In this review, I tell you about Prism, a role-playing game in which you will play characters trying to survive in a dystopian world.

The game was created by Fumble GDR and distributed in Italy by MS Edizioni, which we thank for sending us a copy for review. We advise you to follow them on their Facebook, Instagram pages and on the site to stay up to date on new projects.

If you are interested in buying, you can find the bundle including the basic manual (both in physical and digital versions) and tokens for 60 euros on the official MS Edizioni store. Otherwise, it is possible to buy, always in the store, the only manual (in the physical and digital versions) for 45 euros. Alternatively, you can find the only digital version for 20 euros here. We remind you of the possibility of using our code NoDiceUnrolled10 during purchase to get a 10% discount.

Review of the Structural and Graphic Aspects of Prism

Let’s start by setting the record straight: from a structural, artistic and information organisation point of view, Prism is a rare gem.

The manual is organized into 8 thematic and independent chapters, characterized by clear and simple writing; we find great use of bulleted lists and other precautions that make the comprehension of the text immediate. A peculiar point in favour is that each chapter is introduced by a sentence that summarizes it, so as to be immediately clear about what will be addressed.

Another great strength is the many examples and suggestions present, which are certainly of help to the most novices. In this regard, on YouTube, you can find a playlist (only in Italian) containing a video dedicated to each chapter.

But the real highlight is the graphic aspect of the manual. We are faced with a job done masterfully; thanks to the use of colours, and bold and highlighted words, it becomes quite easy to read the manual. For example, fundamental information is placed on a dark background, while those on a light background are examples and suggestions.

From an artistic point of view, the manual is made divinely, with truly inspired and intriguing illustrations; moreover, the entire manual is very consistent in style, returning a truly satisfying sense of completeness and continuity.

Define a World with Questions

In Prism we do not have a precise setting, but each game group will have to create their own or adapt existing ones. This will be done by defining Key Elements through various questions.

Key elements:

• Luogo (Place): the geographical space where the story will begin.
• Minaccia (Threat): the device that led the Authority to seize power.
• Autorità (Authority): whoever governs the Place, can be a single person, an organization, a regime or more.
• Conformi (Compliant): those who have accepted the dictates of the Authority.
• Anomalie (Anomalies): all the elements that do not want or can not submit to the Authority.

The first strength of this creation is the presence, for each Key Element, of a paragraph in which we are explained why it is an important concept in dystopian fiction.

To this are added the questions to deepen the Key Element, all punctual and perfectly themed; thanks to them it is possible to create a lively and intriguing setting involving the entire game group.

A further point in favor is the presence of many examples of answers for each question, so as to help less creative groups. In addition, at the end of the chapter we find three sample environments that can be used to start playing immediately.

The Roles in Prism

In Prism we do not have the classic division between Players and Storyteller, as the latter does not even exist; this is because the goal is to tell a story all together, without unloading that weight only on one component of the table.

There are two Roles, Distopia (Dystopia) and Anomalia (Anomaly); each of these has the task of telling different elements of the story. The first will tell and interpret NPCs, elements of dystopia and much more; it will also decide the scope and danger of the objectives of the Anomalie (Anomalies). Those who interpret an Anomalia (Anomaly), on the other hand, will tell of people and/or factions that do not comply with the rules of the Authority. One of the major differences between the two roles is that Distopia (Dystopia) has a wide capacity to intervene on the macro (wide-ranging elements) but less on the micro (specific elements); instead, Anomalie (Anomalies) operate much more on the micro than on the macro.

So, as much as the role of Distopia (Dystopia) is similar to that of the traditional Storyteller, in Prism this Role can be played both by several people and by only one. This use of the Roles allows you to have stories with different focuses; the manual is very careful to present these balances, highlighting the strengths and weaknesses of each.

Review of Anomalies in Prism

 In Prism the Anomalies are those who, by getting involved, will challenge the Authority.

The mechanics of creating Anomalies are really fast and very engaging; you start by choosing the name and the fundamental concept. The concepts can be varied and allow you to play many different characters; it goes from the revolutionary to the person who happened to happen to be in an uncomfortable situation.

Once this is done, we will have to decide on the Tratti (Traits) of our Anomaly; they are words or short sentences that describe the strengths and characteristics of the Anomalies. The manual itself leaves complete freedom to players on the Strokes, so much so that they can also be drawings, symbols or colours; as long as they have a meaning and can be put into play.

The last thing to mark on the card is Avversità (Adversity), an element that afflicts the Anomaly and that can put it in trouble. This will be an important element because it will become a danger with which our Anomaly will constantly have to collide.

The Turning Point System

When an Anomaly has a goal that goes against the motives of Dystopia, then a Punto di Svolta (Turning Point) must be made.

The chapter that explains the system breaks down the whole process and explains it in a simple but profound way. All the elements, advice and indications on the course are presented; there is also an useful example.

The system is very light and simple; basically, it consists of extracting the inserted Labels from a bag and deciding how to bring them into play. By Labels we mean the Traits, the Adversities and the Fear (Paura) and Danger (Pericolo) tokens.

At the beginning of each Turning Point, the Dystopia will decree how many traits need to be put into play to achieve the goal (from 1 to 4). Then it will be necessary to determine how many Hazard markers to insert in the bag; they can be from 1 to 4 depending on how many risks the action involves. You have to be careful because every Danger marker extracted will become a new Adversity.

Finally, the Anomaly player inserts how many Traits and Adversities they want in the bag and also a number of Fear tokens ranging from 0 to 3; each Fear token extracted will lead to the creation of a new Trait for the PG, but does not contribute to achieving the goal.

When putting Traits and Adversities in the bag, if you extract a Trait not inherent to the situation, it cannot be used to achieve the goal. There are always 3 Traits that are extracted; however, the Anomaly may risk extracting from 1 to 3 additional labels. This action will leave a Mark on the character and once the 4 Marks are reached, it will be withdrawn from the story.

Review of the Last Chapters of Prism

The manual closes with two very important chapters for conducting the sessions.

First, we find the chapter Collaborate, which illustrates tools and techniques to improve group collaboration and build a story that its members can enjoy; all techniques are illustrated in a simple and effective way. Obviously, as in the rest of the manual, we have various examples that will surely help novice groups to enjoy the sessions even more.

Lastly, we have a chapter dedicated to real management. This, in my opinion, is the most appropriate point of the manual because the management is treated in a capillary way, going to analyze it in its simplest components; questions are proposed to be asked to create initial and final situations, suggestions and examples on how to show and make the internal conflicts of the game live and finally all the pros and cons of different types of management are illustrated.

Another great value of the manual is the Scenes, that is, real printable cards that represent typical situations of dystopian fiction. They are perfect tools both for improvising and for setting up a session; all the Scenes present have a small summary of the same, specific questions to develop the main elements, various examples and an indicator of their most suitable use (introduction, development or epilogue of the story). Moreover, being a tool detached from the system, they can also be used in other contexts.

Prism Review Conclusion

To conclude this review of Prism, I can say that the game is a product made in a truly sublime and spectacular way; its great strength is the graphics sector, but also the organization and writing of information, truly functional and easy to follow; to this are added the many examples that can help both beginners and more navigated players.

All this is related by a very simple system, but which allows you to create engaging and deep dystopian narratives; the regulation is in fact perfectly linked to the type of story you want to tell. For these reasons, I recommend Prism to all dystopian enthusiasts and those who want to approach this genre.

Anomalies, be ready to face your fears and explore dystopia!

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