TEXT: NARRATOR'S TOOLKIT
  TM
  TM
  
  Narrator's Booklet
  ii
  Line Development
  JACK NORRIS 
  BENN GRAYBEATON
  Rules Development
  BENN GRAYBEATON
  DEVELOPED FROM THE ORIGINAL 
  2D20 SYSTEM DESIGN 
  BY JAY LITTLE, 
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  work of fiction. Any similarity with actual people and events, past or present, is purely coincidental and unintentional except for those people and events 
  described in an historical context. Trademarks John Carter of Mars®, Dejah Thoris®, Tars Tarkas®, Woola™, Barsoom®, Warlord of Mars®, Gods of Mars®, 
  A Princess of Mars®, and Edgar Rice Burroughs® Owned by Edgar Rice Burroughs, Inc. And Used by Permission. All characters and creatures trademarked 
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  WELCOME BACK TO THE RED PLANET!
  Welcome to the John Carter of Mars Narrator’s Kit. 
  This short book accompanies the John Carter of 
  Mars Narrator’s Screen, a play aid that provides com-
  monly used charts and mechanics to help narrators 
  run their games.
  This book has an assortment of useful resources 
  to assist narrators in crafting adventures and run 
  campaigns. You’ll find sections on crafting adven-
  tures in the style of Edgar Rice Burroughs and pulp-
  style stories. Other chapters include random genera-
  tors for adventures, a narrator character generator 
  and adventure “hooks” for specific character types. 
  You’ll also find rules on adventurous travel, and on 
  large-scale conflicts between entire nations, armies, 
  and other large groups.
  All these rules are optional. You can use some, all, 
  or none of them in your John Carter of Mars game. 
  Crafting Adventures 
  in John Carter
  The narrator section in the John Carter of Mars core 
  rulebook has substantial advice on how to create 
  and run adventures. This book adds various rules, 
  random tables, and advice to assist narrators. None 
  of this advice is meant to replace guidance in other 
  books: it is meant to add further enrichment to a 
  John Carter of Mars campaign.
  The Martian Standards
  Edgar Rice Burroughs’ Barsoom novels took readers 
  to wondrous worlds where John Carter and other 
  heroes encountered a variety of strange beasts, 
  terrible villains, and exotic locations. No matter 
  how strange the situation or unusual the menace, 
  Burroughs definitely had favorite plots, storytelling 
  techniques, and a uniformity in ideas and concepts. 
  Perhaps this made his stories a bit predictable, but it 
  also gave them strong foundations to build on. The 
  patterns and tendencies of the characters, and the 
  familiar flow of certain plot lines, gave the setting 
  a feeling of consistency even when it took strange 
  turns or introduced truly bizarre concepts.
  Narrators can use these ideas to make their 
  adventures feel appropriate for the setting and 
  source material. How to do so is already discussed 
  somewhat in the narrator section of the core rule-
  book, but here we explore specific standards and 
  concepts of the Barsoom stories and how to imple-
  ment them in play.
  There are Two  
  Types of Bad Guy
  Villains in the Barsoom stories are a varied lot, from 
  savage green Martian despots to false goddesses and 
  treacherous cannibal priests. Narrators can be crea-
  tive and varied with their villains, keeping players 
  and their heroes guessing as to the villians capabili-
  ties and goals.
  However, no matter what character traits and 
  abilities a villain possesses, they always fall into one of 
  two broad categories: the vile evil-doer and the honor-
  able antagonist. Barsoomian villains are either treach-
  erous and terrible without any redeeming graces, 
  or they are ruthless, flawed yet honorable foes who, 
  under the right circumstances, may become friends 
  and allies of the heroes. That’s basically it. There are 
  few villains who fall between these extremes. 
  For an example, take the First Born. When John 
  Carter encounters the First Born in Gods of Mars 
  he meets and faces three capable villains: Xodar, 
  Thurid, and Issus. It is soon discovered that Issus is 
  a terrifying flesh-eating slaver who rules her people 
  as a tyrannical false goddess. Thurid is a jealous and 
  vindictive brute who hates Carter and wishes him to 
  suffer. Yet Xodar, arguably the most capable of the 
  three, is a ruthless yet honorable dator of his people. 
  Xodar soon realizes Carter and his allies are far better 
  for him and his people than Issus and her vile ilk.
  When introducing a new culture, nation, or 
  group into a campaign, narrators should always 
  provide the heroes with both types of villain. This 
  avoids the problem of “evil races” and distinctly 
  non-Burroughs concepts. This doesn’t mean a group 
  can’t be mostly evil, but in most cases there should 
  be at least one honorable officer (or ruthless but 
  principled noble) that the characters could possibly 
  convert to their cause. Likewise, its often useful 
  include at least one heartless epitome of wickedness 
  in a group of honorable antagonists. This is usually 
  the villain who eventually betrays both their fellows 
  and the heroes, bringing them together in a right-
  eous desire for justice or revenge!
  Absence Makes the 
  Heart Grow Fonder
  While characters die in the Barsoom novels, often 
  they are kidnapped, enslaved, captured, and 
  otherwise isolated from their allies and loved 
  ones. The standard plot of a villain is not to kill a 
  hero or murder his friends but to spirit them away, 
  sometimes with a threat of future death that can 
  be prevented. While the “kidnapping of the week” 
  plot can get repetitive, narrators seeking to emulate 
  the source material should have despicable villains 
  prefer capture to wanton slaughter. 
  There are few better examples of this phenom-
  ena than the regular trials and tribulations of the 
  incomparable Dejah Thoris. A beautiful young prin-
  cess of the respected and powerful nation of Helium, 
  Dejah regularly gets kidnapped by various individu-
  als seeking to use her as a hostage, a political pawn 
  or worse. She has a tendency to fall into dangerous 
  Welcome Back to the red PlaNet
  1
  
  situations, and she and John Carter spend much 
  of their time apart in the stories. This isn’t because 
  Dejah is weak. Its because she’s important, and on 
  Barsoom important people are often targets. In fact, 
  Carter himself spends quite a bit of time imprisoned 
  or captured during his adventures.
  This tendency towards the non-lethal and 
  separating heroes from those they care about has 
  three gameplay benefits. Firstly, it preserves the sup-
  porting cast. Villains don’t murder every friendly 
  jeddak or charming noble who grows close to the 
  heroes, so these characters can develop meaningful 
  relationships and alliances. Secondly, it makes char-
  acter deaths more noteworthy when they do occur. 
  There can be a real sense of loss of a comrade who 
  has stuck with the heroes through thick and thin. 
  Thirdly, it allows the players to take risks with their 
  heroes. If they know they are likely to be captured or 
  imprisoned than immediately executed, it is easier 
  for them to take heroic risks. Failure still allows 
  some margin for error and a hope for future success.
  Of course, this only really works with intelli-
  gent threats. Dangerous animals and deadly beasts 
  generally want to kill, and eat, their targets. This 
  makes struggles against such threats very danger-
  ous, which is another staple of Burroughs’ works.
  Dangerous Beasts and 
  Where to Find Them
  Burroughs’ works are filled with deadly fauna, and 
  sometimes equally lethal flora. From the leopards and 
  rampaging apes of the Tarzan stories to the fantastic 
  creatures of Pellucidar and Amthor, every Burroughs-
  style adventure has encounters with dangerous beasts. 
  Barsoom takes Burroughs’ usual assortment of jungle 
  animals and the occasional dinosaur a step further. 
  Banths, white apes, apts, and other fantastical crea-
  tures are among the most terrifying and unusual the 
  author created, and they all call Barsoom home.
  Not all animals are ravenous, mindless 
  threats. Loyal pets, mounts, and companions are an 
  important part of Barsoomian life. Without a mix of 
  helpful and harmful beasts to encounter the setting 
  feels off: too safe, sterile, and empty. Helpful beasts 
  also help showcase the importance of compassion. A 
  previously neglected or abandoned creature that is 
  well-treated by the heroes could well save their lives 
  later on, and might become a regular companion. 
  Narrators should keep this in mind and give their 
  groups ample opportunity to interact with Bar-
  soom’s beasts. Even in cities, heroes will encounter 
  animals such as thoats and soraks. Beasts are eve-
  rywhere on Barsoom, a constant reminder that the 
  world may be dying but it is still far from dead. 
  Cultures Best  
  Govern Themselves
  Burroughs definitely supported the idea of self-gov-
  ernance in the Barsoom stories. More than once he 
  has John Carter state that a people’s leaders should 
  come from within their own culture, though in time 
  this includes Carter himself as part of his adopted 
  nation of Helium. While this idea might seem unim-
  portant to bold adventuring and tales of daring and 
  wonder, it actually helps set consistent themes.
  
  For example, the Holy Therns and the god-
  dess Issus manipulated the nations of Barsoom for 
  years, selling them the idea of a false afterlife and 
  an illusory paradise for the departed. After this lie 
  is revealed, and people begin to guide themselves, 
  there is increased prosperity and stability.
  This concept also explains the folly of tyrants 
  on Barsoom. Rulers who place themselves well 
  above their subjects, especially by brutal oppression, 
  are just asking for a band of heroes to come and tear 
  them down. This often happens with the assistance 
  of the subjects they had mistreated. When such 
  leaders fall, few mourn. Instead, they are often 
  replaced by worthy and active leaders. 
  Prime examples of this concept are found in 
  the fates of both Salensus Oll and Tal Hajus, jeddaks 
  of the Okar and the Tharks respectively. Both leaders 
  are arrogant, decadent, and feel they are far superior 
  to those around them. Hubris pushes them to acts 
  of depravity and aggression. They abuse others and 
  seek to dominate all around them without regard 
  for the good of their people. Eventually they are 
  killed and replaced, a testament to the real legacy of 
  despotism and tyranny.
  Narrators seeking to craft Barsoomian-style 
  political drama should remember these themes, 
  and make sure any nations or groups the heroes 
  help to liberate from tyrannical leadership are 
  either too rotten to remain active, or have more 
  sympathetic individuals who can take over. Liber-
  ated groups also make fine allies, as often those 
  placed in power after an uprising think favorably of 
  the heroes who helped their people and them.
  Reason Over Superstition
  Burroughs was big on rational (or at least some-
  what rational) explanations for most events and 
  phenomena. A character who could turn invisible, 
  or summon an army of illusory warriors capable 
  of killing living soldiers, was the result of powerful 
  psychic abilities. If a kingdom appeared ruled by a 
  goddess, it was revealed that the supposed deity was 
  in fact an ancient, but very mortal, despot. Ghosts 
  or mythological monsters always end up being 
  psychic resonances of the departed or genetically 
  engineered creatures.
  All that said, Burroughs gave science an 
  incredible amount of credit. This is strongest in his 
  planetary romance stories, such as the Barsoom 
  novels. Alien technology could do nearly anything a 
  person could imagine, even if it seemed like the end 
  effect owed more to fantasy or magic than science. 
  Medicinal salves and a few days rest could heal a 
  sword through the heart, and a simple pill could 
  turn someone invisible. While the explanations 
  are always grounded in science, the results can be 
  nearly limitless. With the proper science and reason, 
  virtually nothing is impossible.
  Narrators seeking to introduce strange 
  phenomena and new technologies into campaigns 
  should always try to come up with a rational or 
  scientific explanation for such developments. 
  Note “scientific” in these cases could mean mys-
  terious rays, unknown minerals or chemicals, or 
  other concepts considered fantastical by modern 
  standards. 
  
  Once a scientific justification is chosen, the sky is the limit from a story 
  perspective. Narrators should avoid creating technology and scientific phenom-
  ena that render heroes obsolete or invalidate an important part of the setting. 
  Within those constraints they can justify nearly any result by finding the right 
  fantastical technology or fictional science to hang it on. To many modern fans of 
  speculative fiction, Burroughs’ stories are more science fantasy than science fic-
  tion, so the exact science in the stories need not be even theoretically accurate, 
  as long as it’s entertaining. While this approach can sometimes be a bit reduc-
  tive or dismissive, it is very useful in John Carter of Mars campaigns.
  Pulp Adventure Themes
  In addition to Burroughs’ specific conventions and concepts, pulp storytelling 
  is also a solid source of inspiration for adventures and campaigns. John Carter of 
  Mars is at its heart a pulp-inspired game. By “pulp”, we don’t just mean short sto-
  ries published on cheap paper, but the definition that’s evolved over the years 
  based on the stories published in pulp magazines. These were rip-roaring tales 
  of daring adventure, weird phenomena, and exotic locales. The Barsoom stories, 
  most originally serialized in pulp magazines, are among the most enduring and 
  famous of these tales.
  Nature is Wild, Wonderful, and Dangerous
  Most pulps stories show a healthy respect for wild animals and wilderness set-
  tings. The wonders and dangers of the wild are a source of peril, while remain-
  ing the backdrop for heroic action and romantic interludes. Of course, often 
  a hero’s stolen moment with their lover is interrupted by a hungry beast or 
  natural disaster, but it’s very pleasant until bad things happen!
  Narrators seeking to emulate this treatment of nature should take care to 
  describe wilderness settings and the beasts of Barsoom with foreboding and 
  wonder in equal parts. Even a charging white ape possesses a certain brutal 
  grace, and the wastes and dead seas of Mars are picturesque as well as bleak. 
  Heroes should be given time to rest and appreciate the beauty of dying Barsoom, 
  but narrators should also be ready to use encounters and spend Threat to keep 
  these moments from becoming boring or predictable. For journeys through the 
  wilds of Barsoom, narrators may also use the travel rules presented later.
  Narrators stuck for ideas for wilderness encounters can use the follow table. 
  Rolling on the table usually costs 2 Threat, though a roll could also be a result of 
  a complication. 
  Most of the results on this table are general enough to work on any sort of 
  Barsoomian terrain. For example, worsening weather could be sandstorm, bliz-
  zard, or other meteorological event, depending on the regional climate.
  Narrators can pick from the table instead of rolling. If this feels unfair, the 
  narrator can spend a point of Threat for the advantage of picking a result.
  Hazards of the Wild
  ROLL
  HAZARD
  1-2
  The weather changes for the worse. Difficulties for actions 
  affected by environmental conditions are increased by 1.
  3-5
  Howls in the Distance. Dangerous beasts are heard nearby, 
  though apparently not in the immediate area. While the 
  characters remain where they are, narrators may spend 1 Threat 
  to summon a monster-class beast or two minion-class beasts. 
  They should be appropriate to the area.
  6-9
  Ambush! A predator usually found in the area attacks the next 
  character who wanders away from the group. The predator is a 
  monster-class beast. The beast and its would-be victim must battle 
  for at least two turns before other characters can join the fight.
  10-12
  A Fresh Kill. A strangled cry and then a fierce roar are heard 
  nearby. If the heroes investigate they see a predator finishing 
  off a hunting kill. This is usually another beast such as a thoat 
  but it could be a person. There is nothing the heroes can do for 
  the victim, but they could attack the beast if they want. If they 
  want leave without being spotted they must make a Cunning + 
  Daring test with a difficulty of 1.
  13-15 
  The Way is Treacherous. The first character to leave the 
  immediate area must make a Daring + Reason test with a 
  difficulty of 2 to spot and avoid a crumbling ledge, icy slope, 
  or otherwise unsteady ground. Failure means the character 
  falls from a height, slides onto jagged rocks, or somehow 
  injures themselves, taking 3 § damage with the Sharp quaility. 
  A character may spend 3 Momentum to catch any unlucky 
  character before they fall.
  16-18
  A Hint of Things to Come. The heroes get a rare moment 
  to appreciate the beauty of nature and recover from their 
  adventures. However, this is undoubtedly the calm before the 
  storm, and things will soon become difficult once more. The 
  heroes may remove any afflictions they suffer at a cost of 2 Threat 
  per affliction. 
  19-20 
  Give that Back! A beast runs off with a character’s weapon or 
  gear while they are sleeping, bathing, or otherwise occupied. 
  The heroes will need to catch the beast or say goodbye to their 
  property!
  Knives in the Dark
  Lies and double-crosses are common in many pulp stories. The heroes and 
  their allies rarely use such an underhand tactic, but they commonly encoun-
  ter masterminds, criminals, and opportunists who easily lie, cheat, and 
  betray as easily as others breathe. Often these individuals are the heroes’ 
  Narrator's Booklet
  4
  
