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lzintzi~v Game~ unlimited inc.

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P.0.Box162
H.~Iyn, R:Y. ~1576
 U. S o COPYRIGHT NOTICE

Copyright 1976 Roy Goodman

All rights in this book are reservedo No part
of the book may be used or reproduced in any
manner whatsoever without permission , except
in case of brief quotations embodied in critical
articles or reviews .
For infoJ:mation contact Fantasy Games Unlimited , Inc o

Cover art and illustration s by Roy Go ~renkel

 iii

o o o The scribe hunched his knees up ,

almost to his thin chest , and stared into
the fire o Perching on the edge of a log ,
dwarfed by the men on either side of him ,
he looked like a small bird ready to dart
away at the snap of a twig . "We know
they have the tali sman somewhere in the
castle , " he said mi serably , "but we don 9 t
know where , and nobody has ever come out
alive to tell us what the inside is likeo
Every door . could be a trapq and it 8 s
anybody's guess as to how many guards
there areu or what kind . "
He surveyed his companions, picked men
from every corner of the kingdom. Two of
the King vs Foresters were· there in their
dark green cloaks, and a pair of veterans
from the regular army . The Palace Guard
had supplied a small group of splendidly
attired men at arms , including their
captain ,· whose hair and beard almost
matched the white fur collar of his ma-
genta cloak . One man wore civilian
clothes; none knew who he had been before
he came to settle as a farmer, and none
asked , but he had heard the Kingvs summons
and he was there with a sword and light
armor of distinctly Eastern style . A
young prince rested his helmet on one
heavily brocaded knee; firelight buried
·i tself in the blackened iron of his helmet
and danced off the inlaid traceries of
goldo At the outer reaches of the fire-
light squatted a huge , burly man known to
none of them but sent along by the King.
He wore bedraggl ed furs and a coat of mail
that had clearly been battered close to
destruction in a dozen spots and repaired
by the craftsmen of as many countries o
The men nudged each other, trying to identify the origin of his
sword, shield, and double-bladed fighting axe . Though the
equipment stirred vague memories in the older men, not one
could place it with certainty.
A wizard was also part of the group, and his voice rang hollowly
from inside the hood that concealed his face. "All 0£ the ap-
proaches to the castle are controlled by the army, but without
the talisman, it'll be all I can do to get a few men in or out
 iv

the main entrance. Once you're inside • •• • he let the

thought trail off , then rested his staff against his thigh and
made a pal.JDs-up gesture of powerlessness. 'l'hen he quickly
grasped the staff again.
•You don't have to go,• the scribe said, •The King made it very
clear that he wanted only volunteers, that there weuld be no
shame in refusing. If you go, some of you will die, perhaps
moat of you. You may all die without recoveriDCJ the talisman.•
There was a aoft scraping of steel on steel as one of the :men
loosened his sword in its scabbard. It was the youngest of the
group, a Porester whose unstained cloak indicated recent induc-
tion into the corps. When all eyes were on him, he shrugged
with elaborate unconcern and cocked his head towards the for-
boding castle.
One by one the men stood and left the clearing.
 v

CONTENTS
Page
Background Story iii
Scenario Outline 1

Mechanics of Play 4

Types of Figures 5

Combat 6

Figures and Uniform Colors 9

Additional Scenarios 12
Sequence of Play 13
 1

Citadel is a quest game based on a situation familiar in

fantasy o The forces of evil have a talisman of some power and
importance hidden in their stronghold , and the forces of good
attempt to capture it o The game has three phases . In the
first the forces of evil (henceforth known as villains) plan
the stronghold and organize their forces to protect the talis-
man o In the second , the fo rces of good (heroes) attempt to
locate the talismano In the third , the heroes attempt to escape
with the talisman o
Citadel pr esumes high levels of altruism on t he part of the
heroeso Significant losses are virtually mandatory in attempt-
ing to map out the stronghold , locate and neutralize its de-
fenses, and f inally capture the talismano
Individual combat, whe re it occurs , has been drastically simpli-
fied, because this i s not t he main emphasis of the gameo
Players wishing more ndetail" are f ree to adapt any suitable
set of rules, such as Hugh McGowan°s Gladiatorso
PHASE I: The stronghold has six levels, each represented by a
small board of SxS squares {supplied)o As part of the structure
the villain must emplace doorwayso One is the entrance/exit,
leading to the outside world where the heroes may assemble
freely and through which they hope to escape with the talismano
It may be open onto any square of the strongholdo In addition ,
there must be two entrances and two exits on each floor , these
may be l way or 2 way doorwayso Note t hat this means at least
12 squares will be devoted to doorways, as each doorway has two
tenninio Each level must have at least two doorways leading to
it and two doorways leading out of ito Constraints of three-
dimensionality need not apply to the doorways: they are more
teleportation devices than actual doors or stairwayso Each
l evel must be accessible from the entrance/exit , though the
path to a given level may include every other levelo
The villain has several defenses to protect the talisman~

