Pinnacle Entertainment Next: 2004-Present

In the early ’00s, Pinnacle Entertainment reinvented themselves as the publisher not just of Deadlands, but of Savage Worlds. They’ve continued that reinvention ever since, and today are a successful publisher of the ’20s. This story picks up on page 291 of Designers & Dragons: The ’90s, following “The Great White Revival (2003-2005)” and Shane Hensley’s “Early Computer Days (2004-2009)”, with a look at Pinnacle’s licensing during the same time period.

Savage Licensees: 2004-Present

But first, there’s one more change that should be noted during the early years of the Pinnacle revival. Following their publication of the original Savage Worlds, Pinnacle began freely licensing their game system to other publishers. Hensley hadn’t been planning to do so, but he was asked enough times that he relented. However, after having watched Wizards of the Coast’s d20/OGL program quickly succumb to waves of poor-quality products, Hensley wanted to make sure that Savage Worlds didn’t suffer the same fate, so he required his initial approval for each company.

Dozens of companies would rise to Pinnacle’s challenge, from Gun Metal Games to Just Insert Imagination, from Dog House Rules to Modiphius. This was surely in part due to the adaptability of Pinnacle’s new, universal game system, but it was also due to the fact that Pinnacle was very welcoming to its licensees, spotlighting them on its web site and even giving them attention at Gen Con seminars. Some companies built their entire production around Savage Worlds while others produced just a couple of conversions.

A few of these licensees deserve some additional note, either for their success or for their tight connections to Pinnacle.

12 to Midnight, founded in 2003 by “three Texans”, began life as a publisher of d20 Modern supplements. Their products focused on horror in their setting of Pinebox, Texas, beginning with their ghost-hunting debut release, Last Rites of the Black Guard (2003). Hensley read that initial release and then encouraged them to become a Savage Worlds licensee. He’s since licensed their setting himself, resulting in their books being offered as an imprint of Pinnacle.

Reality Blurs, founded in 2004 by Sean Preston, was another very early licensee. Their first big hit was RunePunk (2006), a steampunk fantasy game, though they probably received more attention a few years later for Realms of Cthulhu (2010), a Savage Worlds Cthulhu Mythos game that was also licensed by Chaosium.

Savage Mojo got its start in 2001 as Talisman Studios, a graphic design and art studio that supported roleplaying publishers throughout the industry — including Pinnacle. Talisman’s Aaron “Ace” Acevedo thus did work for Pinnacles throughout the ’00s and remains their art director today. However, many other Talisman artists and designers also worked with Pinnacle, with one of their greatest successes being their support for Deadlands Reloaded. Around the same time, Talisman published their own premiere Savage Worlds release, the Shaintar Immortal Legends Player’s Guide (2005). Since then, the company’s interest in Savage Worlds has only increased, taking over their name in 2009 when Talisman became Savage Mojo, and eventually becoming their company’s system of choice. It’s now the foundation for the newest iteration of their genre-spanning game, Suzerain Legends (2018).

Triple Ace Games was founded in 2008 by Pinnacle writers Paul “Wiggy” Wade-Williams and Robin Elliot, who had worked on Necropolis, Slipstream, and The Savage World of Solomon Kane for Pinnacle. Their focus may be the most like Pinnacle’s including a variety of pulpish plot-point settings such as Sundered Skies (2008) and the updated Necropolis 2350 (2008). However, there’s no doubt that their biggest hit is Hellfrost (2008), a fantasy setting that’s been extensively supported.

All told, over 3,000 setting books, adventures, and other supplements have been produced for Savage Worlds, at least three-quarters of them by third-party publishers rather than Pinnacle proper. Some of those third-party products are impressive licenses, such as Battlefield Press’ Robotech: A Macross Saga (2020), while others are popular original settings such as Hellfrost or Blackwing Productions’ House of Terra (2020). Many more are generic toolkits, with fantasy add-ons being particularly popular.

Meanwhile, Pinnacle has sold over a million copies of Savage Worlds itself, across all editions. If GURPS was the universal rule system of the ’80s and ’90s and d20 the universal rule system of the ’00s, it’s quite possible that Savage Worlds has risen up to replace them in the ’10s and beyond. Pinnacle themselves embraced the universal nature of the game, not just with their many settings, but also with the mass-market publication of their old PDF Toolkits as print supplement for the Explorer’s rules. This began with the Fantasy Companion (2009), the Super Powers Companion (2010), and the Horror Companion (2011), and would provide a foundation for licensees to produce new settings in a variety of genres.