  most capable and dangerous foes, in no small part 
  because their attacks fall where their targets are 
  most vulnerable.
  While most Martians are direct, honest folk, 
  there are countless secrets and hidden dangers 
  in the shadows of Barsoom. Heroes must guard 
  themselves against hungry beasts, sword-wielding 
  foes, agents of foreign nations and jealous rivals. 
  They must also be wary of enemies who strike 
  from ambush, steal away their loved ones in the 
  dark, and otherwise use subterfuge to make their 
  foes suffer. Truly shocking betrayals can even be 
  treated as attacks on the heroes, doing Confusion-
  based damage that distracts and impairs the 
  targets. The base damage is based on how shock-
  ing the betrayal might be —2 § is common, but it 
  could be worse if the characters are particularly 
  affected.
  Example: Zala Zors is betrayed by her cousin, Zell 
  Zoran, and left to languish in the slave pits of a foreign 
  enemy. When Zell’s treachery is revealed, the narrator 
  has him attack Zala, using his Cunning + Reason that 
  does 3 § of damagewith the Psychic quality due to their 
  familial relationship and the severity of the betrayal. Zala 
  defends with her Empathy + Reason. Zell succeeds and 
  manages to inflict 5 Confusion stress, which also causes 
  an automatic affliction. Zala is well and truly shaken by 
  Zell’s foul deed.
  Often plots are targeted at the heroes and their 
  allies, but at times characters simply stumble into 
  schemes involving third parties. In fact, helping a 
  stranger who is the target of a kidnapping, assas-
  sination attempt, or some other plot is a tried and 
  true way to be introduced to new and important 
  characters. Many a pulp romance has begun with a 
  protagonist saving the life of a future lover.
  Science and Technology 
  are Glorious yet Terrible
  Pulp stories both love scientific advancement and 
  technological wonders and fear their misuse. It’s 
  a rare technological marvel in these tales that 
  doesn’t have some undercurrent of awesome 
  threat or unsettling way of working to balance out 
  its benefits. The threat of death rays and warships 
  are obvious, but even less aggressive technology 
  is not immune to a sense of foreboding or danger. 
  Sometimes these developments are only disturb-
  ing in hindsight, such as numerous pulp tales that 
  use radiation freely, unconcerned and ignorant of 
  the potential harms and long-term effects of pro-
  longed exposure that occupy the minds of modern 
  readers. At other times the technology or science 
  is perfectly fine, as long as it doesn’t fall into the 
  wrong hands.
  Barsoomian technology is very much in the 
  pulp style. It is often ancient and barely understood 
  by most Martians, making its misuse even more 
  likely and disturbing. Since there are few scien-
  tists to develop a cure or counter to science and 
  technology gone awry, the danger of such abuses 
  are magnified. Fortunately, most pulp technology 
  is fragile or possesses a flaw that can be exploited. 
  Even nearly wholly beneficial wonders such as the 
  atmosphere plant require great sacrifices to main-
  tain, as shown by the isolated existence of its keeper 
  and his attendant. 
  Narrators designing new technology for 
  John Carter of Mars campaigns should keep these 
  themes in mind. A beneficial healing ray might 
  be turned into a malign flesh-melting weapon if 
  filtered through a different lens. A protective field 
  meant to cloak a city from discovery might require 
  the mental energies of dozens of captives. Even a 
  device meant to bring water back to the dead seas 
  could be used to flood half the world if mishan-
  dled. Even the inventions of player scientists and 
  inventors should require costly components, 
  exceptional effort, or run a risk of calamity if they 
  are broken or misused. 
  Narrators looking for a bit of a push when 
  coming up with strange technology can consult the 
  following table. Simply roll once for each part to 
  create a new device or technology. If desired terms 
  can be altered to create variations or just sound 
  better; chemical might become catalytic, cutter 
  becomes scalpel, etc.
  Strange Technology
  ROLL
  PART A
  PART B
  1
  Radium
  Ray
  2
  Atomic
  Motor
  3
  Electron
  Battery
  4
  Psychic
  Torch
  5
  Hypersonic
  Cutter
  6
  Laser
  Harness
  7
  Automatic
  Timer
  8
  Radio
  Shield
  9
  Pressure
  Binder
  10
  Chemical
  Bullet
  11
  Thermal
  Scope
  12
  Cryogenic
  Cloak
  13
  Subsonic
  Lens
  14
  Hydraulic
  Transmitter
  15
  Proton
  Netting
  16
  Neural
  Tube
  17
  Multi
  Drill
  18
  Ionic
  Measure
  19
  Magnetic
  Probe
  20
  Roll twice and 
  combine 
  Roll again, 
  adding an 
  additional roll 
  from Part A.
  Example: Jason needs some strange technology 
  for an upcoming adventure. The devices will be found in 
  the lost laboratory of a crazed but brilliant scientist. He’s 
  less concerned with specific function and more interested 
  in providing flavorful examples of lost technology from 
  the early days of Barsoom. He used the Strange Technol-
  ogy table to generate 3 separate devices: a multi-neural 
  shield, a proton lens, and a magnetic probe. Jason figures 
  the latter two devices are scientific instruments of some 
  kind, capable of assisting in research and analysis. The 
  other device, the multi-neural shield, seems like a good 
  candidate for a defensive device that shields the wearer’s 
  mind from telepathy and psychic assault. In the right 
  circumstances it might prove very useful…
  Welcome Back to the red PlaNet
  5
  
  ADVENTURE GENERATORS
  This set of tables will help generate adventures on 
  the fly for narrators who are stuck for inspiration. 
  Simply roll a d20 for any or all parts of the adven-
  ture and consult the following tables.
  Adventure Title
  Sometimes all you need is a title to get inspiration going 
  in traditional Barsoomian fashion. At other times titles 
  help finish an adventure where creativity has stalled. 
  Elements of the title selected can suggest certain things 
  that will feature prominently in the adventure. 
  Note that this table generates a Burroughs-like 
  title, with the location of the adventure always ending 
  the title. Narrators wishing to mix things up can replace 
  the (Location) entry in the table with other options. 
  In some cases locations may need to be specified or 
  invented to help the title sound better or make sense. 
  For example, a result that gives a type of building or 
  structure as a location might flow badly when part of 
  a titles such as (Archetype) of (Location). But with a 
  bit of adjustment the clunky or uninspiring “Assassin 
  of the Fortress” or “Envoy of the Catacombs” becomes 
  “Assassin of the Frozen Fortress” or “Envoy of the Black 
  Catacombs”. In true Burroughs style, never be afraid to 
  use adjectives to make something more intriguing.
  Titles are presented mostly in singular form but 
  narrators should feel free to change to plural as desired.
  Title Structure
  ROLL
  STRUCTURE
  1-3
  (Character) of (Location)
  4-6
  (Archetype) of (Location)
  7-9
  (Character), (Archetype) of (Location)
  10-12
  (Location) of (Location), rerolling duplicate (Location) results.
  13-15
  (Object) of (Location)
  16-18
  (Beast) of (Location)
  19-20
  (Character), (Archetype) of (Location)
  Character Type
  ROLL 
  TYPE
  1-4
  Named Character (John Carter, Thuvia, etc.)
  5-8
  Character Archetype (Assassin, Pirate, etc.)
  9-12
  Title or Position (Warlord, Princess, etc.)
  13-15
  Character possessing special talents and abilities (Swordmaster, Prophet, etc.)
  16-18
  Character tied to a notable event or pastime (Chessmaster, Survivor, etc.)
  19-20
  Character with a notable affiliation (Thark, Heliumite, etc.)
  Narrator's Booklet
  6
  
  Archetype 
  Archetypes selected from this table can be renamed 
  for style or to avoid repetition. An “envoy” result 
  may also suggest messenger, herald, ambassador, or 
  similar political functionaries.
  ROLL 
  ARCHETYPE
  1
  Assassin 
  2
  Beastmaster (perhaps of a specific 
  kind, such as Thoat Master or Banth 
  Mistress)
  3
  Duellist
  4
  Envoy
  5
  Explorer
  6
  Fugitive
  7
  Gladiator
  8
  Guide
  9
  Healer
  10
  Panthan (or the Jasoomian 
  equivalent, Mercenary)
  11
  Pirate
  12
  Raider
  13
  Rogue
  14
  Spy
  15
  Scientist
  16
  Soldier
  17-20
  Race or species of people (green 
  Martians, red Martians, etc., often 
  includes a gender-based or other 
  identifier such as green Man/Men or 
  red Woman/Women).
  Location
  Some locations have alternate names, such as the 
  various planets of the solar system. Any can be used, 
  though Burroughs defaulted to Earth terms for Mars, 
  Venus, and other planets and moons. Note that the 
  (Location) of (Location) title structure is a special 
  case for using this table. It should always pair a 1-10 
  result with a 11-20 result to generate titles such as 
  “Wastelands of Mars” or “Towers of Titan”. 
  Note that 40 percent of the time the Location for 
  the title will be Mars or Barsoom. This is in keeping 
  with the titles of the Barsoom novels, but narrators 
  seeking variety are encouraged to reroll or select dif-
  ferent results.
  ROLL 
  LOCATION
  1-4
  Barsoomian city (Ptarth, Helium, 
  etc.)
  5-8
  Type of Terrain (Wastelands, 
  Mountains, Dead Seas, etc.)
  9-10
  Type of building or structure 
  (Fortress, Catacombs, etc.)
  11-18
  Mars (or Barsoom)
  19
  Martian Moon (Thuria or Cluros, 
  may also use Earth equivalents of 
  Phobos and Deimos)
  20 
  Other Planet or Moon (Venus, Earth, 
  Titan, Jupiter, etc.)
   Object
  ROLL
  OBJECT
  1-6
  Weapon (Swords, spears, pistols)
  7-11
  Vehicle (Usually an airship or some 
  variation such as flier or sky barge)
  12-13
  Mundane Object (Book, torch, etc.)
  13-14
  Jewelry or Clothing (Crown, cloak, 
  etc.)
  15
  Food or Drink (Apples, wine, etc.)
  16-20
  Invention (mad science creations 
  with an intimidating title such as 
  a Death Ray, Mind Dominator or 
  Radium Shield)
  adveNture GeNerators
  7
  
  Beast
  ROLL
  BEAST
  1-2
  Apt
  3
  Arbok
  4-5
  Banth
  6-7
  Calot
  8
  Darseen
  9
  Malagor
  10
  Orluk
  11
  Plant Men
  12
  Silian
  13
  Sith
  14
  Sorak
  15
  Synthetic Men (or Hormad)
  16
  Thoat
  17
  White Ape
  18
  Earth Animal (Tiger, worm, etc., 
  although this is likely to refer to 
  a Barsoomian equivalent or be a 
  metaphor of some kind)
  19
  Mythological Monster (Dragon, 
  Siren, etc.)
  20
  New or Unique Monster that will 
  feature in this adventure (or roll 
  again for a different result)
  Adventure Generator
  The following tables allow narrators to generate adventures for John Carter of Mars. They can be used for the 
  whole thing with every aspect generated randomly, or only for the parts where inspiration is needed.
  Burroughs’ adventures tended to follow certain patterns. These are discussed elsewhere, and these patterns 
  were used to create these tables. This does mean certain repetitive elements may creep in after multiple adven-
  tures are generated in this fashion. This is not a bug but a feature, as it tends to emulate the “Burroughs formula” 
  for stories and adventures. Narrators may wish to reroll or choose different results to keep their players guessing.
  Where We Begin
  Adventures can begin anywhere. However, in John Carter of Mars they always begin with the heroes, and engage 
  with events from their perspective. Where heroes are when an adventure begins varies wildly. Sometimes the 
  heroes are relaxing or enjoying themselves when danger strikes and action beckons. Other times an adventure 
  picks up the story in the middle of the action, with the heroes already engaged in battle against some terrible foe.
  Where We Begin
  ROLL
  WE OPEN ON THE HEROES…
  1
  Relaxing at home
  2
  At a major celebration (wedding, festival, etc.)
  3
  At a major political event (state funeral, treaty negotiation, royal wedding etc.) 
  4
  In the court of a local ruler
  5
  In a neighboring nation visiting an ally or running an errand for a friend
  6
  In a distant land on an important mission
  7 
  In the wilderness, traveling
  8
  In the wilderness, lost after some calamity (airship crash, raider attack, blown off course by a 
  storm, etc.)
  9
  Training and socializing with allies
  10
  Fighting for their life against savage beasts
  11
  Fighting for their life against raiders or enemy soldiers
  12
  Prisoners of an enemy
  13
  Prisoners of an ally (possibly framed for some horrible crime)
  14
  Enjoying a quiet moment with a loved one
  15 
  On the hunt for a dangerous beast
  16
  Hunting a fugitive, enemy spy, raider, or other enemy
  17
  Transporting vital supplies to a city in need
  18
  Awakening in a strange place, uncertain of how they got there
  19 
  In deadly peril (hanging from a cliff, trapped in a burning building, etc.)
  20 
  Roll twice and combine
  Narrator's Booklet
  8
  
