Since 2015, we have been able to leave the Ark and explore the post-apocalypse, perhaps discover what happened, and even search for somewhere safe to live alongside the different groups. First with the mutants of Mutant: Year Zero – Roleplaying at the End of Days, then with the uplifted animals of Mutant: Genlab Alpha, the robots of Mutant: Year Zero – Mechatron – Rise of the Robots Roleplaying, and with the surviving humans of Mutant: Year Zero – Elysium. These four books consist of campaigns in their own right and they come together in The Gray Death, but the relationships between these diverse groups is not always an easy one and with resources scarce, including artefacts left over from before in the Old Age, it can lead to these very different groups coming to blows—and worse! This then, is the set-up for Mutant: Year Zero – Zone Wars, a skirmish wargame set in a post-apocalyptic future which takes place in an area known as the Zone.

Mutant: Year Zero – Zone Wars – Skirmish Mayhem in the Mutant: Year Zero Universe is a complete skirmish game which comes with everything that you need to play. This includes miniatures, rules, dice, cards, terrain, and more, all designed to be played by two players, aged fourteen and up, and plays in roughly ninety minutes. An expansion, Mutant: Year Zero – Zone Wars – Robots & Psionics adds a second set of factions so that four players can play. Published by Free League Publishing following a successful Kickstarter campaign, Mutant: Year Zero – Zone Wars is notable for a number of things. Most obviously, that it is set in the Mutant: Year Zero universe, and not only that, but it is compatible with the four setting and campaign books for Mutant: Year Zero and the Year Zero mechanics such that it is possible to take a Player Character from one of the roleplaying games and adapt it to Mutant: Year Zero – Zone Wars. In fact, fans of Mutant: Year Zero – Roleplaying at the End of Days and Mutant: Genlab Alpha will recognise many of figures in Mutant: Year Zero – Zone Wars – Skirmish Mayhem in the Mutant: Year Zero Universe as being based on the artwork from those books. As will fans of the computer game, Mutant Year Zero: Road to Eden. Both Dux, a duck hybrid, and Bormin, a pig hybrid, are included as miniatures in the core game.