Pinnacle Reloaded: 2008-2018

There was another big change coming to Pinnacle, one that would reload the company yet again. In its early days, the rebooted Pinnacle built its business on short product lines — much like Margaret Weis Productions and much of the indie community did. Its catalog was wide, featuring many different setting books, but not particularly deep. In 2008, this would begin to change.

It started with a short adventure for Deadlands Reloaded called Coffin Rock (2008), something that hadn’t been seen for the one-shot products that previously comprised the catalog. However, The Flood (2009) was much more notable, because it was the first of four plot-point campaigns for Deadlands. The Last Sons (2010), Stone and a Hard Place (2015), and Good Intentions (2016) all followed. Around the time that Pinnacle produced The Last Sons, and shortly after the death of the Deadlands MMORPG, tabletop support for the line really took off: in 2010, Deadlands became Pinnacle’s best-supported setting for the first time since around 2001.

Pinnacle was also expanding their Weird West universe once more. Deadlands Hell on Earth: Reloaded (2012) returned to the second Deadlands setting, but Deadlands Noir (2012) was something entirely new: a fourth setting for the game — which meant that Pinnacle was for the first time going beyond their plans of the ’90s. It combined urban fantasy and noir with a new view point on the Deadlands universe, in 1935.

Deadlands Noir was more than just a new setting: it also was Pinnacle’s first experiment with crowdfunding. This let Pinnacle sell direct to its customers and also allowed them to expand internationally. Hensley would later say that crowdfunding rescued mid-sized roleplaying companies. Presumably, that included Pinnacle: though the company had been ramping back up for almost a decade now, the advent of Kickstarter was what allowed them to truly become healthy and grow again.

It’s saved the second and third tiers of our industry, primarily because it’s a warning to publishers who might have overprinted otherwise.

Shane Hensley, Interview, Player.it (June 2020)

Pinnacle would use Kickstarter for their larger projects over the next few years. This included some of the later plot-point campaigns for Deadlands, but also new releases of old settings. The company had already translated their d20 war setting to Savage Worlds with Weird Wars: Weird War II (2009), but now Kickstarter allowed the production of both Weird Wars Rome (2013) and Weird War I (2016). Pinnacle similarly rebooted their game of Victorian horror as Rippers Resurrected (2015).

Meanwhile, Pinnacle’s new focus on deeper product lines wasn’t deterring them from creating new worlds, continuing to build on the strength of Savage Worlds as a universal system. East Texas University (2014) was a game of collegiate horror that was produced in conjunction with 12 to Midnight, to expand their setting of Pinebox. The Last Parsec (2014) was a science-fiction setting of exploration and adventure, primarily the work of John Goff and Matthew Cutter. It was inspired by Hensley’s love for Star Frontiers (1982). He’d long been deterred from creating a science-fiction setting because he felt that hard SF was too limiting, that a Star Trek-like game didn’t have enough action, and that space opera had already been covered by Slipstream. But the vibe of Star Frontiers allowed him to create a game with a foundation of exploration and some hints of planetary romances — highlighting what he felt were the best parts of Star Trek and Star Wars.

There are a number of elements of note in Pinnacle’s use of Kickstarter:

First, it’s been extensive. In all, Pinnacle has used Kickstarter almost three times a year since they tested it out with Deadlands Noir. They’ve even frequently run simultaneous Kickstarters, to generate synergy.

Second, it’s been successful. Deadlands has done particularly well, with the Kickstarter for the 20^th Anniversary Edition Deadlands Classic (2016) being one of the top twenty roleplaying kickstarters for that year, raising over $180,000. That success has then been multiplied by the use of pledge managers after the Kickstarters, which often doubles Pinnacle’s sales, thanks to late backers and add-ons.

Third, it’s helped Pinnacle to support deep product lines. From the beginning, Pinnacle has often used Kickstarters to release a multitude of related products — a methodology also used by Evil Hat and others at the time. However, over time Pinnacle has moved from just kickstarting product lines focused on a core setting book to doing so for large supplements as well, such as the Stone and a Hard Place and Good Intentions plot-point campaigns, or even the There Comes a Reckoning (2017) release for Doomtown Reloaded — a new iteration of the classic CCG in a non-collectible format, initially released by AEG (2014), and then by Pine Box (2017).