  Call to Adventure
  How heroes get into the adventure often sets the 
  tone for their initial emotional and psychological 
  investment in the action. A task given to them by a 
  beloved ally has a different feel than one pushed on 
  their through extortion or threat. Unusual combina-
  tions with “Where We Begin” and this element can 
  create some truly odd-but-memorable beginnings, 
  although narrators should feel free to reroll or select 
  results when combinations spark no inspiration.
  Whatever call to arms the heroes receive, it 
  introduces them to the adventure ahead. A wounded 
  enemy or a corpse might carry a message pointing to 
  a dire threat to their nation. A message from a friend 
  might lead the heroes to investigate a strange ruin. 
  Even a seemingly random occurrence points a way 
  into the adventure’s plot in some way.
  Narrator Character
  ROLL
  CHARACTER
  1-2
  A guard or soldier
  3-4
  A war leader or chieftain
  5-7
  A young noble
  8
  An older noble or advisor to nobility
  9-10
  A fugitive slave (roll 1d20 again to 
  determine what they were before 
  becoming a slave)
  11
  An assassin
  12
  An airship pirate
  13-14
  An airship officer
  15
  A duelist or sword-for-hire
  16
  A scientist or scholar
  17
  A hunter or scout
  18
  A priest, prophet, or theologian
  19
  Two characters! Roll twice.
  20
  Three characters! Roll three times.
  Narrator Character Race
  Roll to determine the race of the character. Strange 
  results, such as green Martian airship officer, can be 
  ignored or used to make a truly unusual encounter. 
  Narrators who wish to make Earthborn even rarer, 
  or who have introduced races from other worlds 
  to their campaign, may instead have such a result 
  represent “outsiders” to Barsoom from places other 
  than Earth, such as the Morgors, known as the Skel-
  eton Men, from Jupiter.
  ROLL
  RACE
  1-8
  Red Martian
  9-12
  Green Martian
  13-14
  Okar
  15-16
  First Born
  17-18
  White Martian (Holy Thern, Orovar, 
  etc.)
  19
  Other Barsoomian race (Kangaroo 
  Man, Kaldane, Mixed Heritage, etc.)
  20
  Roll Again and take the second result. 
  If a 20 is rolled again the character is 
  Earthborn!
  Monster
  Monsters should appear in sufficient numbers to 
  provide a challenge appropriate to the scene in 
  which they feature. In cases when a monster would 
  not be found in the scene reroll or select a different 
  result.
  ROLL
  MONSTER
  1-2
  Apt
  3
  Arbok
  4-6
  Banth
  7-8
  Calot
  9
  Malagor
  10
  Orluk
  11-12
  Plant Men
  13
  Silian
  14
  Sith
  15
  Synthetic Men (or Hormad)
  16
  Herd of stampeding Thoats
  18-18
  White Ape
  19–20
  New or Unique monster (of the 
  narrator’s design)
  ROLL
  WHEN SUDDENLY…
  1-2
  A message arrives from an ally, urgently requesting assistance
  3
  The heroes come across a wounded (Narrator Character) from an allied nation
  4 
  The heroes come across a wounded (Narrator Character) from an enemy nation
  5 
  The heroes spot a hidden or previously unknown ruin, building, tunnel, or other structure
  6
  (Narrator Character) appears chased by a terrible (Monster)
  7-12
  (Narrator Character) is being kidnapped by raiders or enemy soldiers
  13-15
  (Narrator Character) has escaped enslavement or kidnapping by an enemy and seeks aid
  16 
  (Monster) appears and attacks the heroes without warning
  17
  The heroes happen across the corpse of (Narrator Character) 
  18
  The heroes happen across a (Narrator Character) traveling and searching for a (Narrator 
  Character), hoping to recruit them for a great task or cause
  19
  An important message arrives from a rival or enemy, requesting a truce and discussions on an 
  important problem
  20
  All hell breaks loose! Roll twice and combine results.
  adveNture GeNerators
  9
  
  The Plot is Revealed!
  Once the heroes experience their call to adventure, through a dramatic encounter with an enemy, beast, or 
  friendly character in dire need of assistance, there is still the question of “What’s going on?” What is in the 
  important message from their jeddak? Why are raiders trying to kidnap that scholar? There are countless 
  possible answers and a narrator can, and should, answer them however they like. The following table gives a 
  few possible answers to spur inspiration or quickly determine what is really happening. 
  Roll once on the following two tables and combine the results.
  The Plot is Revealed!
  ROLL
  THERE IS A PLOT TO… (PLOT)
  1-2
  Assassinate an important character
  3-6
  Kidnap an important character
  7-8
  Discredit an important character
  9
  Sabotage an important structure
  10
  Steal a valuable object
  11
  Capture a great beast
  12
  Kill a great beast
  13-14
  Overthrow or destabilize a nation
  15 
  Build a great military force
  16
  Destroy a belief or custom
  17
  Uncover an ancient secret
  18
  Seize an important place
  19
  Wipe out a group
  20 
  Achieve multiple goals at once (roll twice and combine the results)
  ROLL
  FOR… (PURPOSE)
  1-3
  Political gain (breaking or forming an alliance, gaining a title or position)
  4-6
  Personal honor (upholding a vow, avenging a slight, etc.)
  7-9
  Personal vice (greed, lust, revenge, etc.)
  10-12
  Loyalty to a cause
  13
  Use in developing a terrible weapon
  14-15
  Glory
  16
  True love
  17-18
  The power to rule and conquer
  19 
  No sensible reason, the antagonist is mad!
  20 
  Complex motivations (roll twice and combine the results)
  The Antagonist
  Classic Burroughs tales have at least one antagonist, 
  with most having two or three. These characters are 
  often allied with each other, but this is not always the 
  case and they can work at cross-purposes. Regardless 
  of their relationships, antagonists are involved with 
  the events that bring the heroes into the adventure. 
  Antagonists are villain-class characters, though 
  they may be monsters. They should be somewhat 
  weaker if the adventure has multiple antagonists. 
  As villains, they have numerous minions who serve 
  them or have been manipulated into opposing 
  the heroes’ efforts. The more capable and powerful 
  antagonists may also have one or more monster-
  class henchmen in their service.
  How Many Antagonists
  ROLL
  NUMBER OF ANTAGONISTS
  1-4
  One singular and capable antagonist
  5-9
  One main antagonist and a weaker 
  subordinate
  10-12
  Two equally capable antagonists in 
  an uneasy alliance
  13
  Two equal antagonists with a strong 
  alliance
  14-15
  Two unrelated but equal antagonists 
  with similar goals
  16-17
  Two rival antagonists with different 
  motivations (keep the same plot for 
  both but roll or select a different 
  purpose for the second villain)
  18–19
  Three rival antagonists with different 
  motivations (keep the same plot 
  for all, but roll or select a different 
  purpose for the second and third 
  villain; if any villains roll the same 
  motivation, they are allies or one is a 
  henchman to the other)
  20
  Two unrelated antagonists currently 
  involved in the same series of events 
  (roll a new plot and purpose for the 
  second villain); they may not know 
  of each other’s’ existence.
  Narrator's Booklet
  10
  
  Who is the Antagonist?
  In Barsoom novels, antagonists tend to either be 
  nefarious foes intent on committing evil and cor-
  rupt acts, or honorable but misguided individuals 
  who may one day become allies or friends of the 
  heroes. Roll once on each of the following tables to 
  determine the nature and type of antagonist.
  Antagonists can be given additional develop-
  ment using the Narrator Character Creation Tables 
  later in this section.
  ROLL
  ANTAGONIST’S NATURE
  1-7 
  Vile, evil, corrupt, and truly despicable, neither seeking nor capable of redemption
  8-12
  Cruel and ruthless but possessing some honor or good qualities who will not turn from a 
  path but will respond to reason 
  13-16
  Misguided antagonist who can be converted to the heroes’ cause with the proper approach
  17-18
  Maligned antagonist thought to be a brute, killer, or criminal who actually has good 
  intentions
  19
  Remorseful antagonist coerced or driven into behaving in a fashion they know to be wrong, 
  but who still feels compelled to act
  20
  Deceptive antagonist who seems to be one thing and is in fact something else; roll twice and 
  combine the results, and if you get the same result twice, reroll or choose
  How Do They Do It?
  Now that the plot and antagonist are known, it’s time to work out a plan for the antagonist . This is often 
  shapes conflicts during the adventure as the heroes struggle to prevent it being accomplished. In the case 
  of (Monster) results on the following table, use the Monster Table in the Call to Adventure section.
  ROLL 
  METHOD OF PLOT EXECUTION
  1-3
  Overwhelming physical force (attacking with large numbers of troops, flying in with guns 
  blazing, etc.)
  4-6
  Covert action (small unit raids, sabotage, and guerilla tactics)
  7-9
  Hiring mercenaries, assassins, and other dangerous experts to get the job done
  10-11
  Using trained (Monster) to accomplish the objectives 
  12-14
  Bribing, deceiving, or seducing others to help
  15
  Using strange or lost technology
  16-17
  Extortion or coercion to secure vital assistance
  18-19 
  Complex execution: roll twice and combine results
  20
  Mastermind execution: roll three times and combine results
  ROLL
  ANTAGONIST TYPE
  1-3
  Jed or jeddak
  4-6
  Military leader (jedwar, dwar, etc.)
  7
  Political advisor
  8-9
  Influential noble
  10
  Escaped fugitive or slave (roll again 
  on this table to determine what they 
  were before running away)
  11
  Assassin
  12
  Raider or pirate leader
  13-14
  Spy
  15
  Famous duelist 
  16
  Mad scientist
  17
  Hunter or scout
  18
  Priest, prophet, or theologian
  19
  Leader of a secret cult or conspiracy
  20
  Complex antagonist: roll twice on 
  this table and combine the results
  
  What Goes Wrong?
  While narrators can use Threat to create complications during play, and players may spend Momentum 
  on editing scenes in small but useful ways, it can be very dramatic and useful to have one or two planned 
  disruptions and random events in a plot. These problems can affect heroes and antagonists alike.
  ROLL
  DISRUPTIONS AND EVENTS
  1
  Patrol of guards or soldiers arrive at the wrong time
  2
  One or more characters are falsely accused of crimes or corrupt acts by locals
  3
  Terrible weather strikes the area making air travel all but impossible and land travel 
  treacherous
  4
  War is brewing, and this increases the number of both soldiers and refugees in the area
  5
  An unrelated event such as a celebration or conclave draws major crowds to the area
  6
  There is a shortage of supplies in the area making finding a resource difficult
  7
  Political or religious unrest is on the rise; characters may be accosted by individuals and 
  groups who think they follow “the wrong side”
  8
  An important dignitary or famous individual is visiting the area with their complete retinue; 
  security is tight and emotions are running high
  9
  A strange illness or epidemic is in the area affecting animals, people, or both; it is minor but 
  it defies usual treatments
  10
  A recent murder or similar crime has tensions running high; locals are suspicious of 
  strangers
  11
  An airship crashes nearby; the crew are dead but the crash may bring scavengers, human and 
  otherwise
  12
  A storm uncovers a previous buried ruin nearby; scientists and treasure seekers are arriving 
  in large numbers
  13
  A bitter battle for leadership erupts between the ruling noble, their family, and various rivals; 
  brutal politicking, smear campaigns, and assassinations are commonplace
  14
  An enemy military force raids the area seeking supplies and captives; they don’t want to 
  occupy the region but refuse to leave empty handed
  15
  Two famed masters of their craft (duelists, jetan players, etc.) are engaged in a contest; 
  onlookers, gamblers, and enthusiasts are gathered in anticipation
  16
  The object of the plot is not where it was believed to be, having been relocated to a more 
  secure, or more public, location changing the nature of the adventurer’s challenge
  17
  One of the characters, hero or antagonist, is mistaken for another important inidividual
  18
  A great opportunity arises for one of the heroes, one which could greatly advance their 
  station or benefit thembut they must act quickly to capitalize on the moment
  19
  An old foe of the heroes picks this moment to seek revenge for past harms
  20
  Things are really complicated: roll twice and combine results
  Narrator's Booklet
  12
  
  NARRATOR CHARACTERS
  In an ideal world, all narrators would have time and energy to craft every narra-
  tor character individually. In truth, this is all but impossible. Players may take an 
  unforeseen path during an adventure that requires creating a new character on 
  the fly, or real world concerns may limit preparation time for an adventure. The 
  following tables are provided to help generate quick, but interesting, narrator 
  characters. Results can be rolled, chosen, or some combination of both.
  Narrator  
  Character Concept
  Narrator characters don’t necessarily adhere to the same archetypes and descrip-
  tors as player heroes. They often have a narrower concept that fits a particular 
  scene, adventure, or campaign arc. The following tables generate a basic concept 
  for a character that can be customized with additional information to meet the 
  needs of a particular game session. 
  Role once on each to generate a character’s descriptor and archetype, com-
  bining both to create a general concept. Narrator descriptors and archetypes don’t 
  give explicit attribute bonuses, but instead suggest which character traits are 
  stronger or weaker. The exact attribute levels will vary with the importance of the 
  character: a random “brutish” minion might only have Might of 5 despite it being 
  an important attribute. A villain with the same descriptor might have a Might of 
  8 or more. Average characters have attributes of between 3 and 5 and a grade 1 or 2 
  talent at most; more important or capable characters have higher attributes and 
  more talents.
  The descriptors below are suggestions and can be renamed or expanded 
  when desired. For example, “Logical” could easily become “Inquisitive” or “Inci-
  sive” while “Arrogant” could be renamed “Haughty” or “Contemptuous”.
  ROLL 
  DESCRIPTOR
  ATTRIBUTES
  1
  Arrogant
  High Cunning and Daring, low Empathy
  2
  Ambitious
  High Daring and Reason, low Empathy
  3
  Brutish
  High Might and Passion, low Reason
  4 
  Caring
  High Passion and Empathy, low Might
  5
  Crass
  High Might and Daring, low Empathy
  6
  Cruel
  High Cunning and Reason, low Empathy
  7
  Eccentric
  High Reason and Empathy, low Cunning
  8
  Friendly
  High Daring and Empathy, low Might
  9 
  Greedy
  High Cunning and Passion, low Empathy
  10
  Hedonistic
  High Empathy and Passion, low Daring
  11
  Logical
  High Reason and Cunning, low Passion
  12
  Naïve
  High Empathy and Passion, low Cunning
  13
  Obsessive
  High Passion and Daring, low Cunning
  14
  Overzealous
  High Passion and Daring, low Empathy
  15
  Reserved
  High Reason and Cunning, low Daring
  16
  Seductive
  High Cunning and Empathy, low Might
  17
  Stoic
  High Might and Reason, low Passion
  18
  Valiant
  High Passion and Might, low Cunning
  19
  World-Weary
  High Cunning and Empathy, low Passion
  20
  Roll twice and apply both or create a new descriptor with two 
  high attributes and weak in one.
  Narrator characters
  13
  