Further, it is designed by Andy Chambers, whose wargames pedigree is unparalleled—Necromunda, Battlefleet Gothic, and Warhammer Fantasy Battle for Games Workshop and Dropzone Commander from Hawk Games. Altogether, Mutant: Year Zero – Zone Wars – Skirmish Mayhem in the Mutant: Year Zero Universe sounds like an attractive package—and that is before you even get to open the box.
Mutant: Year Zero – Zone Wars – Robots & Psionics is to date, the only expansion for the game. As with Mutant: Year Zero – Zone Wars, this comes with can be found ten miniatures, nearly eighty cards, one hundred tokens, ten custom dice, three sheets of cardboard terrain, and a measuring rule. What it does not come with is the rulebook or the map sheet, so the core box is still required to play. The terrain is done in full colour and on heavy cardstock, slotting together easily to create a total of thirteen pieces, consisting of walls, trees, and the ruins of buildings, some of them with an upper floor. The terrain is urban rather than rural, consisting of buildings and walls, with no trees. Notable are the walkways which allow the miniatures to move between buildings above ground level and the damaged remains of a bus, although it could be a train or underground train carriage too. Either way, it is possible to put the miniatures inside it. The terrain also comes apart easily for easy storage. The measuring rule and the tokens are bright and breezy and easy to use and see. The dice consist of two sets, the yellow base dice and the black gear dice, and they are easy to read and feel good in the hand. The cards come in two sizes. The standard size cards consist of the character cards which list each character’s stats, starting gear, and mutations or modules. They are double-sided, one side showing the character healthy, the other when he is bloodied. Other standard size cards depict obstacles and monsters that might be encountered during play, as well as Trigger cards initiate events in a scenario when they are drawn. The small cards consist of the starting equipment, modules, and mutations for the characters, as well as artefacts that can be found and are often being fought over in Mutant: Year Zero – Zone Wars.
Then of course, there are the miniatures. These are done in 32 millimetre, a durable plastic, and divided into two sets of five. One set of five from the Nova Cult Psionicists and one set of five from the Mechatron Robots. All ten miniatures are highly detailed and highly individualised and really stand out in play. As with the miniatures in the core game, they have been given a simple wash that makes them stand out a little more on the table and gives them a matt finish that makes them easier to handle. Fans of the roleplaying games Mutant: Year Zero – Mechatron – Rise of the Robots Roleplaying and Mutant: Year Zero – Roleplaying at the End of Days will recognise some of the characters portrayed by the miniatures. Lastly, the miniatures, cards, and dice all sit in their own tray which has a lid, for very easy storage. There is even an empty slot on the try in which the game’s tokens can be readily stored.
The scenario booklet for Mutant: Year Zero – Zone Wars – Robots & Psionics runs to just eight pages and is mostly dominated by the expansion set’s five scenarios. Together they form a linked mini-campaign that plays out across the Zone. A new threat has arisen, one capable of taking control of factions and turning them against each other. This begins with ‘Scenario 1: Monster Bonanza’, which sees more and monsters driven to attack the factions, whilst the true nature of the threat, a murderous mutant chieftain called the Hydra, is revealed in ‘Scenario 2: The Hydra Rises’. In ‘Scenario 3: Escorting the Emperor’, the humans of the Ancients—as depicted in Mutant: Year Zero – Elysium—have returned to build the future of the Dawnworld, but needs protection from the Hydra. In this scenario, the Emperor’s Scrap Carriage—making use of the new terrain piece included in Mutant: Year Zero – Zone Wars – Robots & Psionics—needs to be escorted across the map as it is attacked by Hydra forces, and again, a player’s faction may find itself fulling under Hydra’s influence. The Hydra’s ability to spread his psionic influence is revealed in ‘Scenario 4: Beacons of Hope’, whilst he is finally confronted in ‘Scenario 5: Final Showdown’. All but the first scenario requires a minimum of three players, and all can be played with four players, so at least one of the factions from the core box is required to play through the campaign. They all make use of the Trigger cards to add events and escalate the threat present throughout the mini-campaign.
Each of the two factions in Mutant: Year Zero – Zone Wars – Robots & Psionics are notably different to each other. The Mechatron Robots all have low Survival scores, reflecting their weakness when it comes to avoiding or taking advantage the dangers of the Zone or take of them, whereas the Nova Cult Psionicists are more varied in their ability scores. The Mechatron Robots are also equipped differently to the Nova Cult Psionicists. Where the Nova Cult Psionicists have Mutations such as ‘Puppeteer’, ‘Magnetism’, and ‘Clairvoyance’, the Mechatron Robots have Modules like ‘Pincers’, ‘System Override’, and ‘Grenade Launch’. Each of the models in Mutant: Year Zero – Zone Wars – Robots & Psionics, as in the core game, begins play with a standard Mutation or Module, to which is added a random one at the beginning of play. Other cards add a range of threats and encounters, such as ‘Acid Grass’, ‘Psionic Butterflies’, and ‘Magnetic Field’.
Physically, Mutant: Year Zero – Zone Wars – Robots & Psionics is very well put together and every is of a decent quality. The cards and the tokens are bright and colourful, the terrain and the map sheet are sturdy if suitably drab, the dice feel good in the hand, and the rulebook is light and easy to read. Above all, the miniatures are superb and really stand out in play, and are pleasingly individual so that you do get attached to them.
Mutant: Year Zero – Zone Wars – Robots & Psionics opens up a lot of utility and versatility for Mutant: Year Zero – Zone Wars – Skirmish Mayhem in the Mutant: Year Zero Universe. New factions and thus new character types, plus new monsters and a new campaign. The only downside to the new campaign is that most of its scenarios require a minimum of three players, limiting its use. There are ways around that, such as the players taking it in turn to control a third faction or playing with two factions each. Of course, there is nothing to stop the scenarios from the core set being played through again, but with the two new factions from Mutant: Year Zero – Zone Wars – Robots & Psionics. In fact, this a good option if there are only two players and if the players want to get used to playing the new factions before leaping into the campaign in Mutant: Year Zero – Zone Wars – Robots & Psionics.
If you enjoyed Mutant: Year Zero – Zone Wars – Skirmish Mayhem in the Mutant: Year Zero Universe, then Mutant: Year Zero – Zone Wars – Robots & Psionics is definitely going to give you more of what you want.

The gaming magazine is dead. After all, when was the last time that you were able to purchase a gaming magazine at your nearest newsagent? Games Workshop’s White Dwarf is of course the exception, but it has been over a decade since Dragon appeared in print. However, in more recent times, the hobby has found other means to bring the magazine format to the market. Digitally, of course, but publishers have also created their own in-house titles and sold them direct or through distribution. Another vehicle has been Kickststarter.com, which has allowed amateurs to write, create, fund, and publish titles of their own, much like the fanzines of Kickstarter’s ZineQuest. The resulting titles are not fanzines though, being longer, tackling broader subject matters, and more professional in terms of their layout and design.
—oOo—Senet is a print magazine about the craft, creativity, and community of board gaming. Bearing the tagline of “Board games are beautiful”, it is about the play and the experience of board games, it is about the creative thoughts and processes which go into each and every board game, and it is about board games as both artistry and art form. Published by Senet Magazine Limited, each issue promises previews of forthcoming, interesting titles, features which explore how and why we play, interviews with those involved in the process of creating a game, and reviews of the latest and most interesting releases. Senet is also one of the very few magazines about games to actually be available for sale on the high street.

Senet Issue 14 was published in the spring of 2024 and is physically notable for its four-part, split cover inspired by the game Art Society and some classic pieces of artwork from around the world. The editorial highlights the fact that 2024 marked the fiftieth anniversary of Dungeons & Dragons and that as well as being the first and most successful roleplaying game, it has had its own influence upon boardgames, the editor noting that the first Eurogame inspired by Dungeons & Dragons—2012’s Lords of Waterdeep—was the editor’s first Eurogame. Which means that the editor has been playing Euro-style games for less time than you would think and playing roleplaying games for longer than you would think! Plus the article is a bit of nostalgia upon his part.

