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The fantastically fun social deduction game
Blood on the
Clocktower is still in prototype, expected to release
in early to mid 2022. But some of us can't wait!
Fortunately for eager fans,
the Pandemonium
Institute has announced they are happy for anyone to use
do-it-yourself resources to make the physical game (called a
“Grimoire”, the box loaded up with all components) provided we
don't sell anything and don't use it for automated games.
Here is my current set of documents for printing DIY Blood on the
Clocktower components. All this work is my adaptation of art and
text © 2014–2021 Steven Medway and Pandemonium Institute.
This is intended to supplement official resources found via the
Blood on the
Clocktower site. I don't consider this to be a print-and-play
suitable game; these are for only some of the game components.
Grimoire box
You'll need a large, sturdy box for the Grimoire. I've
up-cycled an unwanted game that has a good deep rectangular box;
this document is custom shaped to that. Print on single-sided A3
paper, and apply these panels to all exterior surfaces of the
lid and tray. I then cover all that with protective
adhesive-backed transparent film.
Component boxes
There are so many components in this game it is wise to keep
them organised into smaller containers, both for storage and
during play.
Each edition gets a long box for its tokens (character,
marker). There is an extra “Storyteller box” for the general
components for Town Square (life token, vote token, name label),
Grimoire (death shroud, information card, reminder token) and
Fabled tokens (character, marker).
Print single-sided onto A3 paper, glue panels to each side of
sturdy card (make sure to line up each side exactly), then cut,
fold, and glue to form the boxes. These are sized to fit inside
my custom Grimoire box.
A set of modular separators divide each long box into sections.
Print the dividers onto thick card, cut and fold, and glue at
the marked positions in the base of each box.
- Component boxes
for general components and each base edition (7.8MiB, PDF)
(2020-04-191)
Character tokens
The web images are a good start, but are optimised for display
on a pixel device, not printing to paper. The resolution is low,
there's a useless shadow, the text is blurry, etc.
I've made these high-resolution tokens, rendered the icons, no
shadow, and a more readable font. 47mm diameter tokens. Pages
are A4 size.
Grimoire tokens
All the tokens for the Grimoire (except characters): ability
markers, alignment markers, info cards, death shrouds, night
reminders.
A track to show the current day or night phase, by number.
Two large cards (or one card double-sided) to declare, and pose
for photos, which team won the game.
The 12 information card faces can be made single-sided (12
cards) or glued back to back double-sided (6 cards).
A brochure-like promotional card with a little detail about the
game, to show to curious onlookers while a game is in progress.
Town Square
I use a Town Square sized for the specific game board that I
cannibalised; you may find it useful, but you also might want to
re-size it.
The document is designed for a folding two-panel board. The
front panels show the Town Square and a table of Character
Counts for reference during the game. The rear panels show an
overview of the game.
Reference
Rules explanation and setup
One-page rules explanation, in two variants.
- First-person variant: The Storyteller reads the
explanation aloud to the group. The second page is a
bullet-point checklist of steps to set up the game from the
beginning.
- Third-person variant: A delegated assistant player reads
the explanation aloud to the group. The second page is a
reference sheet of Travellers and Character counts, to
display under the Town Square.
A4, print two double-sided sheets for laminating.
When teaching the game these days, I use a rules explanation
that differs in some places. See a detailed discussion
of my custom rules explanation for the game.
Character reference and night sheet
Character reference and night sheet, double-sided in a single
document.
One document per edition:
Travellers and Fabled
Reference sheet for all Travellers and Fabled. Two pages, or
print double-sided for a single sheet to laminate for everyone's
use.
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The boundaries between professional entertainment and social media have dissolved. Users no longer just watch media; they participate in it.