  Narrator Character 
  Concept (Contd.)
  ROLL
  ARCHETYPE
  1
  Guardsman or Soldier
  2
  Scholar
  3
  Noble
  4
  Rebel or Iconoclast
  5
  Officer
  6
  Advisor
  7
  Airship Crew (Gunner, Engineer, 
  Pilot, etc.)
  8
  Panthan or Mercenary
  9
  Raider or Pirate
  10
  Merchant
  11
  Craftsman or Technician
  12
  Bodyguard
  13
  Expert (Jetan player, Musician, 
  Storyteller, etc…)
  14
  Criminal (Smuggler, Assassin, Gang 
  Boss, etc…)
  15
  Duelist or Gladiator
  16
  Beast Trainer (Thoat Wrangler, Calot 
  Breeder, etc…)
  17
  Healer (Doctor, Nurse, Herbalist, 
  etc…)
  18
  Scientist
  19
  Exile
  20
  Hybrid Archetype, roll twice and 
  combine.
   Narrator 
  Character Race
  Roll to determine the race of a narrator character. 
  Apparently strange results, such as Thern Duelist, 
  could be used to make a truly memorable encounter 
  or to introduce a recurring character. As with plot 
  characters, around 1 in 400 times the character will 
  be Earthborn, although this can be interpreted as 
  “non-Barsoomian” if the narrator wishes.
  ROLL
  RACE
  1-8
  Red Martian
  9-12
  Green Martian
  13-14
  Okar
  15-16
  First Born
  17-18
  White Martian (Holy Thern, Orovar, 
  etc…)
  19
  Other Barsoomnian race (Kangaroo 
  Man, Kaldane, Mixed Heritage etc…)
  20
  Roll again and take second result. 
  If 20 is rolled again the character is 
  Earthborn!
  Peculiarity
  Peculiarities are atypical, unusual, and noteworthy 
  things about a character, and most narrator char-
  acters have 1-3. More than three peculiarities for a 
  character, especially with random generation, may 
  produce a “laundry list” of unconnected and forget-
  table quirks. 
  Roll on the following two tables to generate 
  up to three peculiarities for a character. Remember: 
  stop as soon something “interesting enough” is 
  generated, and don’t be afraid to ignore contradic-
  tory results.
  Pecularity Tables
  ROLL
  EFFECT
  1-5
  Consult Peculiarity Table A
  6-10
  Consult Peculiarity Table B
  11-15
  Consult Peculiarity Table C
  16-20
  Consult Peculiarity Table D
  Peculiarity Table A
  ROLL 
  PECULIARITY
  1
  Always wears the same color
  2
  Hums to themselves while working
  3
  Plays with a weapon idly while 
  thinking
  4
  Daydreams frequently
  5
  Shaves their head
  6
  Dislikes closed spaces
  7
  Dreamed of their own death
  8
  Collects teeth and bones
  9
  Expert in field unrelated to normal 
  background or training
  10
  Fascinated with a particular legend 
  or distant locale
  11
  Minor deformity (missing fingers, 
  slightly malformed tusk, etc.)
  12
  Lovely voice
  13
  Low grating voice
  14
  Covered in many scars
  15
  Always sleeps with a weapon
  16
  Rarely speaks
  17
  Missing an eye
  18
  Lopsided grin
  19
  Unusual hairstyle (mohawk, 
  elaborate braids, etc.)
  20
  Dislikes flying (or riding)
  Narrator's Booklet
  14
  
  Peculiarity Table B
  ROLL 
  PECULIARITY
  1
  Afraid of the water
  2
  Holds heretical beliefs
  3
  Wears lots of jewelry 
  4
  Unusually tall and thin
  5
  Unusually short and stocky
  6
  Missing a hand
  7
  Uses an unusual weapon for their 
  culture or race
  8
  Prejudiced against particular race or 
  culture
  9
  Affinity for a certain type of beast
  10
  Wears a fancy cloak
  11
  Shameless flirt
  12
  Copes with danger through humor
  13
  Crippled leg
  14
  Unusual eye color
  15
  Always seems tired
  16
  Somewhat paranoid
  17
  Exaggerates their position or 
  importance
  18
  Several tattoos
  19
  Easily falls in love
  20
  Ill-Tempered
  Peculiarity Table C
  ROLL 
  PECULIARITY
  1
  Has a lucky charm they refuse to part 
  with
  2
  Avid jetan player
  3
  Vocal critic of their jeddak
  4
  Staunch supporter of their jeddak
  5
  Prefers company of other cultures or 
  races to their own
  6
  Believes the end of the world is nigh
  7
  Shy, especially around strangers
  8
  Believes in ghosts, spirits, and the 
  supernatural
  9
  Compulsively checks their weapons 
  and equipment
  10
  Unusual hair color
  11
  Doesn’t believe in aliens (Earthborn 
  are just delusional white Martians!)
  12
  Resentful of those of higher station
  13
  Believes they aren’t getting proper 
  recognition for their skills and deeds
  14
  Plays with hair when distracted, 
  nervous, or bored
  15
  Takes all but the gentlest criticism as 
  insults
  16
  Unusual laugh
  17
  Uses customized equipment, 
  weapons, or vehicle
  18
  Extremely curious
  19
  Shaken by a recent near-death 
  experience
  20
  Single-minded and stubborn
  Peculiarity Table D
  ROLL 
  PECULIARITY
  1
  Unusual speech pattern
  2
  Is a member of a cult or conspiracy
  3
  Dotes on their pet sorak
  4
  Lacks confidence
  5
  Overconfident
  6
  Regularly rubbing and stretching out 
  old pains and aches
  7
  Wants to run away
  8
  In love with someone and can’t tell 
  them
  9
  Uses poetic or archaic exclamations 
  (“By all the Beasts of Barsoom!”, “By 
  the mighty spires of Helium!”)
  10
  Keeps a private journal
  11
  Tries to be helpful but often isn’t
  12
  Loves learning new things
  13
  Takes offense easily
  14
  Rejects a particular tradition or 
  common feeling of their people
  15
  Wants to belong to a group
  16
  Very set in their ways
  17
  Fan of a particular champion, hero, 
  or gladiator
  18
  Explains things though stories and 
  allegories
  19
  Has lots of nervous energy
  20
  Searching for a long lost relative
  Narrator characters
  15
  
  Adventure  
  Generation Example
  Sam needs to create an adventure for his upcoming 
  John Carter of Mars game finds himself a bit stuck 
  for an idea. Hoping for a bit of inspiration, he turns 
  to the adventure generation tables, grabs a couple 
  d20s, and starts rolling.
  First, Sam starts with a title. He rolls a 1 for a title 
  that follows the (Character) of (Location) format, such as 
  Llana of Gathol or A Warlord of Mars. Rolling again 
  for character and location he gets 18 and 11 respectively. 
  This results in a “character known for their affiliation” 
  and Mars as the location. Sam has been wanting to do 
  something with the green Martians in his game, so he 
  decides The Tharks of Mars is a good title.
  Next he determines where the adventure begins. 
  He consults the Call to Adventure table and gets an 11, 
  which states the heroes are brought into the adventure 
  when they happen upon a kidnapping. Sam decided the 
  kidnappers are the Tharks given the adventure’s title, and 
  he rolls for the identity of the kidnapped victim. Consult-
  ing the character table in the adventure generator, he 
  rolls an 8 both for race and character. The victim is an 
  older noble or advisor, and they are a red Martian. Sam 
  has some ideas, but he decides to see what comes up next 
  before deciding.
  Now he rolls for the plot, consulting the The Plot is 
  Revealed tables. Rolling a 6 and 2 he discovers the plot 
  is to kidnap an important character for political gain. It 
  seems obvious the kidnapping of his red Martian noble is 
  key to the Tharks’ plot, but Sam still isn’t sure why. Maybe 
  the next rolls will shed some light on the cause.
  Moving on to the Antagonist tables, Sam rolls to see 
  how many antagonists are involved. He gets 10, showing 
  there are two antagonists in an uneasy alliance. He rolls 
  for the first antagonist and rolls a 9 for their archetype 
  and 20 for their motivation, which instructs him to roll 
  twice more. He gets 18 and 1 on these additional rolls. This 
  results in an influential noble who is deceptive, seeming 
  to be a reluctant actor in events but who is, in fact, cor-
  rupt and vile. For the second antagonist Sam gets a 4 and 
  13, for a military leader who is misguided in their motiva-
  tions. He also checks to see how the antagonists intend 
  to execute this plot and rolls a 13 on the Plot Execution 
  table. This suggests the antagonists will use bribery, 
  deception, or seduction to meet their goals.
  Sam considers what he has so far and decides the 
  first noble antagonist is in fact the kidnap victim AND 
  the true antagonist, a member of a powerful but declin-
  ing noble family in Helium. The noble has convinced the 
  second antagonist, a Thark warrior who leads his own 
  camp, to help stage a fake kidnapping. The noble seeks to 
  valiantly “escape” from his captors later and return with 
  an small army to destroy the Tharks band, thus insuring 
  their silence in his plot. He can then use his new status 
  as a heroic warrior and champion against “the Thark 
  menace” to gain political power. For his part, the Thark 
  warrior believes the ransom and glory he will gain from 
  the kidnapping will elevate his status in the horde, though 
  he will quickly change his mind if the heroes can convince 
  him he’s being used. He decides that because of the title, 
  the adventure will feature some looks into green Martian 
  culture, beliefs, and customs.
  Sam sets the adventure generator aside and begins 
  to take notes and work up statistics for the Thark war 
  leader and the corrupt nobleman. There is still work to be 
  done and scenes to plan, but now he has a solid idea of 
  where his next adventure is going!
  Narrator's Booklet
  16
  
  ADVENTURE HOOKS
  Often the best way to bring a character into an adven-
  ture is to find something important about the person 
  and make it part of a plot, adventure, or event. This 
  section includes adventure hooks to involve charac-
  ters based on two important parts of the character: 
  their race and culture, and their archetype.
  Race and  
  Cultural Hooks
  Members of a given Barsoomian race or culture can 
  be brought into an adventure when events threaten 
  or involve their people. The following adventure 
  hooks can be used directly or as inspiration for 
  similarly-themed ideas.
  Red Martian Hooks
   
  • Two red Kingdoms are at the point of a lasting 
  alliance or an all-out war, depending on the 
  result of marriage negotiations between them. 
  Can the heroes protect the potential “happy 
  couple” and assembled dignitaries from out-
  side interference, assassination, jealous suitors 
  and all manner of nefarious threats? How will 
  rival families in both nations respond to the 
  alliance? If the marriage negotiations fall apart, 
  is there another way to unite the kingdoms?
   
  • A red Martian city thought lost to the wastes 
  of Barsoom is discovered by explorers. The 
  citizens are long perished or fled, but a fleet of 
  powerful airships was found in the remains of 
  a forgotten airbase. Many nations lay claim to 
  the ships and their weapons. Someone must 
  enter the ruins and take control of the lost fleet 
  before it falls to rivals, enemies, or scavengers. 
  With a fleet capable of conquering a nation at 
  stake, can the heroes keep the fliers out of the 
  hands of enemies, tyrants, and pirates? Who 
  will they trust to pilot the fleet from the ruins? 
  If necessary, will they destroy the fleet to keep it 
  from enemy hands?
  Green Martian Hooks
   
  • A green Martian jeddak was driven mad by 
  something in an ancient ruin in the dead sea 
  bottom. Now the once brave and moderate 
  leader has become cruel, sadistic, and power-
  hungry. The horde has begun to move aggres-
  sively on its allies and neighbors, risking count-
  less lives. What has happened to the green 
  jeddak? Can the heroes find a way to undo this 
  terrible transformation, or replace the mad-
  dened leader with someone less likely to bring 
  ruin and war?
   
  • A shipment of powerful green Martian rifles 
  and incendiaries was used to attack a neigh-
  boring ally of a respected and mighty horde. 
  The weapons are clearly of the horde’s style 
  and manufacture, but the horde leaders swear 
  they know nothing of the weapons or who is 
  using them. How were these weapons made 
  or acquired in secret and by whom? Can the 
  heroes root out who is trafficking the weapons 
  and so restore the reputation of the local horde 
  before relations permanently sour? 
  Okar Hooks
   
  • The ancient technology protecting an Okar 
  city from the wintry arctic climate is failing. 
  The modern Okar people lack the resources 
  and knowledge to repair this technology 
  without help. Their scholars believe a former 
  scientist living in exile has the knowledge they 
  need. Can the heroes locate the scientist and 
  convince him to help? How will they protect 
  him against enemies of the city who seek the 
  scientist’s death, dooming Okar to slow, freez-
  ing death.
   
  • A secret Okar stronghold has been discovered 
  outside the frozen polar wastes. The stronghold 
  is small, but has potent weapons and great 
  warriors. It also has a weaker, but portable 
  version, of the magnetic field generator used 
  in the Guardian of the North. This machine in 
  particular makes them a potential threat or 
  ally to many, as it gives them the power to crash 
  fliers at will. To further complicate matters, the 
  stronghold is not ruled by a jeddak, but by a 
  council of nobles and military leaders with var-
  ious motivations and temperaments. Can the 
  heroes afford to leave a dread weapon with the 
  squabbling factions of the Okar stronghold? 
  Can the weapon be stolen or destroyed? Is 
  there a faction among the Okar worth backing 
  in a bid to seize power, and do rivals or enemy 
  nations have similar ideas?
  First Born Hooks
   • A young First Born woman of exceptional 
  charisma, intelligence, and guile has appeared, 
  claiming to be a lost daughter of Issus. There is 
  no proof to this claim, but she is able to gather a 
  cult of devoted followers who view her as a living 
  goddess. In the Jeddak of Jeddaks era she is , per-
  haps, the goddess reborn after Issus has perished. 
  This new goddess is less twisted and evil as her 
  alleged mother, but she is no less ambitious and 
  seeks to rule the First Born and, through them, 
  direct the fate of all Barsoom. Can the heroes 
  determine the truth behind her claims? How will 
  adveNture hooks
  17
  
  they deal with a cult of dangerous First Born and 
  other zealots devoted to advancing their goddess’ 
  cause by any means necessary?
   
  • A non-First Born scholar claims to have dis-
  covered evidence the black-skinned Martians 
  were not the first people on Barsoom. Based 
  on research in an ancient archive, the scholar 
  has a theory that an undiscovered race dwelled 
  on Barsoom before the First Born. This idea 
  or revelation strikes not only at the heart of 
  First Born belief and culture, but attacks the 
  legend of the Tree of Life. In the unlikely event 
  the theory is correct, how will the heroes help 
  stem the tide of outrage and strife that fol-
  lows? If these claims are false, who is respon-
  sible for them and how can their deception be 
  revealed? And what would happen if someone 
  claiming to be from this mystery “lost race” 
  were to appear? 
  Earthborn Hooks
   
  • The heroes have heard rumors of another Earth-
  born on Barsoom! Little is known about this 
  person, but there are rumors that this Jasoom-
  ian outsider is very ambitious. Their superior 
  might and other physical advantages allowed 
  them to subdue a band of raiders, then a city, 
  rallying many to their cause. Those who resist 
  are killed, tortured, or enslaved. The Earthborn 
  lacks any respect for Barsoom and its people, 
  unlike heroes such as John Carter, and sees 
  Barsoom as filled with “inferiors” who must be 
  conquered or eliminated. How will the heroes 
  stop this interloper from spreading war and 
  pain across Mars? Will this evil outsider pro-
  voke resentment and xenophobia that affects 
  other Earthborn characters and their children?
   