The issue proper begins with highlighting some of the forthcoming games with its regular preview, ‘Behold’. There is an unintended theme running through the previewed games, the board game Nature exploring evolution through a series of modules; players finding undiscovered animals on an unexplored mythical island and establishing nature reserves for them in Wondrous Creatures; and critters living in ice floe villages fighting monsters in FLOE, and that is animals and creatures of various kinds. The combat continues in Tibetana, but this is a game in which the aim is to grow by spreading cultures rather than being a game about war without confrontation. It is the most intriguing of titles previewed in the issue, though perhaps not as quite as intriguing as in previous issues of the magazine. ‘Points’, the regular column of readers’ letters, contains a mix of praise for the magazine and a discussion of gaming culture, including suggestions of how to interact with other gamers by focusing on them rather than oneself and a quick report on board game display at the Young Victoria & Albert museum in London. It shoehorns in more letters in than normal, rising from four to five, but as with the previous issues, there is scope here for expansion of this letters page to give space to more voices and readers of Senet, and so build a community. ‘For Love of the Game’, continuing the journey of the designer Tristian Hall towards the completion and publication of his Gloom of Kilforth—and beyond. Here he looks at what to do after the game has been fulfilled via Kickstarter and what the options are if a designer wants to keep the momentum going for his game. As Hall points out, the designer is in sales now. The question is, how more life is there in this journey and should space be made other voices?

The tried and tested format of the magazine continues in Senet Issue 14: Two interviews, one with a designer, one with an artist, and one article exploring a game mechanic whilst another looks at a game theme. It is a format that works well since it throws a light on different aspects of the hobby and its creators. The mechanic in the issue is ‘Conflict of Interest’. Dan Thurot examines the prisoner’s dilemma, the classic scenario in game theory that shows why two rational individuals might not cooperate, even if it is in their best interest to do so. It begins with its historical origins and development by the RAND Corporation and sees how it has been extended into board game design. In doing so, it hits some classic board game designs from the last seventy years. Most notably, Diplomacy, but also Cosmic Encounter from EON and its subsequent reimplementation, Avalon Hill’s Dune. The article looks at the balance between self-interest and the needs of the group, often expressed as the semi-co-operative style of play, and what becomes clear is that the mechanic is used to explore some really interesting themes. In Cosmic Encounter, Dune, and Diplomacy, this was the balance of power, but in games like We’re Sinking! A Pirate’s Dilemma and HMS Dolores, it is about the division of loot, and in the very recent Molly House, from Wehrlegig Games, this is between the need to maintain a group lifestyle and being forced to inform.

Dan Jolin also conducts issue’s first interview in ‘Larger Than Life’. This is with Brazilian board-game illustrator Weberson Santiago. His artwork was first seen in the international version of Coup, but his art, which he describes as possessing personality, has been seen since in The Bloody Inn, a game of murderous innkeepers from 2015; Avalon: Big Box, a re-implementation of The Resistance: Avalon, the Arthurian version of The Resistance, set in the same universe as Coup; and Kelp, the octopus versus shark game previewed in the previous issue of the magazine. The style is varied, but there is a theatricality and a little of the gothic to much of the artwork on show here. What is always enjoyable about these interviews is that they give an artist the chance to talk about his inspirations and how he interpreted a project.

To celebrate the fiftieth anniversary of the world’s first roleplaying game, Senet Issue 14 does not sidestep into the world of roleplaying, but explores how the world’s first roleplaying game has sidestepped into board games. In ‘The Advance of D&D’, Matt Thrower goes all the back to the first Dungeons & Dragons-inspired, but not an actual official Dungeons & Dragons board game, Dungeon!, before looking at more modern implementations. It points out how Dungeons & Dragons, Fourth Edition was more board game like with its grid-based play, annoying some of the roleplaying game’s players, but attracting board game players in its board game implementation, starting off with Castle Ravenloft. Many of the Dungeons & Dragons-inspired board games are battle rather than dungeon-based, so Lords of Waterdeep is one of the most radical designs to be based on the roleplaying game. This has interesting history, having been developed during lunch hours, but to date, the application of Dungeons & Dragons in board games has mainly been on battles rather than subtler conflicts as in Lords of Waterdeep. The article also suggests some other board games inspired by roleplaying games, but the inclusion of a trading card game like Vampire: The Eternal Struggle, feels like a stretch. Overall, an interesting read that explores Dungeons & Dragons-inspired board games which do more than simulate roleplaying or offer very light roleplaying.

The issue’s designer interview is with David Thompson. In ‘The Good Soldier’, Alexandra Sonechkina interviews the co-designer of Undaunted, the squad-level infantry wargame set in Normandy. The notable feature of his designs, nearly all of them with other designers, is how they focus on the individual. He talks about how the original design came about and then how the Science Fiction version of the Undaunted series, Undaunted 2200: Callisto, was developed. Another good interview which really piques the interest in the designer’s titles.