Mons t e rs include trolls, ogres, dragons, and other unpleasant

creatures, as well as evil swordsmeno They lurk about the
stronghold ready to f ight any heroes they encountero
Pitfalls inflict a wound on a hero unfortunate enough to step
in one , or on a monster who can be forced into one as a result
of combato
 2

Sinkholes result in immediate destruction for any hero or

monster who falls into one o

Finally , of course , the villain must place the talisman o

On each levelu the nature of all doors, monsters , obstaclesu
and the . talisman is concealed o The heroes know that a given
square contains somethins but they donvt know what it is until
one of their number explores it or one of their enemies is
forced into it o Thus investigation of a given square may re-
sult in immediate destruction , activation of a monster , imme-
diate transportation to another level (by a two- way door or
the entrance of a one-way door ; on hitting the exit of a one-
way door the figure "bounces" with no movement or damageo The
level on which the door originates is not revealed in this
caseo) It may result in nothing as, in addition to his defenses,
the villain emplaces dummy counters to keep the game interesting o
All of this is carried out by placing the enclosed markers
(which must be cut apart-- sorry about that) face down on the
floor plans. When the identity of the contents of a square is
revealed, the marker is flipped over . This also serves to mark
the locations of doors, pitfalls, and sinkholes. In placing
defenses, every marker must be accessible from every square on
a given level without going through other markers . Otherwise
 3

it would be possible to place the talisman at the end of a nar-

row corridor and block the corridor with a sinkhole, in which
case there would be no point in playing. Door markers work as
indicated in the diagram to follow.

20
Doorway to Doorway from Doorway to TALISMAN AMULET
~~15 ~~12 and from
level 1

When planning his defenses , the villain is best advised to

take a sheet of scrap paper and diagram the connections among
the various levelso Note that the door markers provided indi-
cate the destination or origin and whether the door is two way
or one way (and in which direction) . It is advised that the
v illain sketch his doorway plan on scrap paper to be sure that
each floor has two entrances and two exits and is somehow ac-
cessible to the floor containing the entrance/exit markero
Note that when a hero discovers the exit of a one-way doorway,
the location of the entrance need not be revealedo
PHASE 2: The entrance/exit- is revealed ; all other counters
remain concealedo Up to three heroes enter through the entrance
and begin to explore the first level o They may meet destruc-
tion , or activate and kill monsters , or may be transported to
other levels and explore thoseo As these heroes are killed ,
others may enter (as many as five may be inside the stronghold
at one time during this phase) until all available heroes have
been killed, in which case we chalk one up for the forces of
darkness , or until the talisman is discovered , in which case we
reach phase three o
PHASE 3 : All surviving heroes may enter the stronghold. All
monsters may emerge from their hiding places, subject to the
discretion of the villain, who may wish to leave some concealed
to create confusion. The game now assumes the aspects of a
battle as the heroes try to exit the s tronghold with the tal i s~ .
ma.no

Play takes place in sequential t urns , first the hero and t~en
the villaino With one exception , movement pr ecedes comba to
Movement is between directly, not diagonall y, adjacent squareso
Fiqu.r es may move in any direction 0 but only one may occupy a
s quare at the end of xuovement o Both termini of doorways are
considere d to occupy t he s ame space , s o that a f igure proceed-
ing through a door expends one movement point to enter it but
is then transporte d to another level and continues moving from
~he location of the door on that levelo

Heroes move first o To e xplore mystery markersu a hero figure

is advanced to a s quare adjacent to the marker and his inten-
tion to enter/exam ine it is announcedo Markers are not turned
over until after all movement is completedv so that movement
cannot be changed on the basis of discoverie so 1.ihe· doors 0
1

monstersq or obstacles then take effecto

Combat takes place at the end of movemento Each f iqure has a
.zone of control extending into the four directl y adjacent
squar.e s (where not blocked by walls) and an opposing figur.e be~·
ginning his turn in such a zone of control may not move (with-
ou~ disengagi ng; .this will be described under combato) In t.he
combat phaseu all figures must fight all opposing figures in
their zones ·of controlo The one exception to this is that a
newly discovere d monsterq .during the combat phase of the hero
t urn i n which it was discovered u fights only the he ro who dis-
covered i t o Howeveru should a monster be surrounde d prior to
discoveryu it will have to fight more than one hero during the
villain°s j:urno
Monsters have a zone of control only after they have been acti-
vated u either by a hero e xploring their square or voluntari ly
in phase 3o
 5

