 or less you’ve created a major problem.
  Stop Deliberate Disobedience (stat swap)
  When you want to change someone’s mind or stop 
  someone’s behavior with authority, use charm a heart 
  into deciding but with +wicked, instead of +sweet. 
  PROFESSIONAL
  You Help Them, Yes You DO (+wise)
  When you want to use basic medical equipment such as a 
  first aid kit to recover -1harm, roll +wise.
  • On a 10+ you can restore up to -2harm.
  • On a 7-9 you can restore -1harm.
  • On a 6 or less you cause +1harm; if treating a PC 
  they can choose to take the harm for +1experience.
  Bid Your Cares Goodbye (+sweet/+pal)
  When you make a gesture of support to help soothe 
  shock, roll +sweet or +pal with a PC. 
  • On a 10+ you can restore up to -2shock.
  • On a 7-9 you can restore -1shock.
  • On a 6 or less you cause an additional +1shock, if a 
  PC they can take the shock for +1experience.
  Stop Deliberate Disobedience (stat swap)
  When you want to change someone’s mind or stop 
  someone’s behavior with authority, use charm a heart 
  into deciding but with +wicked, instead of +sweet. 
  PROFESSIONAL
  You Help Them, Yes You DO (+wise)
  When you want to use basic medical equipment such as a 
  first aid kit to recover -1harm, roll +wise.
  • On a 10+ you can restore up to -2harm.
  • On a 7-9 you can restore -1harm.
  • On a 6 or less you cause +1harm; if treating a PC 
  they can choose to take the harm for +1experience.
  Bid Your Cares Goodbye (+sweet/+pal)
  When you make a gesture of support to help soothe 
  shock, roll +sweet or +pal with a PC. 
  • On a 10+ you can restore up to -2shock.
  • On a 7-9 you can restore -1shock.
  • On a 6 or less you cause an additional +1shock, if a 
  PC they can take the shock for +1experience.
  
  FOR MORE WORK BY CHRISTOPHER GREY GO TO
  WWW.CHRISTOPHER.WORLD
  
SOURCE: textdata/thevault/The Happiest Apocalypse On Earth (PbtA)/The Happiest Apocalypse On Earth.pdf