‘Unboxed’, Senet’s reviews section covers a wide range of games. The most notable are of Le Scorpion Masqué’s Sky Team, the two-player, limited communication board game of landing passenger aeroplanes and of the ecology and climate control-themed, 2024 Kennerspiel des Jahres Winner from CMYK and co-designer, Matt Leacock, Daybreak, and it is the latter that is ‘Senet’s Top Choice’. The inspiration for the issue’s cover, Art Society, is reviewed too, as The Fox Experiment, the new game from Elizabeth Hargreaves, the designer of the highly regarded Wingspan. The review strays into roleplaying a little with Acturus’ Endless Destinies: The Clockwork City, but with a card rather than dice mechanic, but its inclusion reflects another cross section of interesting games put under the lens.

As is traditional, Senet Issue 14 comes to a close with the regular end columns, ‘How to Play’ and ‘Shelf of Shame’. For ‘How to Play’, ‘Lord of the flies: how to win at Hive’ by Joe Schulz, in which he explains how he switched from judo following a shoulder injury to the two-player game Hive in 2015 and has since been world champion four times. Lastly, Pasan Fernando and Damian Armitage, the duo behind Meeples Abroad, pull out Merv: The Heart of Silk for their ‘Shelf of Shame’ and discover a strategic, city-building game and the wealth of options it offers.

Physically, Senet Issue 14 is shows off the board games it previews and reviews to great effect, just as you would expect. It contains a good mix of interesting and informative articles, ‘Conflict of Interest’ showing off a surprising mix of games that the prisoner’s dilemma has been applied to and ‘The Advance of D&D’ explores another side of the roleplaying game in its anniversary year. This is all backed up by some informative reviews. Senet Issue 14 is another good issue with a wide rage of content in a well presented package.

In the heavens there is a war between the Stars, between the stars of light and darkness, and of life and consumption. The black hole stars called ‘Photovores’ seek to consume all other Stars, and where they cannot, they cajole others to steal and enslave the other Stars. They are opposed by all other Stars, led by the wise White Dwarf Stars. When a Photovore dies, its death echoes across the heavens and echoes on worlds as lightning. On the world of Zós, the death of the most evil of Photovores, Pséphtes, struck a boy and in time, the ghost of Pséphtes corrupted him and helped him become Photiós, the King known as ‘The Pantokrator’. His most loyal and fouled servants, the Corrupted Men, spread and controlled time through their Timekeepers, interfaces between space and time, from which hatched The Pantokrator’s other minions, the Spider Lords. The Pantokrator raised armies and took to the skies, murdering Stars and enslaving Planets, even personally stabbing in the heart, Ánthraka, the much beloved Moon of Zós. In response to the rise of The Pantokrator’s empire, the Stars attacked its many colonies and even Zós itself. Their mightiest weapon was Átmos, the Stellar Wind, which brought an austere nuclear winter to every world it touched. A hatred for the Stars grew in the heart of Pséphtes and his puppet, The Pantokrator, and even as they were driven back to the world of Zós, they plotted to restore their empire. Yet as they do so, the Star whose light bathes Zós is dying and there are those who plot in spite of The Pantokrator, seeking to replace the Star with something manmade, a Sun whose light and warmth can be taxed and thus fund The Pantokrator’s desire for empire again. Even then there are those who would take advantage of this plot to instigate a seemingly never ending solar eclipse and elevate themselves to sit alongside Pséphtes!

This is the background for Astromythos: Lair of the Spider Lord, one of the strangest of adventures for Dungeons & Dragons—for any edition, let along Dungeons & Dragons, Fifth Edition. Published by Hit Point Press, it is based upon Astromythos: Book One – World Art Book, an epic mythology presented in heroic verse created by artist and author, Jon Sideriadis. Thankfully, Astromythos: Lair of the Spider Lord is not in heroic verse, but it is epic in scale and requirements. It is designed for a party of Tenth Level Player Characters, who by the end of the campaign, will reach Fifteenth Level. The scenario combines cosmic horror and—very—high fantasy in a universe that is biological on an astronomical scale and will see the Player Characters crossing the dead bones of a dying world and plunging quite literally into the heart and bowels of a mountain before ascending to the heavens to confront a mistress Spider Lord at the heart of her lair, from which she woven a web around the Sun and planet of Zós. All of which is depicted in stunning artwork which captures the cosmic mythology of the setting. And the Game Master is definitely going to want to show the artwork in Astromythos: Lair of the Spider Lord to her players, so that they can grasp the alien grandeur of the Astromythos through which their characters are journeying. (There is, though, a deck of spell and item cards, which do show off the author’s artwork, but this is a campaign or scenario that really warrants a book of artwork to show the players, a la S1 Tomb of Horrors.)
There is, though, the matter of getting the Player Characters to the start of the scenario. The suggested hooks all boil down to the Player Characters beginning the scenario in the dungeons of King Photiós’ meteor castle on Zós and their being summoned to his court to be sent on a mission. They might be natives to Zós, but there is no suggestion as to what a native of Zós might look like in Dungeons & Dragons, Fifth Edition given in Astromythos: Lair of the Spider Lord. The extremely otherworldly nature of Astromythos: Lair of the Spider Lord lends itself to it being run as if it were a shared dream, but the reality of Astromythos: Lair of the Spider Lord also suggests that it could be run in conjunction with any setting involving alternate planes or travel between the stars, most obviously the Planescape Campaign Setting or Spelljammer: Adventures in Space, or their more modern iterations.