To appreciate the chaos of today’s media diet, we must first look back at its orderly past. For most of the 20th century, entertainment was a affair. www.sexxxx.inbai.com
Traditional gatekeepers have been largely bypassed as cultural authority moves toward niche communities and independent creators. Global Media Journal Creators as Business Partners
"Because popular media tells you what to feel," the lead Archivist replied. "Stories tell you who you are." The Final Broadcast The first domino fell with the remote control
The ubiquity of entertainment content yields profound psychological, political, and social effects:
As the boundaries between gaming, social media, and traditional filmmaking continue to dissolve, the industry will demand cross-platform agility. Creators and media companies will no longer build standalone products; they will construct expansive, interactive narrative universes that consumers can watch, play, discuss, and modify. To appreciate the chaos of today’s media diet,
The financial foundation of popular media relies heavily on two primary structures. The subscription video-on-demand (SVOD) model prioritizes subscriber retention through exclusive, high-value intellectual property. Conversely, the ad-supported video-on-demand (AVOD) and social media models prioritize sheer volume and watch time, monetizing user attention directly through targeted advertising. The Creator Economy
Are there specific or subtopics you need included?
With the rise of Netflix, Disney+, Max, and Apple TV+, the demand for original content has exploded. To keep subscribers from canceling, platforms must release a staggering volume of new material. This has led to the "content treadmill"—a brutal cycle where shows are often canceled after two seasons not because they are bad, but because they don't bring in enough new subscribers. Quantity often trumps quality, leading to the phenomenon of "algorithmic content"—shows designed by data points (e.g., "a flawed detective in a snowy setting with a 85% binge completion rate").
The broadcast lasted only seconds before the "Content Guardians" scrubbed it, replacing it with a bright, loud advertisement for a new sensory-emersion gaming chair. But for Elias, the spell was broken. He realized that the everyone consumed was a velvet curtain drawn over a decaying world. The Search for Authenticity
The first domino fell with the remote control. The second, more decisively, with the DVR. But the real earthquake was streaming. Netflix, initially a DVD-by-mail coda to Blockbuster, realized that the internet could kill two sacred cows: the linear schedule and the commercial pod.
The boundaries between professional entertainment and social media have dissolved. Users no longer just watch media; they participate in it.
To appreciate the chaos of today’s media diet, we must first look back at its orderly past. For most of the 20th century, entertainment was a affair.
Traditional gatekeepers have been largely bypassed as cultural authority moves toward niche communities and independent creators. Global Media Journal Creators as Business Partners
"Because popular media tells you what to feel," the lead Archivist replied. "Stories tell you who you are." The Final Broadcast
The ubiquity of entertainment content yields profound psychological, political, and social effects:
As the boundaries between gaming, social media, and traditional filmmaking continue to dissolve, the industry will demand cross-platform agility. Creators and media companies will no longer build standalone products; they will construct expansive, interactive narrative universes that consumers can watch, play, discuss, and modify.
The financial foundation of popular media relies heavily on two primary structures. The subscription video-on-demand (SVOD) model prioritizes subscriber retention through exclusive, high-value intellectual property. Conversely, the ad-supported video-on-demand (AVOD) and social media models prioritize sheer volume and watch time, monetizing user attention directly through targeted advertising. The Creator Economy
Are there specific or subtopics you need included?
With the rise of Netflix, Disney+, Max, and Apple TV+, the demand for original content has exploded. To keep subscribers from canceling, platforms must release a staggering volume of new material. This has led to the "content treadmill"—a brutal cycle where shows are often canceled after two seasons not because they are bad, but because they don't bring in enough new subscribers. Quantity often trumps quality, leading to the phenomenon of "algorithmic content"—shows designed by data points (e.g., "a flawed detective in a snowy setting with a 85% binge completion rate").
The broadcast lasted only seconds before the "Content Guardians" scrubbed it, replacing it with a bright, loud advertisement for a new sensory-emersion gaming chair. But for Elias, the spell was broken. He realized that the everyone consumed was a velvet curtain drawn over a decaying world. The Search for Authenticity