All heroes may move up to five

squares per turno Their combat
strengths may range from 25 to 40 0
and in addition 0 the player is al- ·
lowed one hero with a combat
strength of ·soo This is Conan 0 or
Beowulf, or any favorite hero .and
players will quickly discover that
it pays to keep him ·healthy until
neededo
Monsters are of three typeso
Swordsmen may move up to five
squares per turno They have the
characteristic that if they kill
a hero who is carrying the talis-
mano they can pick up the talisman ·
and move. with it~ other monsters
must leave it where it fallso
Howeveru swordsmen are overly con-
cerned about their own skins 0 and
when fighting more than one oppo-
nent0 they must go on full defens-
iveo
Near-humans include trolls 0 orcs 0
ogres 0 and the likeo . They may
move up to four squares per turno
All combat options are open to
themo
Non-humans include dragons 0 giant bears, and unsuccessful
chemistry experimentso They may move up to three squares per
turn.o When fighting more than one enemy 0 they may not divide
their attention and must attack and def end against only one
enemyo
Combat strengths of monsters range from 25 to 40 0 with one non-
human having a strength of SOo It is the villain who deter-
mines the number of combat points to be used; this is the total
in points of all monsters 0 strengths 0 plus five for each pit-
fall (up to three may be used) and ten for each sinkhole (up to
 6

two must be used)o

35 40. P!fr~
~-
25 Point
R
35 Point
m '

40 Point
.
i@llR
Pitfall
~Il~
Sink Hole
human near-htiman non-human

When he has finished designing his defenses v the villain an-

nounces how many points he has used, with a range of 350-450
being recommendedo The hero must then decide how many hero
figures he will use , and of what strengths v with the total
being equal to the villain°s points o
When planning their forcesv both villain and hero should make
out a r oster indicating the strength of each monster or hero
and the figu~e which will be usedo (It is reconunended that the
same figure be used consistently for the same strength$ a dwarf
that you 0 ve painted up especially well might be a 40-point hero
while a spearman might be worth 250) Of course if you have
more "characters 1' 1nvolved than figures available v figures can
be ''recycled 09 as they are killed off o
One very important function of the r oster is that wounds can be
recorded for all characterso An alternative requiring less
·paperwork v but probably more cumbersome in the long runv is to
use "casualty capso"

All combat is hand- to-hand (occurrence is described under

Mechanics Of Play)o Each figure has a given combat strength
and a durability of 6 wounds , except that the most powerful
monster has a durability of 8 wounds o On accumulating half
 7

- their wound allowanceu f i gures are considered to be badly hurt

and have their combat strength reduced 50% , and on reaching
their full wound allowance they dieo
In normal combat each f i gure has a chance to wound the other o
Combat is resolved in the following manner o Each p layer adds
the enemy figure 0 s combat strength to 60 8 then subtracts his
figure 0 s combat strength from the resulto Each winds up with a
number that will be higher than 60 for the weaker figureu lower
for the stronger, or 60 in the event of two equal figure s fight-
ingo Each player then r olls percentage dice and compares the
die rol l to h~s nwnbero If the roll is lower or equalu no
wound is inflictedo If i t exceeds the number by 1 to 20u 1
wound is inflicted 8 21 to 40 inflicts 2 wounds u 41 to 60 causes
3 wounds, and so on o
Normally each figure both attacks and de fends a t his rat ed com-
bat strengtho Howeveru players may elect to modify theseo A
figure may defend with 150% of rated combat strength (or combat
strengt h as reduced by wounds) and attack at Oo Note that this
still l eaves some chance of i nflicting a wound o A figure--any
f igure--on full defense against a 25 point figure would have to
roll 86 or higher to inflict a woUA,do Alternativel y, a figure
may attack with 150% of combat strength and defend at Oo Note
again that this does not leave the figure completely defense-
less u though this is a good way to get hurt o
When faced with two or more· opponents , a figure may divide its
offense and defense strength between or among them independently
and in any proportiono This option does not apply to non-humansu
which must concentrate on one opponentu attacking and defending
against others at Oo Aslo note that a situation like t his
forces evil swordsmen to fight fully on the defensiveo
Individual encounters will usually last more than one turno The
end of a pair of die rolls {which may leave one or both charac-
ters wounded} leaves the t wo figures in contacto If one player
succeeds in i nflicting more wounds than he receivesv he has the
option of retreati ng the other figure in any direction and ad-
vancing his figure into the square previously occupied by the
opponento When the losing figure stands directly between the
winn i ng figure and a wall , the winner had the option of backing
him into the wall and forcing him to fight (r epeat the die
rol ls) one more timeo Of course if the first die roll has
driven a figure to half strength , he fights the second die roll
with this handicap . When retreat carries a figure into a
mystery square , the result has its normal effect : pitfalls
wound, sinkholes kill, doors transport . When a figure is re-
treated into another figure, either on the board or a concealed
 8