At the beginning of the scenario, the Player Characters are directed by King Photiós to fetch Dulos, a man whom the rather unpleasant monarch tells them is key to the restoration of his kingdom. This requires a journey, first on a train pulled by a biomechanical heart—the Artery Railway—and then on foot through the Flayed Wood to Nanókora, a poisoned village of bone. There are few if any survivors, but Dulos is one of them, and whilst he will thank the Player Characters for rescuing him, he will also plead for their aid. He will tell them of the truth of King Photiós’ evil and that only by allowing the trees to grow once again can the world of Zós be saved from his poison. Dulos will join the Player Characters if they decide to help him—King Photiós will attempt to kill them as thanks for their help even if they decide otherwise, and Dulos will guide them through much of the rest of the scenario. Travelling under what is now a perpetual solar eclipse, Dulos directs the Player Characters up the nearby mountains to find someone who can help recultivate the trees, but when their way back down is blocked, they are forced to make a detour into the mountain itself. The caves themselves have a very organic feel and layout, though it may not necessarily be obvious to players and their characters unless they map it out.

Once they are free of the mountain, having been captured by a two-headed ogre of cratered rock and been thrown into his pot along the way in classic fantasy style, the Player Characters enter the Skeletal Wood and search for the Zenith Door, a magical door in the sky which should open at noon daily and allow travellers to be transported into orbit and beyond. However, the perpetual solar eclipse means that it remains permanently closed, so another route is needed. This is aboard a garbage barge, for which its captain which charge a fortune, but it will get the Player Characters to the heavens to first confront one Spider Lord, Lord Skurigelos, in his dead asteroid lair and then another, Lady Klevastis, his mistress in her Horned Moon Keep on the lunar surface, after having penetrated the moonflesh mines. As befitting their Spider Lords, both asteroid lair and castle are overrun by spiders and festooned with webs, although they are not the only threat that the Player Characters will face. There is the possibility of their being captured in the asteroid lair and having to escape a torture chamber, but the exploration in both locations will culminate in a confrontation with a Spider Lord. The final fight in the scenario is incredibly tough, and unless they spot and take advantage of Lady Klevastis’ weakness, there is the possibility of a total party kill. (If that happens, it is almost worth playing through this part of the scenario again, as it might emphasise the dream-like nature of Astromythos: Lair of the Spider Lord.)

There are some suggestions as to how to continue the scenario, which will require no little development by the Game Master, but in this and the scenario itself, the Game Master is decently supported in Astromythos: Lair of the Spider Lord, something that is really useful given how different the nature of the scenario really is. This includes a good overview of the background to the setting and the scenario itself, as well as a list and descriptions of the scenario’s named NPCs. The first of the scenario’s three appendices describes new magic items, the second its bestiary, and the third, its new spells. The new magic items include some fearsome weapons, like Bone Divider, a Moonflesh great axe that requires a Strength of twenty to wield, is enchanted by Tidal Force so that it knocks opponents back thirty feet with a blow, and on a natural twenty cleaves an opponent in two in a shower of sparks and stardust! The bestiary describes some twenty-seven new creatures, including ‘Clock Mites, Mites of Many Colours and Neon Corruptors of Time’, ‘Spider Ghouls, Half-Man/Half-Spider Failed Experiments of Lord Skurigelos’, and ‘Star-Slayers, Dreaded Warriors of the Pantokrator King and Superhuman Slayers of Stars’, some of which should find their way into other cosmic or planar settings for Dungeons & Dragons.

Physically, Astromythos: Lair of the Spider Lord is incredibly well presented with fantastic artwork that will amaze the reader. Depictions of things such as ‘Opticos, Asteroid Abomination, Lord of the Opticons and the Spies of Photovóros’, all blue-grey and beautiful eyes looking in different directions, is genuinely creepy, even Gilliam-esque, whilst elsewhere, there is a dark religiosity to the artwork.

Astromythos: Lair of the Spider Lord is a linear scenario, one that is not difficult to run, but given the fearsome nature of many of the foes, difficult to overcome by the players and their characters. It is also difficult, or at least awkward, to add to a campaign easily, given the cosmic nature of its fantasy. Running it as a dream is likely the easiest way, since it requires the least explanation and will have the least effect upon an ongoing campaign, and it can be run alongside an existing campaign. In whatever way a Game Master decides to run it, Astromythos: Lair of the Spider Lord is a genuinely fantastical scenario played out on an astronomical-biomechanical scale with some amazing imagery.