  • An ancient, long-dead Earthborn skeleton is in 
  a cave that holds a portal-like device with no 
  controls or source of visible power. The Earth-
  born’s body is surrounded by Jasoomian relics, 
  implying they traveled to Barsoom directly 
  with their clothing and equipment. This is 
  unlike the process that brought the famed John 
  Carter to Mars. Can the heroes solve the mys-
  tery of the portal? Will this allow them to travel 
  to Jasoom at will, bringing people and objects 
  with them, or will it take them somewhere else 
  entirely? What harm could befall Barsoom and 
  Jasoom if the secret of travel between the two 
  fell into the wrong hands?
  Mixed Heritage Hooks
   
  • Xenophobic sentiment is on the rise in the 
  heroes’ locale, and those with mixed heritage 
  are being targeted. Rabble-rousers insist that 
  anyone of “impure” lineage will betray their 
  relatives and friends to sinister forces con-
  trolled by their non-native parent race. Nobles 
  and military commanders are pressured to 
  remove mixed-heritage officers and personnel 
  from sensitive duties. While many feel these 
  sentiments are bigoted and repulsive, the ideas 
  are gaining traction in some settlements. Can 
  the heroes uncover the source of this wave of 
  intolerance? What do those behind this move-
  ment hope to gain? And what can be done to 
  stop them?
   
  • The marriage between noble members of two 
  races is promising to be the social event of the 
  season, provided everyone survives the experi-
  ence. Some members of the bride’s family hate 
  the idea of their family mixing with another, 
  “lesser” race and culture. The groom’s family has 
  no broad dislike of the bride’s people, but has 
  problems with the bride’s family. They believe 
  the family to be distinctly inferior. Kidnap plots 
  and even assassination are possible, from the 
  ill-conceived and almost comical attempts to 
  deadly serious plots. Can the heroes help the 
  lovers unite their families and cultures with 
  minimal violence and chaos? Do the bride and 
  groom truly wish to wed, or are there other 
  forces at work? Does this marriage create any 
  political alliances or conflicts outside the 
  family would desire or want to stop?
  Archetype Hooks
  Certain adventures are more suited to character 
  archetypes from any race or culture. Ancient myster-
  ies and lost technology favor explorers and scien-
  tists; spies and assassins get involved with matters 
  of intrigue. These adventure hooks can be used 
  directly or as examples.
  Airship Officer
   
  • A new airship is being launched, and positions 
  on its command staff are up for grabs. Many 
  talented officers wish to serve on the new 
  vessel, which is rumored to have a revolution-
  ary engine that allows the ship to fly faster 
  and maneuver more deftly than others of its 
  size. Of course, enemies are trying to infiltrate 
  the ship or to sabotage it, ideally so it breaks 
  down somewhere it can be seized. The heroes 
  are assigned to the ship for the maiden voyage 
  or invited as guests but, can they protect the 
  ship and crew? Can they secure a permanent 
  posting on the ship if desired? Are the rumors 
  about the ship’s new engines true, or is it 
  disinformation leaked to ferret out spies and 
  saboteurs?
   
  • A young member of a nation’s royal family has 
  been given command of part of the nation’s 
  fleet. The problem is the royal individual is 
  popular and enthusiastic, but not much of a 
  commander. They need constant assistance 
  and further training if they are not to ruin their 
  family’s reputation. Can the heroes help the 
  young royal learn the art of command and keep 
  them and their squadron of ships intact? Does 
  the royal appreciate these efforts, or will they 
  become upset at any suggestion they are ill-
  suited to command? Will pride or the machina-
  tions of a rival push the royal and his ships into 
  situations too dangerous to handle? If so, who 
  will save the day?
  Narrator's Booklet
  18
  
  Assassin Hooks
   • A fellow assassin in a hero’s guild has broken a 
  tenet of the organization and is now considered 
  a target. As hired killers hunt them, the ren-
  egade contacts the hero and claims to have been 
  framed. They seek aid in uncovering who framed 
  them, clearing their name, and saving their life. 
  Is the assassin telling the truth, or are they set-
  ting up the hero for a fall? Who framed the assas-
  sin and what do they hope to accomplish? Is this 
  a personal vendetta or part of some larger plot?
   • The hero has been contracted for a job of incred-
  ible difficulty and guild prestige: kill the promi-
  nent ruler or champion of a great nation. The 
  job is lucrative and anyone who accomplishes 
  will be remembered one of history’s greatest 
  assassins. However, the ruler is incredibly well 
  protected and very formidable, making the job 
  nearly impossible. To ensure the hero takes the 
  job, the client has kidnapped at least one of 
  their friends or loved ones. Does the assassin 
  take the job, or seek to find some way to free 
  their loved ones and then eliminate the client?
  Beastmaster Hooks
   • An important dignitary is found dead, mauled 
  to death by a beast inside their own quarters. 
  The culprit is believed to be the beloved pet of a 
  hero beastmaster, and the local authorities have 
  ordered the creature to be put down by the end 
  of the week. Can the heroes discover the true 
  culprit? Was the killer a wild animal somehow 
  lured into the victim’s dwelling, or did someone 
  train a beast to stalk and kill them? Is it possible 
  the beastmaster’s pet is to blame, but some-
  thing that explains the attack?
   • Something is killing both people and animals 
  on the edge of civilization. Far from the cities of 
  the nation, a terrible beast is hunting and stalk-
  ing prey in large numbers, far beyond the norm. 
  The beast is believed to be a dangerous predator, 
  possibly a banth or white ape, but so far no one 
  has seen it and lived. Furthermore, rocky terrain 
  makes tracking the beast difficult. What is this 
  beast? Why is it killing so excessively? Is it truly 
  a vicious killer, or is there another reason why 
  it feels compelled to stalk and kill? Could the 
  beast be tamed by the right trainer, or must it 
  be eliminated for the safety of all?
  Duelist Hooks
   • A prominent friend or ally narrowly escapes an 
  assassination attempt and responds by impul-
  sively accusing a rival of being behind the plot 
  without evidence or significant political sup-
  port. Possibly feigning outrage and offense, the 
  rival challenged the hero’s friend to a duel to 
  the death. Normally the ally would answer their 
  own challenge, but the assassination attempt 
  has left them severely wounded. They have no 
  chance of defeating their foe, and honor forbids 
  the retraction of any challenge, even in the face 
  of certain death. Will the hero represent their 
  friend in the duel? Can they secure proof for 
  their friend’s claims? What will the supposed 
  villain do to avoid facing a trained duelist in a 
  fair fight? Is the rival the wronged party?
   
  • A fencing master who taught one of the heroes 
  has been killed. Witnesses report their master’s 
  opponent used dishonorable methods, such as 
  poisoned or superior weaponry. However, even 
  without cheating, the killer is a terrifying oppo-
  nent who has never lost a duel and left dozens 
  dead by their blade. Can the hero avenge the 
  master? Can they triumph even if the killer 
  cheats, or uses unfair tactics against them? Did 
  their old master leave a final lesson or treatise 
  on some new technique that will allow them to 
  defeat their foe? Perhaps the killer has already 
  acquired such knowledge, making them even 
  more dangerous…
  Envoy Hooks
   
  • The hero is charged with carrying an offer 
  of unification to a longstanding foe of their 
  nation. The enemy jeddak is old and his nation 
  is mighty, but clearly in the early stages of 
  decline. Without action their enemy will perish, 
  but not without decades of costly war and 
  violence that could doom the hero’s nation as 
  well. However, by combining nations, armies, 
  and through intermarriage in various influ-
  ential families both nations could survive for 
  centuries to come. Unfortunately, numerous 
  rivals wish to stop the unification, from mutual 
  enemies seeking to weaken both nations, to 
  loyal nobles who fear their power diminished 
  under a new regime. Despite everything against 
  them, can the hero and his companions deliver 
  the offer and cement the unification?
   
  • An enemy jeddak, famed for cruelty and ruth-
  less aggression, has reached out with a peace 
  offer. His foes are naturally suspicious, but they 
  agree it is worth risking a meeting to see what 
  is being offered. The most talented envoys are 
  selected and sent with an honor guard. They 
  are given the authority to make minor, but 
  meaningful, concessions to secure peace. When 
  the group arrives, they find the jeddak missing 
  and a relative or former advisor in their place. 
  This new jeddak claims to have sent the peace 
  offer, and assures them the old jeddak is gone 
  for good. Is this new leader the potentially ally 
  they seem to be? Could they be worse than an 
  old enemy? What happened to the old jeddak? 
  Are they gone, or will they return to menace the 
  heroes and their nation once again?
  Explorer Hooks
   • A previously undiscovered series of tunnels is 
  found under the capital city. The jeddak wants 
  these explored to make sure they cannot used by 
  enemies to infiltrate the city. What few historical 
  records exist suggest the tunnels are an ancient 
  part of the city that was buried and sealed millen-
  nia ago to contain a great threat. What lurks in 
  the tunnels of the undercity? Does the original 
  threat remain? Are the tunnels a way to infiltrate 
  the city, or do they lead to somewhere far more 
  wondrous and dangerous?
  adveNture hooks
  19
  
   
  • An ancient chamber is discovered by explorers 
  during an expedition to nearby ruins. When a 
  device at the center of the chamber is activated, 
  a giant map of Barsoom is revealed, accurately 
  showing the planet millennia ago. To most 
  people the map is a quaint curiosity, but to 
  experienced explorers it is a guide to lost 
  ruins, ancient strongholds, and technological 
  marvels long forgotten. Will the heroes share 
  this map with others or keep it for themselves? 
  What discoveries could they make? How will 
  they keep the information out of the wrong 
  hands? Such a resource has great potential for a 
  group of ambitious heroes and their allies, but 
  it also is a grave responsibility that presents 
  new challenges and dangers.
  Fugitive Hooks
   
  • An individual who spent time in captivity with 
  the fugitive hero is appointed to a position in 
  the local government or military. At first the 
  individual claims to not know their fellow 
  former prisoner, but soon they come with a 
  private threat. They remember the fugitive 
  well, and will reveal their true identify and past 
  crimes (real or otherwise) unless they are well 
  compensated. What will the hero do when free-
  dom is on the line? What does their old prison 
  companion really want from them? What hap-
  pens if this individual abuses their position of 
  authority and then expects the hero to protect 
  them to avoid exposure?
   
  • A fugitive hero, or ally of the heroes, awakes 
  one night aboard an airship fleeing their home 
  territory. Somehow the fugitive was drugged, 
  chained, and loaded onto a flier to be returned 
  to their jailors. They have some time before 
  they reach their destination, making escape 
  difficult but not impossible. They don’t know 
  who did this, but someone close to them must 
  have been involved. Can the fugitive escape and 
  return home? Can they discover who sold them 
  out and why? Is it possible a trusted compan-
  ion was somehow deceived or coaxed into 
  betrayal? Perhaps they will meet other fugitives 
  or captives on their journey that will lead them 
  to other adventures…
  Gladiator Hooks
   • A bounty has been offered for some of Barsoom’s 
  best gladiators. The fighters are to be captured 
  alive and transported to the stronghold of a 
  wealthy and eccentric retired odwar who seeks 
  to host their own tournament. The gladiators 
  will be pitted against his personal stable of 
  fighters and battle-hardened beasts. The master 
  of these games captures fighters because he 
  believes they will fight harder, showing onlook-
  ers the “true spirit” of battle. The odwar invites 
  nobles, allies, and others of influence from all 
  around to spectate, funding future endeavors 
  by taking a share of all bets placed. Can the 
  heroes shut down these deadly games and free 
  the gladiators? Will they end up fighting in the 
  games themselves? Will the odwar’s allies allow 
  him to be brought to justice, or will the heroes 
  need to take matters into their own hands?
   
  • An ally of the heroes is accused of a terrible 
  crime and the evidence against them seems 
  irrefutable. Despite this, the ally claims inno-
  cence and begs for help. By local law there is 
  only one way for their ally to avoid execution: 
  trial by combat. The ally and their chosen 
  20
  
  champions must prevail in a series of gladiato-
  rial matches, and victory will prove the gods 
  favour them and support their innocence. Fail-
  ure means death, even if they survive the arena! 
  Will the heroes be champions for their ally? 
  What challenges await the heroes in the arena? 
  If their ally was framed, how will the conspira-
  tor interfere in the arena? There is always the 
  possibility their ally is guilty: what will the 
  heroes do in that situation?
  Guide Hooks
   
  • A scientific expedition to a lost city needs 
  brave and skilled guides to help them make 
  the journey. Unpredictable weather makes 
  flying unreliable, so travel must be by land. The 
  scientists are not the only ones seeking the city: 
  a smuggler and a treasure hunter seek to reach 
  the city first. Can the heroes beat hostile beasts, 
  bad weather, and rival explorers to reach the 
  lost city? Is the terrible weather surrounding 
  the region natural or it is somehow being 
  caused by something in the city? Is everyone 
  in the heroes’ expedition party trustworthy, 
  or have their treasure hunting rivals paid off 
  expedition members? Will sabotage or betrayal 
  occur at the worst possible time?
   • While on a flier trip over unknown territory, 
  something goes terribly wrong and the ship 
  crashes. With limited supplies and no idea of 
  where they are, the survivors must look to the 
  skilled guides and trackers among their number. 
  Where are the heroes and their charges stranded? 
  What threats exist? What caused the crash and 
  is it still a threat? If the group cannot be guided 
  to safety can they at least find shelter and survive 
  until rescue comes? How long will it be before 
  the group is considered overdue and help arrives?
  Healer Hooks
   
  • A strange plague is afflicting the land, causing 
  the usually long-lived and healthy Barsoom-
  ians to waste away and die within months. The 
  disease is highly contagious and resistant to all 
  treatments. Tracking the source of the disease 
  leads to evidence it originated in a dead Orovar 
  city recently abandoned by a green Martian 
  horde after many of them succumbed to the 
  plague. Is the plague man-made or natural? 
  Can the heroes find a cure? Could the disease 
  spread or mutate, turning people into mon-
  strous threats or could it also infect beasts?
   