monster, the result depends on the retreating figure .

When a figure is retreated into one of its allies, the victor
of the combat does not advance . Rather the retreating figure
changes squares with the figure behind it, and that figure
fights one pair of die rolls with the original victor . (Neither
one may retreat the other as a result of this second exchange.)
When a figure is retreated into an enemy, it must fight that
enemy . There is no advance or retreat as a result of this,
either .
At the beginning of a player's turn, he may elect to break off
contact. His figure may move its full movement allowance and
fight at its destination, but first it must disengage; this
entails fighting one round of melee, defending at normal
strength but attacking at 0.
Obviously situations
can get complicated when
more than two figures
are involved in a fight
--theoretically almost
an entire level could
be filled with figures ,
all involved in poten-
tially interlocking at-
tacks . Even in one to
one situations , it may
be importan~ that the
enemy not know in ad-
vance whether one will
fight normally or go on
full attack or defense.
In any combat, either
player can demand that
both players write out
how their figures are
attacking, and whom, the
choices to be revealed
simult aneously . In
interlocking combat , all
attacks are considered
to be simultaneous, so that a figure reduced to half strength
is not weakened for that round of die rolls .
 9

The easiest force to equip in 25mm figures is the heroeso

Mailed warriors with swordsu spearsu or axesu Elves, dwarves 8
Nordic types (Vikings)u rustics dressed only in a loincloth--
all are adaptableo 'The largest range comes from Miniature
Figures (Minifigs) and their best efforts are probably the
Swords and Sorcery rangeo This includes a number of rank and
file with swords and spearso Similar figures appear in their
Mythical ·Earth range, including at least two, #43 and #49 8 with
cloaks over their mail1 this is a feature that paints up very
nicelyu especially if you take the time to do a little shadingo
The dwarves in this range are quite good 8 the elves only fairo
Suitable models are also available from Custom Cast in the
Kriegspielers Fantastiques lineo They have a very doughty
dwarf 8 an elf with hooded cloak and bowu and a gent in bizarre
layered armor and puffy turban~ this last can join the forces
of evil if supplies are tighto The Custom Cast figures have
excellent detail and are a trifle larger than 25mm 8 which makes
them easier to painto Ancient. or Medieval figures can also be
used, such as those from Hinchclyffe/Heritage Modelso
Villains are a trifle harder to find but more fun to pai nt o
Non-humans can be represented by Minifigs 0 great ape, slimemanu
and their giant snake 8 which is an absolute musto The choice
of semi-humans is much wider and includes ogresu trollsu a
cyclops, and from the Mythical Earth range some disappoi nting
goblins, vigorously animated orcsu a frog- like individual
(Gollum) and another absolute mustu their warg rideru his wolf
complete with tongue han-ging outo Swordsmen are a bit of a
problem; I envision them as lisping 8 nasty, elegant fellows,
dressed in fantastic costumes and disdaining shields in favor
of daggers, left-hand swordsu or their richly embroidered
cloaks. Unfortunately 8 I have yet to see figures that fit the
picture, but you might adapt Napoleonic Marshalls or English
Civil War/Renaissance officerso We 0 ve been using fully armored
knights; it spoils the effeminate image but conveys the idea
that these fellows have an undue concern for their own skins.
One figure from Custom Cast that is quite usabl.e is wielding an
odd flail with three balls at the end (no, he's not a pawn-
broker!) Additional monster types can be found in Heritage
Models Earth of Olde Range.
 10