The LitRPG genre appears to have got a loot box of its own with the Dungeon Crawler Carl series by Matt Dinniman. LitRPG—or ‘Literary Role Playing Game’ is a genre of fiction in which the protagonists of the story are in a computerised game world, one that they are aware of being in, and have an understanding of the mechanics of the game world they are in. The term itself is barely more than a decade old, but it can be argued that books such as the 1978 Quag Keep by Andre Norton and the 1981 Dream Park by Larry Niven and Steven Barnes are its precursors. With Dungeon Crawler Carl, the genre reaches a wider audience as the reader follows the exploits of an ordinary joe and his ex-girlfriend’s super-precious show cat, as together they attempt to survive a mega-dungeon and in the process save the world. The result is a knowing satire of roleplaying that combines the fish-out-of-water oddness of Douglas Adams’ The Hitch-Hiker’s Guide to the Galaxy with the bureaucratic cruelty of Stephen King’s The Running Man.

The book opens with the destruction of the Earth, although not all of it, and not by a Vogon Constructor fleet. The Borant Corporation, an alien company from outer space, has bought the planet’s mineral rights and because no-one put in an objection, has flattened every building and turned the inside of the planet into a megadungeon with eighteen levels that the remaining fourteen million survivors of the planet must fight their way through. Of course, not everyone is going to survive, and the book maintains a running count that rapidly decreases as the secrets and lethality of the dungeon are revealed. All of which will be broadcast to the galaxy as one big reality video event—Big Brother or Survivor in a dungeon, if you will. This is how the purchasing corporation plans to recover its costs in the short term, focusing on the exploits and travails of the survivors who do well as Dungeon Crawlers. One such is Carl, ex-Coast Guard marine mechanic, who happens to be outside in the freezing winds of Seattle when the flattening occurs, wearing a leather jacket, no trousers, and a pair of crocs. His choice of clothes, certainly the lack of trousers and proper shoes, becomes a running joke throughout the book. As does his means of fighting—kicking and applying explosives to almost any situation, and his navigating his way around the interface. The latter is done as a computer roleplaying game interface that plays out in the minds of the Dungeon Crawlers.

The reason he is outside is Princess Donut the Queen Anne Chonk. This is the prize-winning show cat belonging to Beatrice, Carl’s girlfriend. Quickly after Carl finds himself in the dungeon, Princess Donut gets uplifted and turned from a pet into a Dungeon Crawler, and thus into a character in her own right, whilst Carl is classified as her bodyguard. After getting a briefing in a Safe Room, Carl and Donut set out to explore and find an entrance to the next level down, taking down mobs and bosses on the way. As they progress, Carl and Donut learn that there is much more to the dungeon than at first seems. It is built on a regular floorplan with blocks with district bosses rather than something more organic in design and the Artificial Intelligence behind the dungeon tailors the loot boxes that both Carl and Donut receive. So, Donut receives items that enhance her Charisma—after all, she is a princess—and lots of torches, whilst Carl receives items that enhance his feet and ability to stamp and kick, but is never destined to receive any trousers. There are daily updates on the dungeon that occur in response to the Dungeon Crawlers’ actions, television shows which Carl and Donut get scheduled to appear on once they begin to get famous and accrue followers, and politics playing out behind the scenes that this first book only hints at, but which will likely play out in the subsequent books in the series.

In terms of character, Carl himself, does not entirely come across as entirely likeable. More of an everyman than a hero, in keeping with the genre, he is both aware of Dungeons & Dragons and Pathfinder and uses that knowledge to his advantage. Given the circumstances, it is understandable that he is exasperated, sometimes angry, by his situation, and that extends to his attitude to his girlfriend, Bea, who is first revealed to be cheating on him and then promiscuously cheating on him. It is a note of poor characterisation, not just in terms of Carl, but also of Bea, upon the part of the author, and it is not the only negative portrayal of women in the book. Several of the monsters, especially the boss monsters are more gross caricatures than monsters. Yet, Carl is driven to be the hero, to want to help the survivors from the old peoples’ home that was nearby his home and get them down to Level Two and then Level Three. To do that, he is forced to kill a lot of monsters, including a nursery of goblins, and he does feel guilty about it in exactly the opposite way that the average player of Dungeons & Dragons likely does not. The need to kill to Level up to survive almost assuages the feelings of guilt that Carl suffers from these actions, whilst the revelation that many of the monster denizens are literally waiting in fear for a dungeon crawler to turn up and kill them all, does the exact opposite.

In comparison, Queen Donut is a more interesting and likeable character even though she has the morality and attitude of a cat, uplifted to sentience and full expression. Queen Donut is often more insightful and aware than Carl is, but as a cat she is self-centred and embraces the fame of being a social media star where Carl bridles against it.

Dungeon Crawler Carl combines horror and humour, but not always effectively. The megadunegon as reality and what Carl and Donut have to do is the source for both, but it emphasises the horror more than the humour, which is from the absurdity of the situation. Both begin to weary after a while from the repetition of both and the book being just a little too long to really sustain either. The humour is also a bit too obvious and just not sharp enough to be really satirical, rarely getting above being amusing rather laugh out loud or clever.

Dungeon Crawler Carl ends almost midsentence, or at least mid-decision, rather than on definite conclusion or cliffhanger, so there is no impetus to start reading the next book if the reader has not decided already. Any reader who is not a roleplayer, whether of tabletop roleplaying games or computer games, is less likely to do so, whereas role-players are more likely to do so, since the series is squarely aimed at them, they are going to get the references, and really, there is not a lot of fiction aimed directly at them anyway. For them, the fact that they can buy this at their local bookshop is a bonus as is the fact that they might see the series adapted for television.