  • Coming across a warrior with advanced 
  prosthetic limbs, it is revealed the warrior 
  fell in battle in the wilderness. They awoke to 
  find their severed limbs replaced with high 
  functioning mechanical replicas. Investigating 
  this event uncovers a handful of other individu-
  als who have acquired similar prosthetics in 
  equally mysterious circumstances. Nobody can 
  remember what happened. The prosthetics 
  are unlike anything seen today, but they recall 
  some marvels in stories of ancient Barsoomian 
  medicine. Can the heroes find the source of 
  this technology? Are the operations beneficial, 
  or do they hide some sinister purpose? What 
  could a talented hero skilled in the healing arts 
  learn from such devices?
  Panthan Hooks
   
  • A panthan company normally known for its 
  bravery and skill is accused of cowardice 
  and incompetence after a losing battle. The 
  panthan commander is arrested, while the 
  second-in-command insists the battle was lost 
  due to the incompetence of an overambitious 
  teedwar of the nation’s regular army. Are these 
  claims true, or are the mercenaries simply 
  covering their own failure? If the teedwar is 
  to blame, were they incompetent or was there 
  some other reason behind their poor perfor-
  mance? Will the heroes support the mercenar-
  ies over regular soldiers, even if this makes 
  them unpopular? If the panthan’s commander 
  is imprisoned or executed, what will his follow-
  ers do in response?
   • A conflict between rival nations has caused a bid-
  ding war for skilled panthans. Various compa-
  nies are being courted by both sides. Mercenary 
  recruitment is up, and some, less ethical, com-
  panies are taking anyone who can hold a sword. 
  Others are using press gangs or buying prisoners 
  from various sources. The authorities are being 
  pressured to look the other way when panthans 
  cause trouble with locals and regular troops, at 
  least until contracts are signed. Can the heroes 
  find a way to profit from this situation? Con-
  versely, can they find a way of curbing the abuses 
  and excesses of the worst panthan companies? 
  Rogue Hooks
   • A messenger from a distant kingdom has gone 
  missing inside the city capital. The messenger is 
  a beloved relative of that kingdom’s jeddak, and 
  their disappearance is causing great tension. 
  The dignitary was last seen in the seedier parts 
  of the capital in the company of known crimi-
  nals. Seeking a rogue of their own to navigate 
  the local underworld and locate the messenger, 
  the jed of the city has offered a great reward 
  for the hero’s cooperation. On the other hand, 
  there is a promise to make things very difficult 
  for any hero who refuses or fails. What has hap-
  pened to the messenger? Can the heroes locate 
  them and save them from the dangers they face?
   
  • An important local noble has been taken 
  ill, disappeared, or died on the eve of their 
  involvement in a vitally important event. The 
  noble’s absence will cause serious problems, 
  and their trusted advisors and confidants need 
  to prevent anything untoward. Fortunately, a 
  roguish hero has an incredible resemblance to 
  the absent noble. The advisors plan to replace 
  their lord with the hero for as long is required, 
  using their own knowledge to coach and assist 
  the double. Can the hero fool the original’s 
  friends, family, enemies, or lovers? What about 
  whoever or whatever was responsible for harm-
  ing or killing the noble? 
  adveNture hooks
  21
  
  Scientist Hooks
   • A strange, broken device is found in the remains 
  of a centuries-old flier crash. When repaired it 
  generates a strange energy which augments the 
  intelligence of nearby beasts, but also twists their 
  nature. The resulting creatures possess a human-
  level intellect but personalities akin to psycho-
  paths: cunning and bloodthirsty. The device 
  seems to have no immediate effect on people, 
  though who knows what it could do if it were 
  further modified. What can the heroes do with 
  such a device? How will they handle the threats it 
  creates? Even if they seek to destroy it, will others 
  allow this once its powers are known?
   • A gathering of famed scientists and scholars has 
  gone very badly. An attending scientist is dead, 
  killed by their own invention: an automated 
  humanoid they planned to display to their 
  peers. The automaton is missing, it has seem-
  ingly fled after killing its master. Is everything 
  as it seems, or did someone command the 
  machine to kill? Another scientist is the obvi-
  ous culprit, but could there be another killer 
  nearby with reasons to kill not only the inven-
  tor, but other scientists as well? If the automa-
  ton is recovered, can it be duplicated or does the 
  secret of its construction die with its creator?
  Soldier Hooks
   • A popular dwar in the same force as the hero 
  has been captured by the enemy. A large-scale 
  assault to rescue one officer is impractical, and 
  could easily result in the dwar’s death. However, 
  a small rescue party may succeed where an 
  army would fail. Volunteers are needed for this 
  dangerous mission, with the understanding 
  that once they are inside enemy territory, they 
  are largely on their own. Can the heroes mount 
  a rescue? Does the dwar know some secret that 
  makes their recovery utterly essential? Are 
  there rebel forces or allied spies among the 
  enemy who can assist in the rescue? Or, perhaps, 
  was the dwar’s capture was a result of traitors 
  and inflitrators in their heroes’ own forces?
   • Thought to be dead after a great battle or other 
  disaster, the survivors of an army utan, a unit 
  originally 100 strong, find themselves deep 
  inside enemy territory. Now, under the com-
  mand of a hero soldier, they must find a way back 
  to their own territory, avoiding attacks by enemy 
  forces and dangerous beasts. Perhaps the troops 
  even possess some valuable intelligence or 
  information, but they must first get home. Even 
  though the soldiers are believed dead, will their 
  allies and loved ones stop searching for them? 
  How long will their supplies hold out? What will 
  they do with any troops too wounded to travel? 
  Spy Hooks
   
  • An enemy spy ring is operating in the heart of 
  an important city, sending encoded messages 
  to the nation’s enemies about troop move-
  ments, political secrets, and anything else they 
  discover. The spies have a special device that 
  encodes messages and hides the source of their 
  transmission, making them impossible to 
  locate. Can the heroes use their own resource-
  fulness and espionage skills to identify and 
  then shut down the spy ring? Can they seize the 
  enemy’s code transmitter to use against them? 
  If the heroes cannot stop the spies, what will an 
  enemy success encourage them to do next?
   • While on a mission, a hero spy is abandoned 
  and left in enemy territory without support. The 
  reason for this harsh treatment is unclear, but it 
  seems that someone very influential has accused 
  the hero of being a double agent. Can the hero 
  clear their name and become a trusted agent 
  for their superiors again? Will any of their old 
  friends and peers risk their careers to aid them? 
  What will they do if the enemy approaches them 
  offering aid and support? Is the whole affair a 
  sham to get the spy inside the enemy’s ranks?
  Narrator's Booklet
  22
  
  TRAVELING ACROSS BARSOOM
  Traveling across Barsoom is often exciting, with 
  breathtaking scenery and new discoveries just over 
  every horizon. It’s also quite perilous, with numer-
  ous threats from raiders, green Martian hordes, 
  ravenous beasts, and ruined and dead places filled 
  with ancient danger. This section discusses travel 
  and provides some options on making it more inter-
  esting during play.
  Heroes tend to navigate Barsoom in three ways: 
  mounted, by airship, and on foot. Travel by airship is 
  generally the safest and fastest, though when things 
  go wrong characters can find themselves crashing 
  into the harsh Martian wilderness, beset by pirates, 
  attacked by beasts, or otherwise placed in deadly 
  danger. Mounted travel, usually by thoat, is fast and 
  relatively safe, if one avoids green Martian hordes, 
  predators, and natural calamities. Traveling on foot 
  risks the same dangers as being mounted, but adds 
  the problems of being too slow to outrun most dan-
  gers and taking much longer to get anywhere. A thoat 
  might manage two or more karads (70+ miles) per day 
  without tiring and barring incidents, but a traveler on 
  foot would be lucky to make 1 karad (36 miles) under 
  most circumstances and the effort would take its toll.
  Other means of conveyance exist, such as 
  Helium’s trains that run between Greater and Lesser 
  Helium, and ground fliers. These are generally con-
  fined to certain areas or not as widley available as 
  other transportation, but are nevertheless effective 
  when they can be utilized.
  Travel Time
  Travel time in the Barsoom novels is often 
  abstracted and usually “waved through” rather than 
  described in detail. The question is rarely “How 
  many miles did I travel?” but usually “Did I reach 
  my destination safely, and in time for my purpose?” 
  Travel between cities, even at vast distances, is more 
  about the scenes that occur when traveling rather 
  than explicit measurement. The ancient roads and 
  beaten paths of Barsoom are the backdrop for many 
  a romance, rivalry, or startling revelation. Narrators 
  should focus on these events instead of haads and 
  karads for most trips. For those who wish for game 
  mechanics to help deal with travel, the following 
  optional rules are available.
  Travel Time
  TERRAIN TYPE
  DIFFICULTY
  Civilized areas and open 
  sands
  0
  Rocky terrain, swamps, and 
  wastelands
  1
  Mountains, crumbling ruins
  2
  Bad Weather 
  Add +1 difficulty
  Terrible Weather 
  (Sandstorms, blizzards etc.)
  Add +2 difficulty
  Traveling on Foot
  Add +1 Difficulty
  Travel Tests
  For times when travel time is important, narrators 
  should set tests at various points during the trip to 
  determine how characters are progressing with their 
  journey. The narrator should arrange these tests 
  around important landmarks, changes in terrain, 
  or other noteworthy elements of the journey. Each 
  test represents completing part of the journey. Even 
  treks across empty wastes will have moments where 
  things are difficult or dangerous, otherwise there’s 
  no need for a travel test. Air travel is also subject 
  to travel tests, when moving through storms, high 
  winds, and other particularly dangerous regions.
  The basic travel test is a Might + Reason test 
  with difficulty depending on the type of terrain. It is 
  performed by one character in the traveling group, 
  usually the guide or leader. Players can take turns if 
  they wish.
  Bad weather includes extreme heat or cold, 
  high winds, fog, and anything else that makes travel 
  difficult: terrible storms, hurricane winds, dust 
  storms, and other environmental calamities.
  Success means the character or group managed 
  to successfully navigate any problems and move 
  forward. If the test is failed they still move forward, 
  but must roll on the Travel Complication table and 
  resolve any complication. Rolling a 20 on a success-
  ful travel test also results in a travel complication, 
  unless the narrator decides to add 2 Threat to the 
  pool. This represents unforeseen problems that 
  can surface later in the journey (engine problems, 
  mounts going lame, being blown off course without 
  realizing it, and so forth).
  Travel Complications
  Travel complications are problems that occur 
  during a journey, and often lead to new scenes and 
  encounters. Narrators may create their own com-
  plications or use the table in this section. Narrators 
  may also spend 2 Threat to apply a complication to 
  the journey.
  The Travel Pool
  Progress during a journey is represented by a special 
  resource called the travel pool. For each success in a 
  travel test, the pool grows by 1. Additional Momen-
  tum gained from travel tests may be placed in the 
  pool as well, increasing it by 1 for each Momentum 
  spent in this way.
  traveliNG across Barsoom
  23
  
  Travel Complication Table
  ROLL
  COMPLICATION
  1-2
  Lost. The heroes have wandered off the known route and must either backtrack or forge 
  ahead through unknown territory. Add +1 difficulty to future travel tests unless the heroes 
  backtrack, and reduce the travel pool by 1.
  3-4 
  Dangers of the Trail. Heroes come across a rating 2 danger (see John Carter of Mars, p. 61) 
  on the journey such as loose rocks, quicksand, or a wildfire. The difficulty of avoiding this 
  danger is the same as the travel test difficulty.
  5–6
  Beasts attack. One minion-class beast for every hero or 1 monster-class for every two heroes 
  attacks the group. These creatures will strike from ambush and use any natural terrain to 
  their advantage if possible. Narrators should pick beasts native to the area being traveled.
  7
  The Most Dangerous Game. The heroes encounter raiders, a green Martian hunting party, 
  or some other hostile force. There is one minion-class creature per hero, plus a villain-class 
  leader. All are heavily armed and not inclined to let the heroes pass safely without some sort 
  of tribute, or they are keen to show they are not to be trifled with!
  8
  Crashed Airship. The wreckage of a downed flier is found. Basic supplies and equipment can 
  be found in its stores with a (D2) Reason + Cunning test. Success locates a usable common 
  item or weapon, with additional Momentum finding additional or better supplies. However, 
  the site has also attracted scavengers, has potentially dangerous survivors keen to defend 
  their property, or dangers in the form of malfunctioning equipment. Narrators receive 2 
  bonus Threat to use against the heroes during the rest of the journey.
  9-11
  Bad Weather. The weather turns bad for the next part of the journey. If the weather is already 
  bad it becomes terrible.
  12
  Ruins. Previous undiscovered ruins are discovered. They may be filled with lost lore and 
  technology, but also potential dangers and delays. A successful (D2) Reason + Daring test 
  finds something interesting or significant in the ruins, but complications from this test 
  mean something, or someone, dangerous lurks there. Narrators may spend 2 Threat to have a 
  monster-class beast appear and 1 Threat to summon 2 minion-class foes.
  13-14
  Supply Problem. Supplies and equipment are damaged or lost during the journey. Each hero 
  loses a piece of non-core equipment unless they spend 2 Momentum repairing or locating 
  their item.
  15-16
  Obstacles. The heroes encounter an obstacle such as a sheer cliff or murky swamp that 
  blocks their path. They must each succeed in a (D2) Might + Daring test to pass the obstacle. 
  Failure results in removing 1 from the travel pool but successful characters may spend 2 
  Momentum on behalf of their unsuccessful companions to avoid this result.
  17-18
  Imperiled Innocent. The heroes encounter another character in immediate danger from a 
  dangerous beast, raiders, slavers, environmental hazards, or some other threat. The person 
  needs help and calls out to the heroes! If they fail to render aid, increase the Threat pool by 2 
  to reflect potential problems their lack of action causes later. 
  19-20
  Ghosts of Mars. The heroes see strange lights, unsettling mirages, or bizarre shadows as they 
  travel. This could be their imagination or a hint of some strange powers or twisted science at 
  work. Each character must make a (D2) Reason+ Daring test. Failure results in the character 
  taking an immediate trauma or madness affliction as they are badly shaken by these visions.
  Example: Jane Porter, Earthborn explorer, is guid-
  ing a group of Okar through green Martian territory to 
  a meeting with the leaders of various nations. Her first 
  travel test goes well, scoring a success and 2 Momentum. 
  Jane’s player wants to make sure the party gets to the 
  meeting on time, so she spends 1 Momentum to add 1 
  to the travel pool, increasing it by 2 (1 for success, 1 for 
  Momentum). She saves the other Momentum for her own 
  use later.
  Travel pools usually begin at 0. However, com-
  plications in earlier scenes, or special situations 
  within an adventure, may cause the pool to start 
  with a negative value. This represents a journey that 
  is already running late or behind schedule before 
  it begins, or one that has set out in an ill-prepared 
  fashion. Stealing the nearest thoat and gallop-
  ing off into the wastes might well count as being 
  ill-prepared.
  Example: Earthborn soldier Kale Singh and his 
  red Martian companion, Zala Zors, are setting out on 
  a desperate journey to reach the a raider fortress in the 
  Forests of Kaol before a mutual ally is killed or harmed by 
  the raiders. Unfortunately, an earlier encounter with the 
  raiders resulted in the heroes’ thoats being slaughtered. 
  The heroes can secure new mounts for the journey, but this 
  delays their start. The narrator informs them their travel 
  pool for this journey begins at -2. They will need to recover 
  the lost time if they hope to arrive in time to save their 
  comrade!
  The travel pool can also be reduced during the 
  journey. The narrator can detail a delay or obstacle 
  that slows progress, spending 2 Threat or using a 
  complication to reduce the pool by 1. Complica-
  tions used in this fashion are considered resolved: 
  they have already created a problem by delaying 
  the journey. Narrators should use this option to 
  keep things interesting and represent problems 
  created by Threat-generating events during a 
  journey. They shouldn’t just spend Threat to wipe 
  out hard won progress. However, if players are 
  creating a lot of Threat during a journey, using it to 
  reduce their progress is not only fair, but entirely 
  appropriate.
  Narrator's Booklet
  24
  