In 2018, Pinnacle took another step forward by using Kickstarter to crowd-fund even smaller supplements. These “booster” Kickstarters, such as the one for The Last Parsec’s Irongate (2018), were becoming increasingly necessary due to the degrading state of the retail sector: they’d never reverted to carrying a wider selection of roleplaying lines following the rise and fall of d20 and often reported that products were not available from distribution, even when those distributors had been sent large orders. In fact, retail sales had gotten so bad that Hensley was finding it increasingly hard to release even small products without Kickstarter. (The products nonetheless still went into distribution following the Kickstarters.)

Kickstarter: It’s a blessing and a curse.

Shane Hensley, Interview, Fantasy Grounds Friday (March 2020)

Overall, the decade from 2008-2018 was one of great success for Pinnacle, with early years sometimes seeing a dozen publications, and that climbing as high as two dozen as Kickstarter brought the company back to full health. Deadlands, and its variant settings, were the most popular game, but each new Kickstarter brought a wave of releases for Pinnacle’s newest line.

With that said, the dependence of Kickstarter also showed a potential weakness for the company’s future: fans could become fatigued by multiple Kickstarters every year; and by 2020 Kickstarter had not only begun enforcing an old rule against running multiple Kickstarters simultaneously, but had even reinterpreted it to mean that an old Kickstarter had to be fulfilled before a new one could begin. Pinnacle had always been timely at fulfilling their Kickstarters, using the service mainly to judge print runs and pay for them, but this could still put a crimp in cash flow and endanger the new possibilities that Kickstarter had created.

Savage Licenses: 2007-2011, 2015-2018

Original properties weren’t the entirety of Pinnacle’s productions during that decade. As noted, Hensley had experimented with the licensed properties of Pirates of the Spanish Main and Solomon Kane in 2007: publications of this sort were a good use of the universal Savage Worlds system. Solomon Kane even became one of the new Pinnacle’s first supported lines alongside Deadlands, with supplements like Travelers’ Tales (2008), The Savage Foes of Solomon Kane (2010), and The Path of Kane (2011) — probably in large part due to the fact that Hensley was a huge fan.

Pinnacle produced one other licensed book of particular note just a few years later, Space 1889: Red Sands (2010), an updated look at GDW’s beloved steampunk setting, whose game system had always been a bit “heavy” for it. Thanks to Savage Worlds, it was given more appropriate mechanics and a new chance to shine. Though Red Sands was a one-and-done release that reflected the trends of the early years of the Pinnacle revival, it may still remain canon due to the fact that yet another friendly company, Ulisses Spiele, picked up the property in 2019.

I have everything written for Space 1889 and was thinking of running a game for my friends. I thought ‘Why not call Frank?’, so I did. The rest … will be in your hands this summer.

Shane Hensley, Interview, stargazersworld.com (May 2010)

The Ulisses Spiele connection deserves a bit of additional discussion. It originated with the simple fact that people at Ulisses were fans of the Savage Worlds system. They also knew that Hensley was a big fan of the Torg, continuing on from his submission of that manuscript for The Temple of Rec Stalek back at the beginning of his career. Around 2015, Ulisses Spiele owner Marcus Plötz asked Hensley to write a new edition of Torg, which Ulisses had acquired following the 2010 dissolution of the final West End Games. Hensley declined due to other time commitments, but then Plötz asked again in 2016; Hensley still didn’t have any time, but this time agreed, writing Torg Eternity (2018) with the support of freelancer, Darrell Hayhurst — who was then wooed away by Ulisses and has since become the line editor for Torg and Space: 1889 there. Aaron Acevedo is also art director for Ulisses North America, leaving the companies with extensive creative and personnel connections: connections so tight that they starting sharing office space in downtown Gilbert, Arizona in April 2017.

Meanwhile, Pinnacle had put their own licensing on hold for several years, but in 2015, with the support of Kickstarter, they made it a major part of their production schedule once more. Comic licenses The Sixth Gun (2015), The Goon (2017), and Fear Agent (2017) were all modest successes. Fantasy license Lankhmar: City of Thieves (2015) surprisingly was not Kickstarted at all — though its Savage Seas of Nehwon (2018) supplement was the first of Pinnacle’s “booster” Kickstarters. Maybe Lankhmar didn’t need a Kickstarter, as it was a well-known property in the roleplaying industry, with previous productions from TSR and Mongoose Publishing, and Dungeon Crawl Classics: Lankhmar (2015) appearing simultaneously from Goodman Games. It was also a well-beloved setting for Hensley, who’d written its final hoorah at TSR, Fritz Leiber’s Lankhmar: The New Adventures of Fafhrd and Gray Mouser (1996).