Dungeon Crawler Carl is an amiable read, a very knowing poke at traditional roleplaying played out on an absurd stage. It does not quite outstay its welcome, but it could have been sharper and leaner.

Much like the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Miskatonic Repository for Call of Cthulhu, Seventh Edition is a curated platform for user-made content. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

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Name: Bunny The Eldritch SlayerPublisher: Chaosium, Inc.
Author: Andrew Edward

Setting: Late nineties teen televisionProduct: Scenario for Pulp Cthulhu: Two-fisted Action and Adventure Against the Mythos
What You Get: Sixteen page, 2.30 MB Full Colour PDF
Elevator Pitch: Not the Buffy you knowPlot Hook: Rescue the Bunny in lurve...Plot Support: Staging advice, five Scoobies, two NPCs, three handouts, one map, one Mythos spell, and one Mythos monsterProduction Values: Decent
Pros# Great cover# It knows, you know, and it knows you know# Either a loving pastiche or a knowing rip-off# Gelotophonia# Turophobia# Ephebiphobia
Cons# Vangelis
Conclusion# Cheesetastic pastiche or parody that does what you expect# Cultist-punching action in a pink highlighter love letter to a nineties classic

Much like the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Miskatonic Repository for Call of Cthulhu, Seventh Edition is a curated platform for user-made content. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

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Name: HUMPublisher: Chaosium, Inc.
Author: Sean Liddle

Setting: World War II PlymouthProduct: Outline
What You Get: Six page, 173.34 KB Full Colour PDF
Elevator Pitch: Three Go Mad in DevonPlot Hook: What is the source of the constant HUM in the forest?Plot Support: Staging adviceProduction Values: Plain
Pros# Pleasing sense of a rural idyll# Detailed outline# Potential for child-like curiosity and terror# Potential for sequels # Misophonia# Entomophobia# Hylophobia
Cons# No pre-generated Investigators
# Outline rather than scenario
Conclusion# Engaging low key scenario with intriguing sense of an idyll spoiled# Detailed outline still leaves the Keeper with work to do

Much like the Miskatonic Repository for Call of Cthulhu, Seventh Edition and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha is a curated platform for user-made content, but for material set in Greg Stafford’s mythic universe of Glorantha. It enables creators to sell their own original content for RuneQuest: Roleplaying in Glorantha, 13th Age Glorantha, and HeroQuest Glorantha (Questworlds). This can include original scenarios, background material, cults, mythology, details of NPCs and monsters, and so on, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Glorantha Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Glorantha-set campaigns.

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What is it?A Broo Did It And Ran Away is “A 5 page plot with 2 parts” for use with RuneQuest: Roleplaying in Glorantha which presents a short mystery that the Game Master can run as a single session’s worth of play or possibly longer.

It is a two page, full colour 534.26 KB PDF.

The layout is tidy, the artwork rough, but serviceable, and it does need an edit.

The scenario hook can be easily be adapted to the rules system of the Game Master’s choice.
Where is it set?As written, A Broo Did It And Ran Away takes place in the same lands as the Player Characters’ clan. This can be in Sartar or any settled land. Ideally, it should be located adjacent to a forest and near some hills, and it should be run during Earth Season.
Who do you play?
A Broo Did It And Ran Away does not suggest any specific character type, but as it ends in a fight, combat capable Player Characters are recommended and ideally, it should not include a Storm Bull, as an NPC fulfils this roll and drives the plot.
What do you need?
A Broo Did It And Ran Away requires RuneQuest: Roleplaying in Glorantha only. The RuneQuest: Glorantha Bestiary may be useful, but is not essential to play.
What do you get?A Broo Did It And Ran Away does give the scenario’s antagonists away in its title, but it is easily adapted to a campaign and run in a single session. It opens with the Player Characters helping out their clan during earth Season by getting the harvest in, working the fields owned by Adestra and her husband, Barkos. When a Storm Bull starts attacking the field that the Player Characters are working, claiming that it is tainted with Chaos, then something odd has to be going on. To investigate, the Player Characters will need to calm the Storm Bull and look round the field, and beyond. Adestra seems nervous. Is it just because there is a Storm Bull claiming that one of her fields is tainted by Chaos or does she know something more?
Ultimately, the Player Characters’ investigation will force to Adestra to respond. She may confess all or she may make an attempt to solve the problem herself. Either way, the clues will point to a hermit who has recently moved into the area and begun living in a nearby cave. Confronting the hermit will reveal who and what she actually is and lead to a nasty combat in a confined space. This requires careful adjustment by the Game Master to match the threat with the combat capabilities of the Player Characters.
However the scenario ends, the Player Characters should learn that Adestra has been a fool rather than evil. Nevertheless, give what she has done, there should be consequences. This will be handled by the chief of the clan, but it may be an interesting situation to roleplay if one of the Player Characters is the clan chief or even just the Thane of Apple Lane.
Is it worth your time?Yes—A Broo Did It And Ran Away presents a combination of a small mystery, a small, but brutal combat, and a small dilemma that can easily dropped into a campaign on clan lands and played in a single session.No—A Broo Did It And Ran Away is just a tiny bit too silly, perhaps too brutal a fight, and a Game Master’s campaign may necessarily take in clan lands.Maybe—A Broo Did It And Ran Away is serviceable enough and perhaps a scenario that the Game Master might want to keep is her back pocket to run in between other scenarios or when not all of her players are present.