  The End of the Journey
  The exact length of a journey in John Carter of Mars 
  is much less important than whether or not char-
  acters arrive in time for other events. Characters 
  traveling arrive at one of four dramatically impor-
  tant points: Early, On Time, Late, or Too Late. 
  To determine characters arrival time the travel 
  pool is compared to the number of parts (requiring 
  a travel test) in the journey.
  All travel complications from the final part of 
  the journey must be resolved before the characters 
  arrive. Both characters and narrators have one 
  last chance to add Momentum or spend Threat to 
  increase or decrease the travel pool.
  Example: Kale Singh and Zala Zors finally arrive 
  at the raider fortress of Kaol. Their journey had five parts 
  and their travel pool, after some complications in the 
  final part, ended up at 3. This is more than zero but less 
  than the number of parts in their journey. They arrive late 
  to the next scene in their adventure and add 2 Threat to 
  the Threat pool. The narrator describes to the players the 
  scene as the heroes arrive as one of immediate peril, with 
  the raiders about to execute their ally unless the heroes 
  act immediately!. With no time to plan or prepare, the 
  heroes charge in to save their friend! At least they weren’t 
  too late…
  traveliNG across Barsoom
  25
  The End of the Journey
  Early
  If the travel pool is double the number of parts in a journey the heroes are early.
  The heroes arrive before they expected. They have ample time to prepare, rest, 
  socialize, and make ready for the next part of their adventures. Early characters should 
  be given at least one scene to perform whatever tasks and actions they desire before 
  the adventure moves forward. This can just be enjoying the time off with friends and 
  allies. 
  On Time
  If the travel pool is equal to, or greater than, the number of parts in the journey the 
  heroes arrive on time.
  The heroes arrive exactly when required for the dramatic purposes of the 
  adventure. Not before. Not after. On time heroes are poised to make an entrance just 
  at the nick of time. They gain a bonus d20 on their first test after arrival, a reward for 
  their flair and timing.
  Late
  If the travel pool is less than the number of parts of the journey but greater than zero 
  then the heroes arrive late.
  The heroes arrive after events have got underway. They didn’t completely miss the 
  action, but they lost the chance to prepare and assess any situation before they make 
  their entrance. They are able to move on to the next section of the adventure, but they 
  suffer a complication to represent their tardiness. Narrators wanting to the delay the 
  effects of their lateness may instead add 2 Threat to the pool.
  Too Late
  If the travel pool is zero or less the heroes arrive too late.
  Those who are too late enter the action only to see the aftermath of the scene. They see the results 
  of what might have gone differently if they’d made it in time. They cannot change the outcome 
  of how things have been resolved. Being too late is never the end of the adventure, but it always 
  creates new problems to solve. Narrators add 2 Threat to the pool and a complication relating to 
  the heroes’ late arrival. Narrators must add a complication instead of taking more Threat. The 
  heroes need to know what went wrong so they can begin fixing it.
  Optional Rule: 
  Withdrawing 
  from the Pool
  As an optional rule, players can withdraw 
  points from the travel pool to spend as 
  Momentum during the journey. This rep-
  resents them taking extra time to prepare, 
  delaying travel to accomplish a task, and 
  other situations. This can be a good use of 
  resources, but it comes at a price. Every time 
  a player draws from the pool, they increase 
  the risk of arriving late at the journey’s 
  end, a result that may have its own negative 
  consequences.
  This rule is optional because it makes 
  the travel pool harder to track, making it 
  potentially confusing for some groups. 
  However, if it is appropriate and not disrup-
  tive for an adventure, it adds tension and 
  uncertainty to travel that mimics the peril-
  ous journeys of many pulp stories, including 
  the Barsoom novels.
  
  LARGE SCALE ACTIONS AND CONFLICTS
  By default John Carter of Mars is about the actions 
  and interactions of characters on a personal scale. 
  Heroes’ actions can shape Barsoom and shake entire 
  nations to the core, but the action is that most often 
  seen in the Barsoom novels: a handful of valiant 
  warriors battling against their enemies. Large scale 
  actions and conflicts between armies and nations are 
  commonplace, but they are rarely described in detail. 
  In campaigns, this approach is modeled by 
  having heroes go on adventures and simply having 
  narrators describe the effects of great battles and 
  world conflicts, often following the success or fail-
  ures of the heroes. If the heroes succeed in defeating 
  an enemy general in a duel then his army is defeated. 
  If a band of heroes save a jeddak from assassination 
  and capture the assassin then the nation who sent 
  the killers are weakened or embarrassed. 
  This approach is perfectly fine for many groups 
  and most situations. However, some groups desire 
  a bit more randomness and mechanical support 
  for large scale conflicts. For those situations and 
  groups, use these optional rules if desired.
  A Different Scale
  Large scale conflicts are so vast the individual 
  heroes, no matter how mighty, cannot participate in 
  them unless they have control of a large-scale group 
  such as an organization, army, or nation. Equally, 
  there is often little these groups can do without 
  strong characters to lead them. This symbiotic 
  combination is reflected in the attributes used for 
  large-scale conflicts.
  Group Attributes
  Armies, nations, and other groups have attributes 
  much like characters, but they represent different 
  abilities and resources. These attributes typically 
  range from 4 to 8, though higher or lower attributes 
  are possible for groups with significant strengths or 
  weaknesses. 
  Group attributes are Military, Science, Security, 
  Prosperity
  Attributes are assigned based on the needs of 
  the campaign and what makes sense to the adven-
  ture. There are no “group creation” rules as such, 
  though most modest sized city-states and similar 
  sized-groups have attributes with a total in the 
  range 18-20.
  Military
  This represents the military might of a group, 
  including naval (air) power if appropriate. In part 
  it also represents access to weapons and warships. 
  Military is used for actions involving combat, mobi-
  lization of armed forces, and intimidation through 
  force. A Military of 4 represents a small army from 
  a city state with modest, but effective, defenses. A 
  great nation such as Helium, or a vast horde, might 
  have a Military of 8 or more.
  Science
  This represents a group’s scientific resources, 
  including the abilities of their most loyal and 
  respected scholars and scientists. Science also 
  includes access to, and understanding of, technol-
  ogy, though other attributes cover certain types 
  of technology. A Science of 4 represents a normal 
  red Martian city with some scientific understand-
  ing, but which mostly relies on the technology and 
  knowledge of ancient civilizations. 
  In general, green Martians possess a lower 
  Science, while Okar and First Born states tend to 
  possess a bit more Science than many red kingdoms. 
  A society run by scientists, or possessing amazing 
  technological wonders, may have a Science of 8 or 
  higher.
  Security
  Security represents both a group’s stability and 
  how well it protects important citizens and secrets. 
  Security differs from Military in that it rarely is 
  used to attack other groups directly, though acts 
  of espionage often use this attribute. A Security of 
  4 represents a nation, army, or other group with 
  decent protection from spies and infiltrators, as 
  well as some scouts and spies of their own. A group 
  with skilled spymasters, or elite guards and security 
  personnel, could have a Security of 8 or higher. 
  Prosperity
  Prosperity is a general measure of how well the 
  group and its members are doing. A nation, army or 
  other group with high Prosperity is well-supplied 
  and content. A group with low Prosperity is strug-
  gling in some way. Prosperity reflects economic 
  power, but it also represents resources such as food, 
  medicine, and how well distributed these are within 
  the group.
  Group Momentum
  Groups may generate Momentum with their 
  actions, but they cannot usually save it for later use. 
  Instead the Momentum generated goes to the leader 
  who lead during events. This not only simplifies 
  bookkeeping but it shows that, without strong 
  leadership, even powerful groups do little. Leaders 
  may also spend their own personal Momentum on a 
  large scale action, reflecting their insight and guid-
  ance to a group.
  Narrator's Booklet
  26
  
  Group Stress and 
  Afflictions
  Groups have stress and afflictions like characters. 
  Groups possess a single stress track equal to their 
  highest and lowest attributes added together. Stress 
  is recovered at regular intervals, usually every few 
  weeks or months. 
  Example: The pirate Nation of Barzur has Military 
  6, Security 3, Science 4, and Prosperity 5. Barzur's stress 
  track is equal to the highest and lowest attributes added 
  together: 9 (Military 6 plus Security 3).
  Afflictions take longer to recover, using either 
  a leader’s Passion + the group’s Prosperity test or 
  leader’s Reason + the group’s Security test. Both are 
  difficulty 2 tests. Success removes an affliction, with 
  each extra Momentum removing an extra affliction. 
  A group can suffer no more than 3 afflictions before 
  blacking out when the fourth is taken. See the Groups 
  and Blacking Out section below for more details.
  Group Talents
  Most groups don’t have talents, as this makes rules 
  for large-scale conflicts unnecessarily complex. 
  However, players and narrators using large scale 
  actions and conflicts frequently in their games 
  may develop talents for groups to make them more 
  interesting and distinct. Groups talents work much 
  the same as regular talents: they simply provide 
  bonuses and advantages to whole groups instead 
  of characters. 
  Example: Peter is using large scale actions 
  and conflicts regularly in his John Carter of Mars 
  campaign, with the player heroes regularly directing 
  armies and nations under their control. He has begun to 
  develop talents for various nations to reflect unique or 
  distinct elements associated with various groups. Peter 
  decided to introduce a rogue city state, the pirates of 
  Barzur. As their name suggests, Barzurites are infamous 
  as skilled air pirates and advanced fliers, so he adds a 
  talents to the nation, Well Organized Piracy, granting 
  2d20 bonuses to all Military attribute tests which involve 
  airships, air combat, and piracy. This means that even 
  the pirate nation’s modest Military of 5 is a problem 
  for enemies and rivals when facing Barzur’s navies and 
  expert pirates.
  In large scale actions and conflicts in general, 
  narrators and players can do as much or as little 
  as they like with group talents. They may give all 
  groups in their games a talents or two, or reserve 
  them for truly special and very dangerous groups.
  Large Scale Actions
  Armies, nations, and other organizations take 
  actions much like characters but with some key 
  differences. Firstly, it can take weeks or months 
  for them to perform an action. Secondly, only one 
  attribute in the pairing for a test comes from the 
  group. The other attribute must come from a leader 
  or champion within the group who has the authority 
  to control the action. The character attribute used 
  depends on the action, but Reason, Passion, and 
  Empathy are the most common, with Cunning and 
  Daring used for Military and Security-based actions. 
  Might is used very rarely for any large-scale actions.
  Once a leader and action are chosen, the narra-
  tor sets the difficulty and determines the attributes 
  required for the test. If a test is opposed by another 
  group, then it is treated just like any other opposed 
  test. The test is made normally, with success mean-
  ing the action’s goal is achieved. Any Momentum 
  generated can be used to increase the degree or 
  quality of the success just as with character actions. 
  Example: The pirate nation of Barzur is seeking to 
  bribe a nearby nation to allow them to use some of their 
  outlying settlements to land and service their fliers. The 
  Jeddak of Barzur oversees these negotiations himself and 
  will use his Empathy + Barzur’s Prosperity against the 
  Cunning + Prosperity of the other nation and its jeddak. 
  Both groups succeed, but Barzur generates 3 Momentum 
  to their neighbor’s 1. Barzur is able to negotiate a fine price 
  for basing his ships, and spends Momentum to secure 
  additional supplies and guards for Barzur’s operations.
  Generally, unless a game session covers an 
  extended time period, there are only time for one 
  or two large scale actions per session. These actions 
  can affect great change, but they take time and are 
  not intended to replace the heroic efforts of player 
  characters. While characters with the proper titles 
  or allies may find themselves acting as leaders for 
  group actions of various groups, many goals should 
  be more easily achievable by sending the heroes on 
  an adventure.
  Leaderless Actions
  At the narrator’s discretion, a group with no leader 
  to guide them can still attempt an action. Leader-
  less groups can also defend themselves from attack, 
  though not very effectively. In these cases the group 
  uses only its own attribute as the target for any test, 
  with two successes occurring when a 1 is rolled. This 
  rule shows the importance of leadership: a leader-
  less nation or army is vulnerable to manipulation 
  and defeat. It also shows how tyrants and poor lead-
  ers stay in power: they are often better than nothing 
  for many of their own people.
  Note that groups with robust social networks, 
  a strong command structure, or clear laws are not 
  always truly leaderless, even in times of strife. If an 
  army’s odwar is kidnapped, a subordinate teedwar 
  – or even a talented dwar – will assume command. 
  This lesser character often is less skilled, inexperi-
  enced, or otherwise limited. If the loss of a recog-
  nized leader is sudden, it may be some time before 
  a replacement is found, and new leaders may face 
  increased difficulties for actions and tests until they 
  prove themselves.
  Example: The Jeddak of Barzur is slain before his 
  state is invaded. Without their leader, the Barzurites 
  defend against the attack with only their state’s Military 
  attribute for the first few turns of the attack, suffering 
  heavily losses in the process. Eventually, the jeddak’s 
  daughter takes command of the defense and may use her 
  attributes in future actions. The narrator increases the dif-
  ficulty of all actions by 1 for the remainder of the invasion, 
  representing the chaos and disruption of losing a leader.
  Character intervention to disrupt a group 
  by destroying or undermining its leadership is a 
  highly effective tactic. It also makes for exciting 
  adventures for attacker and defenders alike! In cam-
  paigns where group actions feature prominently, 
  larGe scale actioNs aNd coNflicts
  27
  