The Flash Gordon (2018) Kickstarter was Pinnacle’s second most successful licensed Kickstarter and another classic roleplaying setting — but one not seen since FGU’s Flash Gordon and the Warriors of Mongo (1977). The new Flash Gordon setting book also revealed interesting details about the Savage Worlds system.

Savage Worlds was a universal system, not a house system, since the same core mechanics were used in every game. But, it cleverly mimicked the advantages of a house system by incorporating “setting rules” into its design. These were mechanics that varied from setting to setting, but they did so in such a well-codified way that they obviated the need to totally rewrite the rules for each new release. The result was that “system mattered”, but the core of the game simultaneously remained static. For example, the “Born a Hero” setting rule allowed a character to start the game with higher powered advantages; “Gritty Damage” introduced additional injuries; and “Blood & Guts” allowed bennies to be used for damage. Each one helped to make Savage Worlds feel thematically appropriate for all its varied worlds.

Enter Scott Woodard, the author of The Sixth Gun RPG and now Flash Gordon. His setting rules for the new game extensively expanded Savage Worlds to encompass the tropes of pulp-fiction play. The most important rule was likely the “Cliffhanger”, which allowed players to regain resources in exchange for a cliffhanger — which could be any of a number of things, including being “Captured!”, a headache for roleplaying ever since A4: In the Dungeons of the Slave Lords (1981), but now reimagined to support player agency.

In the last few years, Pinnacle has again stepped away from licenses to focus on their own properties, including the Savage Worlds game itself, but there’s been one license that’s kept on going: Pinnacle’s most popular.

The Rifts Interlude: 2015-Present

Rifts (1990) is Palladium Books’ best-selling RPG. It’s a multi-genre game that mashes together many settings into a wondrous whole; it was released the same year as the broadly similar Torg, but unlikely Torg it survived and prospered, with the only bumps in its production being unrelated financial problems that assailed Palladium at various times. Palladium’s Kevin Siembieda has always held Rifts very close, with the sole exception of Rifts Manhunter (1994), a one-off book published by Gary Sibley’s Myrmidon Press.

Jump to the late ’00s and Sean Patrick Fannon, a long-time fan of Savage Worlds, dating back to the Shaintar Immortal Legends Player’s Guide that Savage Mojo had put out a few years previous, detailing his high-fantasy world. At the time, he was working for DriveThruRPG and had decided to drive from his home in Georgia to Siembieda’s home in Michigan, to show him how the site worked and to convince him to put PDFs of Palladium books on the site. While there, Fannon also pitched the idea of “Savage Rifts”, a Savage Worlds conversion of Siembieda’s Megaverse.

Siembieda agreed almost immediately, but it took half a decade for Fannon to get the time and resources lined up for project: the resources being courtesy of Pinnacle, who would be the publisher. On April 19, 2015, Kevin Siembieda announced that he’d licensed Rifts as part of “an effort to truly expand” the game. It was to be an “experiment” (and one that wouldn’t impact Palladium’s own production of the game). Two days later, Pinnacle revealed that they were the new licensee.

Designer Fannon brought with him not just a deep knowledge of Savage Worlds but also his experience with Shaintar, a fantasy realm that focused on heroism rather than dungeon crawling. He applied that same idea of heroism to Rifts (while ironically giving up Shaintar to do so, as described in the Savage Mojo history). The result would be a new setting for Savage Worlds that was fundamentally Fannon’s design, but he’d be supported by his partner at Evil Beagle Games, Ross Watson, and of course by Shane Hensley at Pinnacle and Kevin Siembieda at Palladium.

We’re giving you a reason to team up and not be murder hoboes, which is pretty much the way that a lot of people approached playing Rifts was ‘high-tech murder hoboes.’

Sean Patrick Fannon, Interview, Geek’s Guide to the Galaxy #254 (May 2017)

One of Fannon’s goal for Savage Rifts was to ensure its “fidelity” to Rifts, which meant reinventing monsters and creating setting rules as necessary. However, he was also aware of the need to adapt that to Savage Worlds’ gameplay: in Rifts a powered armor user could be utterly invincible to a primitive, but in the pulp-influenced Savage Worlds, there was always the chance for an unlikely result.

