Worlds of Design: After the Apocalypse

Picture courtesy of Pixabay.
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“I know not what World War III will be fought with but I know World War IV will be fought with sticks and stones.” - Albert Einstein​

The apocalypse, as used in fiction, generally means the destruction of civilization, leading to a drastic reduction of knowledge and physical capabilities. This is reflected historically, such as when Mycenaean (early Greek) civilization fell and the region lost literacy itself for centuries. The setting itself, which is often the primary antagonist, is defined by scarcity and extreme challenges, where life is scrappy and hard.

Common Causes of Civilizational Collapse​

For designers, choosing the cause of the apocalypse defines the entire tone and available resources of the campaign. Causes can range from Natural Disasters like famine, extended drought (which ended empires like Akkad and Harappa), meteor strikes, or massive volcanic eruptions causing worldwide climate change. The destruction can also be biological, caused by a Plague/Disease far worse than the Black Death; a disease that killed most food plants, for instance, would certainly destroy modern civilization's food base.

More fantastical causes include massive numbers of Zombies or a Magical Breakdown. However, a magical apocalypse might have less far-reaching effects—unless magic itself was limited or eliminated. Conversely, a Nuclear War or atmospheric ruination is likely to leave a setting best played with "sticks and stones," as Albert Einstein implied.

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The Harsh Realities of Survival​

The focus of a post-apocalyptic setting must be on scarcity and survival. Life is violent and unpleasant, placing massive strain on survivors, as seen in Mad Max and various zombie settings. The difficult realities to remember when designing these worlds include:

1. Transport is Primitive: Horses are often quickly eaten, leaving only bicycles, donkeys, or mules for transport. Long-distance travel is rare and extremely dangerous.
2. Health is Fragile: Even a minor injury or bruise might cause death due to the complete lack of modern medical care.
3. Basic Necessities are Luxuries: Hygiene, beauty products, and many complex modern medicines are entirely unavailable.
4. Violence is the Norm: Armed and lethal raids are common, and life is violent and unpleasant.
5. Social Stress is Extreme: Survivors are often forced to interact with people they fundamentally disagree with to survive, and the individualist usually fails the fastest—everyone needs help to survive.

The drawback of using the apocalypse is that its scale is likely to dominate almost everything in your setting and gameplay, which might stifle variety over a long campaign. For this reason, many DMs prefer to run an apocalypse "before" the campaign starts, making the devastation a fixed backdrop rather than an ongoing plot engine. (See Campaign, Sequence, or One-shot and How Long is Your Game Meant to Be?)

The Fundamental Question​

The ultimate power of the post-apocalypse setting is not the destruction itself, but the way it forces players to confront the most fundamental questions of human nature. As designers, we must recognize that a long campaign cannot sustain a constant, desperate Sequence of survival. Instead, the apocalypse serves gives the DM the freedom to:

• Define the Scarcity: Decide which resources are truly gone (e.g., fuel, knowledge, magic), and which remain (e.g., pre-apocalypse artifacts, unique skills).
• Control the Focus: Use the massive devastation as a fixed backdrop to elevate the importance of human stories—the rise of new communities, the restoration of lost knowledge, or the search for a new 'safe haven.'
• Choose the Scale: Determine whether the goal is grim, desperate survival (suited for a Sequence of play) or a decades-long narrative of rebuilding (suited for a Campaign).

The Apocalypse is a canvas of consequences; the DM's job is to paint the story of hope, or the lack thereof, upon it.

Your Turn: How have you incorporated an apocalypse into your setting?

 

[Micah Sweet]

My opinion of this set up is going to depend entirely on how you utilize mental illness in your campaign - have you put mechanics around different psychological conditions as defined by DSM/ICD or is 'crazy' just an excuse for 'do bad things'?

Theres a reason Last of Us and similar movies have gone with fictional zombie viruses (28 Days later does Rage virus)

Unless they plan on selling it, how its themes might "play" in 2025 is irrelevant. All that matters is whether or not they can get players.

I'd play in that game.

 

[Thomas Shey]

I also have to note plenty of post-apocalypse settings have had partial recovery at least in part. Arguably two of the (at one time) most well-known post-apoc novels landed in this to different degrees (Hiero's Journey and Daybreak -- 2250 AD)

 

[kigmatzomat]

Are these harsh realities, or just the norm in medieval settings?

Is that a contradiction or a realization the "medieval" is a form of post-apocalyptic setting?

Go back to the 400s. The Roman governors of Britain reported to an emperor based 2000+ miles away (~2,000 miles by road or 3,400mi by ship). This was an appointment that usually lasted less than 4 years and Britannia had 4 governors at the time.

I wouldn't say travel of that distance was easy, but it was perfectly feasible. Look at the ships that came and went from Constantinople constantly and find one traveling to a port that received ships of British tin and transfer to one of those as they return to Britainia. It could literally be a one-layover trip as you traverse the empire's heartland. It might be a layover of a month, but still, one layover. And as imperial Governor, they likely just use their paperwork to requisition resources rather than spending coin. Not quite a credit card, but a fair emulation.

The simplest part was that 400AD Roman Gaul or Roman Hispania did not declare war on Roman Brittania. The threats were from non-romans.

In the medieval world that trip is still feasible but more fraught with peril. The numerous kingdoms that the empire collapsed into meant it was likely some kind of war was always going on, creating the risk of privateers/pirates. Travelers had to carry actual gold as they couldn't rely on papers drawn up a thousand miles away to provide food, shelter and transport.

And of course, the ship you sailed on could be flagged by a kingdom now at war with someone else, which you didn't know when you left. Heck, your ship could throw over to another kingdom, seeing an opportunity, and you become a prisoner or slave.

Mutiny wasn't as much of a risk in 400AD. In part because the difference between being attached to Roman Gaul or Roman Hispania or Roman Brittania was moot as it was still "roman" and because Rome didn't take mutiny lightly and would kill 10% of muntineers (origin of "decimation") or maybe banish them all.

So medieval is pretty much post apocalyptic. Its more post-post, as most regions have several decades or maybe a century or two of stability. But it still uses the language of the rome (latin) as the "learned tongue".

After the Renaissance, modern languages become the languages of knowledge.

 

[Dr. Bull]

My opinion of this set up is going to depend entirely on how you utilize mental illness in your campaign - have you put mechanics around different psychological conditions as defined by DSM/ICD or is 'crazy' just an excuse for 'do bad things'?

Theres a reason Last of Us and similar movies have gone with fictional zombie viruses (28 Days later does Rage virus)

Tonguez:
I didn't include this in the post, but yes I have a system for the mental disorders. I am a social scientist with a strong background in psychology. My doctoral dissertation focused on Cognitive Behavioral Theory.
- Dr. Bull