  adventures to attack or eliminate a rival nation’s 
  leadership of a rival nation or army are excellent 
  opportunities for heroes to show their mettle and 
  affect the fate of whole nations. Characters who step 
  forward to save a leaderless group, or who replace 
  a weak leader during events, will find their efforts 
  often save the group from decline or destruction.
  Large-Scale Conflicts
  Nations war. Armies clash. Groups negotiate, 
  threaten, and spy. These use the same rules as 
  Conflict actions for characters, with a couple differ-
  ences. Firstly, turns in large-scale conflicts take much 
  longer than normal conflicts. There may well be time 
  for characters to perform actions, roleplay scenes, 
  and even go on short adventures between large-scale 
  conflict actions. Secondly, stress and afflictions are 
  suffered by the group, not the leader, though a leader 
  may suffer the negative effects of character attacks 
  that occur between turns in a conflict.
  Example: The odwar of Barzur’s pirate navy is attack-
  ing a neighboring nation, seeking profit and plunder. In the 
  first turn of the conflict, the odwar uses his Cunning + his 
  nation’s Military to plan and execute the attack. Between 
  the first turn and the second, when several hours of battle 
  have elapsed, the odwar fends off an attack from the desper-
  ate defenders trying to kill the pirates’ leaders. The odwar is 
  hurt and suffers an Injury affliction. This affliction increases 
  the difficulty of the pirates’ next large-scale attack using his 
  Cunning + the nation’s Military, reflecting the wounds 
  that hamper the Odwar he seeks victory.
   Other than these differences large-scale con-
  flicts work with groups as ordinary conflicts do with 
  characters. Attacks and defense tests are compared 
  and stress and afflictions are applied until one group 
  is defeated or otherwise manages to stop the conflict.
  A typical large-scale attack does 2 § damage as its 
  base. Momentum can be used to increase this damage. 
  In cases where one group has a clear superiority over 
  its foes, such as having a much higher attribute, over-
  whelming numbers, or another advantage, the base 
  damage can be increased to 3 § or higher.
  Groups and 
  Blacking Out
  Groups are devastated if they black out in a large-
  scale conflict. A group permanently loses 1 from 
  each attribute and will be unable to act for a time as 
  it seeks to recover, rearm or reorganize. At the group 
  leader’s discretion, a single attribute can be reduced 
  by 2, and one other attribute will suffer no loss. The 
  leader can, in effect, protect an asset of their group 
  by taking a greater loss elsewhere.
  Example: After a battle with a green Martian horde, 
  the pirate nation of Barzur is blacked out. As their air-
  ships burn and green warriors raid the city, the Jeddak of 
  Barzur must reduce the nation’s attributes. Unwilling to 
  risk losing their chance to take revenge on their foes, the 
  jeddak elects to reduce the Barzur’s Prosperity by 2 and so 
  prevents their Military from taking any loss. Science and 
  Security attributes are still reduced by 1 each. Even though 
  much of the city’s military was saved, Barzur loses many 
  of its riches, and it will be some time before the pirates 
  can take their revenge.
  A group that has an attribute reduced to 0 is 
  destroyed. This doesn’t mean every group member 
  is killed or captured, but the group is done as an 
  organized force. 
  Example: After a protracted campaign of revenge, 
  the pirates of Barzur manage to crush the green Martian 
  horde who attacked them. The horde’s Science attribute is 
  reduced to 0. With their weapons shattered, stores of heal-
  ing salves expended, and other equipment destroyed, the 
  28
  
  horde cannot remain together. The green Martians scatter, 
  and Barzur’s ship fly triumphant over their crushed and 
  fleeing green foes.
  A group that voluntarily blacks out during 
  a conflict still loses these attributes, but the loss 
  is instead temporary, representing a retreat or 
  restructuring that is organized enough to allow for 
  eventual recovery. Attributes recover by the next ses-
  sion in which the group makes an appearance.
  Increasing Attributes
  A group that eliminates another group may 
  permanently increase any attribute by 1. This 
  represents plundering or absorbing the defeated 
  group. Narrators may also allow groups to increase 
  attributes thanks to adventuring by their leaders 
  and champions.
  Sample Groups for 
  Large Scale Play
  The following groups are models and guidelines 
  for narrators who want to use large-scale actions in 
  campaigns. They can be used “as” is or customized as 
  necessary.
  Red Kingdom
  Jewels of a dying planetd
  This represents a small red Martian kingdom with a 
  modest army and a respectable airship navy. These 
  nations tend to have specialized technology and 
  particular customs that make them distinct from 
  their neighbors. Pride in their city is an essential 
  part of a red Martian’s character.
  Green Horde
  Scourge of the dead sea bottoms
  This is a moderate sized horde of green Martians, 
  much smaller than the great horde of the Tharks, 
  but still a potent threat in battle. green hordes 
  often care little for science and have little use for 
  technology other than weapons and healing salves. 
  However, their numbers and skill with their power-
  ful rifles makes them a force to be respected, or even 
  feared.
  Okar Nation
  Bastions of the frozen north
  Small but advanced and well-protected Okar city 
  states are shielded strongholds that survive in the 
  arctic wastes through a mix of technology and 
  tenacity. Hidden enclaves of Okar elsewhere – which 
  may survive to the modern period – could have 
  similar attributes.
  First Born Pirates
  Raiders with an ancient heritage
  The pirates and raiders of the First Born are legendary. 
  Though many believe these raiders come from the 
  nearby moon, in fact mobile fleets and communities 
  of raiders can be found hidden away in various parts 
  of Barsoom. These raiders keep their secrets well and 
  are masters of subterfuge and covert operations.
  White Martian Enclave
  Lost citadels of a dying race
  The white Martians once ruled great coastal cities 
  beside the seas of Barsoom. Now pockets of the race 
  hide in secret valleys and hidden ruins scattered 
  across the dying planet. These hidden white Martian 
  enclaves often have great scientific knowledge, 
  and are skilled at keeping themselves from being 
  detected or infiltrated. Their military might, such as 
  it is, is little used.
  A Final Word on 
  Large-Scale Play
  Playing groups and using large-scale actions and 
  conflicts are meant to enhance play and enjoyment. 
  If this option is too abstract, “crunchy”, or otherwise 
  unappealing to you or your players? Don’t use it!
  Military
  5
  Science
  4
  StreSS
  9
  Security
  4
  ProSPerity
  5
  Military
  6
  Science
  3
  StreSS
  9
  Security
  4
  ProSPerity
  4
  Military
  5
  Science
  5
  StreSS
  10
  Security
  5
  ProSPerity
  4
  Military
  5
  Science
  4
  StreSS
  9
  Security
  6
  ProSPerity
  3
  Military
  3
  Science
  4
  StreSS
  9
  Security
  6
  ProSPerity
  4
  larGe scale actioNs aNd coNflicts
  29
  
  The following tables are intended to help narrators 
  design basic forms for authentic-seeming Barsoom-
  ian species. They need not be followed rigidly and 
  any improbable or incredible combinations can be 
  rejected or rerolled.
  Body Type
  Many Barsoomian creatures are vaguely analogous 
  to animals on Jasoom. The banth is lion-like, the 
  ulsio is the Martian rat, and the calot a faithful 
  hound. Accordingly, the body types in the table 
  below are suggestive rather than definitive, provid-
  ing a range of general animal forms.
  Body Type
  ROLL
  RESULT
  01–06
  Mammalian
  07–13
  Reptilian
  14–16
  Avian
  17–19
  Insectoid
  20
  Aquatic
  Size
  Most of the beasts encountered on Mars are 
  medium to large in size and this is reflected in the 
  size table. It is worth noting that Mars’ lower gravity 
  allows insects like the sith to reach truly colossal 
  proportions.
  Size
  ROLL
  RESULT
  01–02
  Diminutive (less than 1 sofad)
  03–05
  Small (1–2 sofads)
  06–11
  Medium (3–5 sofads)
  12–17
  Large (6–10 sofads)
  18–19
  Massive (10–25 sofads)
  20
  Gargantuan (25+ sofads)
  Number of Limbs
  One of the defining features of Barsoomian fauna is 
  the dominance of multiple legs. Most species have 
  6–8 limbs in various configurations. The next table 
  lists the prevailing types.
  Number of limbs
  ROLL
  RESULT
  01–02
  2 (biped)
  03–06
  4 (quadruped)
  07–08
  6 (centaur-like)
  09–13
  6 (hexaped)
  14–15
  8
  16–17
  10
  18
  12
  19
  Multipede
  20
  Limbless
  Skin Type
  The beasts of Barsoom display a variety of different 
  body coverings ranging from the fur of the apt to 
  the chitinous segmented body of the sith. The table 
  below gives the nine commonest types and emu-
  lates their general frequency.
  Skin type
  ROLL
  RESULT
  01–03
  Scaly
  04–09
  Smooth
  10–12
  Furred
  13–15
  Hairy
  16
  Feathers
  17
  Thick hide
  18
  Armor plates
  19
  Chitin/Carapace
  20
  Chameleonic
  
  Features
  Many of the dangers posed by Barsoom’s animals 
  depend on unique or dominant features: the plant 
  man’s tail, or the banth’s fearsome jaws. The features 
  table draws together some of the potentially deadly 
  attributes of Mars’ wildlife. Roll twice on the follow-
  ing table, re-rolling duplicate results.
  Features
  ROLL
  RESULT
  01–02
  Tail
  03–04
  Prehensile tail
  05–06
  Tail club/sting
  07–08
  Mane (hair, fur, or spines)
  09–13
  Talons or claws
  14–16
  Large teeth (canines and/or incisors)
  17
  Horns and/or tusks
  18
  Compound eyes
  19
  Venom sacs
  20
  Poison glands
  Once a creature’s basic appearance is generated, 
  the narrator is encouraged to develop details of 
  the creature’s behavior and habitat. The emphasis 
  should always be on how the organism can con-
  tribute to the action-adventure feel of the game 
  and how it can evoke the key theme of the Martian 
  stories: bravery, honor, and romance pitted against 
  power, greed, and lust.
  Once all these elements are determined, narra-
  tors should assign attributes and talents to a beast if 
  they expect the creature will enter into conflict with 
  the player characters or other important charac-
  ters in the campaign. The most effective way to set 
  a beast’s statistics is to do what the Barsoomians 
  themselves would do: compare them to established 
  beasts. Make your new creation “as Daring as a 
  banth (Daring 7), nearly as powerful as a white ape 
  (Might 9 compared to the white ape’s 10), but with 
  the brain of a thoat (Reason 2)” and so on. If you 
  are stuck for a particular attribute rating, give the 
  beast a score between 3 and 5, this is typical for most 
  creatures’ attributes that seem neither prominent 
  nor deficient.
  Renown and 
  Reputation
  Narrators will want to keep an eye on a character’s 
  total Renown (spent and unspent) as it gives a gen-
  eral idea how famous a character is.
  TOTAL 
  RENOWN
  REPUTATION AND  EFFECTS
  0-9
  Obscure and unknown, reduce all 
  difficulties to disguise yourself or 
  travel unrecognized by 1.
  10-20
  Known in some circles or regions. No 
  modifiers.
  21-35
  Known in your city or immediate 
  region but generally unknown 
  elsewhere.
  36-50
  Famous in your city or immediate 
  region and known to your 
  homeland’s neighbors and rivals.
  51-60
  Famous in your entire nation and 
  among its closest allies and enemies. 
  Well-known in more remote lands 
  with regular contact with these 
  places.
  61-75
  Among the great heroes, Jeddaks, and 
  other champions of Barsoom. Known 
  across most of the planet, save 
  isolated enclaves and faraway lands.
  76+
  One of the most famous faces on 
  Barsoom, like the great John Carter. 
  Likely a jed or jeddak with many 
  allies. Recognized by name or 
  reputation everywhere on Barsoom.
  
  Narrator's Booklet
  32
  MILITARY
  NAME
  CONCEPT
  LEADER
  MOMENTUM
  NOTES
  STRESS
  AFFLICTIONS
  SCIENCE
  SECURITY
  PROSPERITY
  MILITARY
  NAME
  CONCEPT
  LEADER
  MOMENTUM
  NOTES
  STRESS
  AFFLICTIONS
  SCIENCE
  SECURITY
  PROSPERITY
  
  larGe scale actioNs aNd coNflicts
  33
  MILITARY
  NAME
  CONCEPT
  LEADER
  MOMENTUM
  NOTES
  STRESS
  AFFLICTIONS
  SCIENCE
  SECURITY
  PROSPERITY
  MILITARY
  NAME
  CONCEPT
  LEADER
  MOMENTUM
  NOTES
  STRESS
  AFFLICTIONS
  SCIENCE
  SECURITY
  PROSPERITY
  
  ADVENTURE AWAITS THE HEROES OF BARSOOM
  The 2d20 system and Modiphius Logos are copyright Modiphius 
  Entertainment Ltd 2018. All 2d20 system text is copyright Modiphius 
  Entertainment Ltd. Any unauthorised use of copyrighted material is illegal. 
  Any trademarked names are used in a fi ctional manner; no infringement 
  is intended. This is a work of fi ction. Any similarity with actual people and 
  events, past or present, is purely coincidental and unintentional except for 
  those people and events described in an historical context. Trademarks John 
  Carter of Mars®, Dejah Thoris®, Tars Tarkas®, Woola™, Barsoom®, Warlord 
  of Mars®, Gods of Mars®, A Princess of Mars®, and Edgar Rice Burroughs® 
  Owned by Edgar Rice Burroughs, Inc. And Used by Permission. All characters 
  and creatures trademarked and owned by Edgar Rice Burroughs, Inc. 
  Copyright © 2018 Edgar Rice Burroughs, Inc. ALL RIGHTS RESERVED.
  Product Number: MUH051408
  ISBN: 978-1-912743-15-5
  743155
  781912
  9
   
  ISBN 9781912743155
  TM
  TM
  The John Carter of Mars Narrator’s Toolkit is everything a narrator needs to bring their campaigns to life! Included 
  is a narrator’s screen fi lled with useful reference tables and a booklet with advice on how to craft exciting, 
  Burroughsian style plots, villains and technology, as well as brand new rules to take your campaign to new 
  heights of heroism and planetary pulp-romance!
   • Portrait, full color, four-panel narrator’s screen with 
  exterior artwork to inspire your players and useful 
  reference tables inside for core rules including 
  Momentum, actions, diffi  culty modifi ers and 
  damage.
   • New rules for travel across Barsoom to introduce 
  new threats and plot twists for your players. New 
  rules for large-scale combat allow you to play out 
  entire batt les, raising the stakes of your campaigns 
  as your players infl uence Barsoom through warfare
   • A 32 page, full color booklet fi lled with inspiration 
  and tables to help narrators craft campaigns in the 
  true John Carter style. From naming your campaign, 
  to new technology, and building Burroughsian style 
  villains and plots, the booklet contains a wealth of 
  information to bring your game to life.
   • A collection of plot hooks based on the races and 
  cultures of Barsoom and the archetypes found in 
  the core rulebook, given to inspire narrators and 
  thrill players.
  “I have ever been prone to seek adventure and to investigate and experiment where wiser men would have left well enough alone.”
  —Edgar Rice Burroughs, A Princess of Mars
  Printed in Lithuania
  
SOURCE: textdata/thevault/John Carter/John Carter of Mars (2d20)/core/John Carter of Mars - Narrator's Toolkit.pdf