Fannon would later say that Rifts was a dream to work on, and that was in large part due to the careful attention paid to the license by Siembieda, who read every word of the licensed books, offering corrections as needed. Siembieda paid special attention to the art, which was very important to him.

The popularity of Rifts was obvious when Pinnacle raised more than $400,000 for their Savage conversion on Kickstarter, more than doubling their own Deadlands Classic crowdfunding. Pinnacle then released Savage Rifts as a traditional three-book set: The Tomorrow Legion Player’s Guide (2016), the Game Master’s Handbook (2016), and Savage Foes of North America (2016), alongside a few adventures. The line hit a bit of a road bump in 2018 when Fannon stepped down as brand manager following accusation of sexual harassment, but it’s since bounced back with a new line editor, a revised edition of the original releases (2019), three new worldbooks (2019), and a new boxed set (2020) that was sold into retail stores.

At the moment, Savage Rifts is one Pinnacle’s major lines, following Deadlands itself — though as it turns out, Deadlands itself was struggling by this time period, because it dropped out of print in 2018, making new supplements almost an impossibility!

From Exploration to Adventure: 2018-Present

Heading toward the end of 2018, Pinnacle needed to get Deadlands back into print, but that was down a bit on the priority list, because Hensley was working on what he called “Savage Worlds Black”, a new edition of the Savage Worlds rules that would be Kickstarted that fall as the Savage Worlds Adventure Edition (2018).

This was by now the third, fourth, or fifth edition of the game, depending on what you count. Since the second edition, changes had been minor but cumulative — primarily incorporating rules from supplements into the core rules. The 2007 Explorer’s Edition had brought in new damage rules from Deadlands Reloaded; the Deluxe Edition (2011) had been expanded, especially with rules from the Fantasy Companion; and the Deluxe Explorer’s Edition (2012) had primarily been a reformatting, into the digest size that Pinnacle has preferred in recent years.

The new “SWADE” edition was the biggest revision since 2005, streamlining and revamping most aspects of the game in some way. (Pinnacle’s documentation of the changes was 54 pages long!) Most of it was polish, keeping the game largely compatible, but the ability to use a benny to “influence the story” showed how almost twenty years on, Pinnacle was still working to move its system from its miniatures roots into the narratives of modern-day RPGs.

The Kickstarter for SWADE was wildly successful, bringing in over half-a-million dollars from more than 5,000 backers, surpassing Pinnacle’s previous high success with Savage Rifts. It would lead to several other Kickstarter successes, most of them updating old settings to the SWADE rules.

A Lost Colony Kickstarter gave Pinnacle the chance to return to the “big finale” of their original storyline, which had originally been released with insufficient playtesting and development back at what Hensley called the “lowest point” for Pinnacle. It was published as Deadlands: Lost Colony (2020).

A Weird West Kickstarter then allowed Pinnacle to get their core setting back into print, in a new third edition, Deadlands: The Weird West (2020). The new edition has also permitted Hensley to play with games run with a different scope. Whereas Deadlands had started out being small-tower horror, it’d moved into big metaplot, especially in the plot-point campaigns for Reloaded. Though metaplot was still planned for The Weird West, Hensley was also experimenting with what he called “County Boxes” which were sandbox campaigns set in small locales, where players could interact with the community (and even becomes its leaders). The first of these was The Horror of Headstone Hill (2020).

Today Pinnacle is a small company, as it has been for most of its life. It has just a few regular staff including president Shane Hensley, production manager Simon Lucas, and part-time COO and managing editor Jodi Black (who also runs her own company, Carolina Game Tables). However, it has many other supporters, including Savage Worlds brand manager Clint Black, Deadlands brand manager John Goff, and art directors Aaron Acevedo and Alida Saxon (shared with Ulisses North America and Savage Mojo, respectively, showing the close ties of the roleplaying world).

But, they’re a company with plans. Not only have they been using small supplements to revive old settings as far as 50 Fathoms, but they’re also looking toward their next big thing, a fifth Deadlands setting called Dark Ages, which was previewed by John Goff in a jumpstart adventure called Sins of the Father (2019).

For a company that looked dead at the turn of the century, Pinnacle has seen a pretty fine second act, and one that’s only grown stronger with time.