Heroes dress in simple colors such as earthy browns o dark

greens 0 and some dull reds or blues, or they may wear off-white
linen with dark trimo Metals used are for the most part brass
and steel , but they are not without vanity and wear some gold
and silver o ·
Semi- humans dress mostly i n hand- me- downs and motheaten animal
pelts o Try nondescript grays and browns , or add gray or brown
to dull other colors o Metals used are ·steel and br ass , but
these receive very little maintenance and should have touche s
of r ed- brown rus t or greenis h ox idati on o In the c ourse of t heir
vil lai nous careers these monsters may have acquir ed gol d and
silver ornaments 0 which of course remain bright o
Swordsmen are pure fantasy in t heir dr esso Try sea greeno
c r ims on, sky blue , l avende r, b l ack, lime green 0 violet , pure
whi t e , or dark blueo Us e of gol d and silve r t rim is lavisho
All slings and crossbelts are of course richly colored and
edged with gold or s ilve r 0 whe reas he roe s would have t heirs in
"organic" nat ural l e a the r t oneso Colored boots give an espe-
cial l y interesting a ppe aranceo In the Napoleonic era 0 f oppish
Hussar officers often had dark r ed boots made up 0 but swordsmen
c a n wear blue 0 green 0 etc o
A few t i ps:
The number o f figure s required t o play Citadel is far less than
that required to hold a flank in even a small battle gameo
Therefore remember that you 0 re painting individual figure s, not
cannon fodder 0 and paint them righto This means that you begin
by taking a small fi l e and a knif e (I use a surgeonus scalpel
with a *15 blade) and removing all extraneous metal 0 mold linesv
etco It takes about f ive minutes per figure and adds i mmeasur-
ably to the appearance o Shoot the works when painting~ thi.s
me a ns shading 0 highlighting, and painting in eyes and mouthso
Itu11 take you two or t hree evenings t o paint up a complete seto
and youu11 have some figures to be proud ofo Besi des 0 it 0 s funo
Adding small amounts of white to most coiors dulls them and can
make them look deado Black with a trace of white is especially
effective for the hair o f a monstero
There are off- whites ·and off- whiteso Shading with ochre gives
an honest 0 natural effec t o Dark brown (in s mall proporti ons)
give s a dull, dusty l ooko Whi te shaded with pure gray c an be
very e leganto Yellowv blue, or even r e d shading will give a
pure fantasy effect suitable f or a swordsmano
 11

Adding metallics to solids give a very realistic silk effect.

Highlight with the metallic, shade with the solid. Crimson
with gold makes a lovely rose . When painting your giant snake ,
add some gold to the green for scales.

Small details add a lot. Pa.inting leopard spots (which are

actually circles) on the pelt worn by Minifigs' cyclops takes
only a few minutes but makes a big difference. Similarly, be
sure to paint the Warg's teeth white and his· tongue pink.

toose, flowing garments with many folds are best shaded in

multiple colors. For example a Memluk's crimson charoul would
have scarlet in soroe highlights, red-brown ·and red-purple in
some shadows.

The percentage dice needed to play Citadel are available from

any of the three following distributors :

1. Custom Cast
Independence Square
57 South Main Street
Dayton , Ohio 45459

2" Lou Zocchi

1513 Newton Drive
Biloxi, Miss. 39532

3. Sky Books International

48 E. 50th Street
New York, N. Y. loq22

P'i gures are available from:

1. Miniature Figurines Ltd. 4. McEwan Miniatures

P. o. Box P 380 "D" Street
Pine Plains, N. Y. 12567 Salt Lake City, Utah
84103
2. Custom Cast
Independence Square 5. Ral Partha Enterprises
57 South Main Street 3642 Hyde Park Avenu·e
Dayton, Ohio 45459 Cincinnati, Ohio 45208

3. Heritage Models, Inc . 6. Grenadier

2916 Blystone Lane 118 Lynbrooke
Dallas, Texas 75220 Springfield, Pa . 19064
 12

ltdditionnlkennl'io~

1. _There is a second talisman of lesser importance, known

as an amulet. The heroes win a minor victory if they can
escape with the amulet and have fewer .losses in points
than the villain, a major victory if they can escape with
the talisman, and a decisive victory. if they can escape
with both.
2. The talisman is of value only to the forces of evil and
can be destroyed only by casting it into the bowels of the
earth . (Any similarity between this scenario and a certain
trilogy by an author whose initials are J.R.R.T . is purely
intentional . ) The villain plays with only one sinkhole,
and to win the hero must discover the talisman and trans-
port it to this sinkhole.
 13

lo Heroes move
2o Newly explored markers are exposed and combat resolved
3o Either side that wins a round of combat has option of re-
treating opponent and forcing another round of combat
4o Forces of Evil move
5. Combat round
6. Combat caused by retreating figures in #5 is reso1ved
1
1
2
 2

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