This article was originally published as Advanced Designers & Dragons #38 on RPGnet. It followed the publication of the four-volume Designers & Dragons (2014) from Evil Hat, and was meant to complement those books.

What to Read Next

• For one of the most recent westerns, read about Aces & Eights in Kenzer & Company.
• For Pinnacle’s one-time partner, more on Five Rings Publishing Group, and the future of Matt Forbeck and Brave New World, read AEG.
• For a look at other licensable game systems that have been widely used, read about d20 in Wizards of the Coast and FUDGE in Grey Ghost Press.
• For another company focusing on short game lines, read Margaret Weis Productions.
• For the owner of Robert E. Howard properties, read about Paradox Entertainment, primarily in Metropolis and RiotMinds [LH].

In Other Eras

• For the primordial western RPG, read about Boot Hill in TSR [’70s].
• For an indie Old West, read about Dogs in the Vineyard in Lumpley Games [’00s].
• For more on the sad story of cybergames.com, also read Hero Games [’80s] and Obsidian Studios [LH].
• For adventure paths, another campaign model, read Paizo Publishing [’00s].
• For the gaming property that Cryptic Entertainment bought, and what could have happened if that Deadlands MMORPG had gotten made, again read Hero Games [’80s].
• For the origins of Space: 1889, read GDW [’80s] and for its future, read Ulisses North America [’10s].
• For other publishers of Lankhmar, read TSR [’70s] and Mongoose Publishing [’00s]. Goodman Games [’00s] released Lankhmar supplements too, but their history hasn’t been updated to cover them.
• For the origins of Rifts, read Palladium Books [’80s].
• For more on Sean Patrick Fannon, again read Obsidian Studios [LH].
• For one of Pinnacle’s major licensees (and more on Aaaron Acevedo and Sean Patrick Fannon), read Savage Mojo [LH].

New Pinnacle Published Sources

De Bellis, Andrea. 2020. “Autori di Ruolo: D12 domande a… Shane Hensley”. Player.it. https://www.player.it/interviste/432707-autori-di-ruolo-d12-domande-a-shane-hensley-savage-worlds.html.

Davison, Doug & David Middleton. 2018. “Talking Savage Worlds with Special Guest Shane Hensley”. Fantasy Grounds Fridays. https://www.youtube.com/watch?v=Za4uy0TtFyU.

Fannon, Sean Patrick. 2016. “[Q&A] Sean Patrick Fannon (Rifts for Savage Worlds)”. The Hardboiled GMShoe’s Office. https://gmshoe.wordpress.com/2016/05/05/qa-sean-patrick-fannon-rifts-for-savage-worlds/.

Fannon, Sean Patrick. 2016. Savage Rifts Design Diary 1. https://www.peginc.com/wp-content/uploads/2016/05/Savage_Rifts%C2%AE_Design_Diary.pdf.

Hensley, Shane. 2014. The Last Parsec Design Diary 01: Origins. https://www.peginc.com/store/the-last-parsec-design-diary-1/.

Hensley, Shane. 2017. “There in a Flash … and Cliffhangers!”. Flash Gordon RPG for Savage Worlds Kickstarter. https://www.kickstarter.com/projects/545820095/flash-gordontm-rpg-for-savage-worlds/posts/2052368.

Hensley, Shane. 2019. “Wow! What a Great First Day!” Deadlands Lost Colony Kickstarter. https://www.kickstarter.com/projects/etu-studyabroad/deadlands-lost-colony/posts/2674946.

Hensley, Shane. 2020. “SavageCruise2020 Q&A”. YouTube. https://www.youtube.com/watch?v=aKym7IeN_gs.

Hicks, Jonathan. 2017. “Scott A. Woodward, Pinnacle Entertainment Group”. The RPGnet Interview. https://www.rpg.net/columns/interviews/interviews69.phtml.

Siembieda, Kevin. 2015. “PALLADIUM BOOKS® WEEKLY UPDATE – APRIL 19, 2015”. Palladium Books website. https://www.palladiumbooks.com/index.php?option=com_content&view=article&id=779:palladium-booksr-weekly-update-april-19-2015&Itemid=183.

Wieland, Rob. 2019. “Five Great Changes in the New Edition of Savage Worlds RPG”. Geek & Sundry. https://geekandsundry.com/five-great-changes-in-the-new-edition-of-savage-worlds-rpg/.

Other Sources & Fact Checkers

Shane Hensley