The year is 1873. Ulysses S. Grant begins his second term as President of the United States. There is no let up in the Indian Wars on the new American frontier as barbed wire, denim jeans, and the 1873 model Winchester rifle, ‘The Gun That Won the West’, are all invented. Lieutenant Colonel George Armstrong Custer clashes for the first time with the Sioux for the first time and P.T. Barnum’s circus, The Greatest Show on Earth, debuts in New York City. The wounds of the Civil War remain and in the wake of the economic crisis that followed, an ever growing number have fled west into the newly American territories of Arizona, California, Nevada, Texas, Utah, along with parts of New Mexico and Colorado, looking to find new lives for themselves in what were once part of Mexico. Settlers, prospectors, miners, cattlemen and herders, businessmen and women, farmers, outlaws and lawmen, all seeking their fortune one way or another in the new lands. There they bring strife and they find strife, with each other and with the peoples already there, which includes the Native Americans and the Hispanics. Greed and prejudice still drive some men. Others want to avoid such concerns and to live a good life, to make a good life for their families and for others, and to protect themselves and their homes.
The American frontier of 1873 is the setting for Tales of the Old West. Funded via a Kickstarter campaign and published by Effekt, this is a roleplaying game which returns to old genre, that of ‘Cowboys & Indians’, combining a mature approach to both the subject matter and the history with the application of the Year Zero engine. This means that it uses the same mechanics first seen in Mutant: Year Zero – Roleplaying at the End of Days, the Alien: The Roleplaying Game, and Vaesen – Nordic Horror Roleplaying, all roleplaying games published by Free League Publishing. It also means that it has a familiar mechanical structure and design. It uses six-sided dice—here of two colours, one for Trouble dice and the other for standard dice—with the aim being to roll a single six as a success. Each Player Character has an Archetype, an Age which determines the points to be assigned to the four Attributes and Abilities, which is what Tales of the Old West calls skills (younger Player Character have higher Attributes and lower Abilities, older have lower Attributes and higher Abilities), one or more Talents derived from the Archetype (there are other generic Talents available when a Player Character gains experience), a Faith or belief that sums up their outlook on life, a Dream which will drive the Player Character to act, and together with other Player Characters, a town or settlement where they live and which they try to improve. Each Player Character will also have Relationships with his fellow Player Characters, one of whom he will regard as his Pardner. Talents, Relationships, and Faiths are all suggested by the Archetypes. Then, Tales of the Old West has a set of community rules which first see the Player Characters invest in a business and then in the long term, are used track the growth and prosperity of the town or settlement where the Player Characters live. As the seasons pass, the town provides hooks and opportunities for adventure and roleplaying and can be used to drive the ongoing campaign forward.
A Player Character in Tales of the Old West has four attributes—Grit, Quick, Cunning, and Docity. Of these, Docity is the ability of a character to learn. He has an Archetype, of which there are ten. These are Gentlefolk, Grifter, Homesteader, Labourer, Lawman, Outlaw, Prospector, Ranch Hand, Tracker, and Trader. Some of these are quite broad. So, Gentlefolk includes artists, journalists, teacher, entertainers, politicians, and so on, whilst Grifter covers swindlers, cardsharps, thieves, and the like. The Archetype sets the base value for attributes and skills, and provides options in terms of Talents, Dream, and Faith. For example, the Prospector suggests the Talents of Brawler, Engineer, Guard Dog, and Herbalist, whilst his Dream might be ‘“There’s gold to be found in them thar hills” and it’s all going to be yours’ or ‘The railroad will build a new civilisation in the west, and you will be the architect’, and his Faith, ‘God’s design is all around me, and he has a design for my fate too’ or ‘The Strength of the land itself keeps me on my feet.’ Faith need not be religious faith—although religious, Christian faith, prevailed during this period and often drove the expansion west, but can instead be a firmly held belief.

Tales of the Old West provides two means to create a Player Character. In the quick method, a player selects an Archetype and modifies it according to the age—Greenhorn, Tested, and Old-Timer—of the Player Character. He then selects one or more Talents, according to age, and then a Faith and a Dream, chooses some equipment. Lastly, he decides on the Relationships his Player Character has with the others.

Name: Virgil BruceArchetype: TraderAge: Greenhorn
Grit: 04 Labour 1 Presence 1 Fightin’ 0 Resilience 0Quick: 03 Move 0 Operate 0 Shootin’ 0 Light-Fingered 0Cunning: 04 Hawkeye 0 Nature 0 Insight 2 Animal Handlin’ 0Docity: 04 Performin’ 2 Makin’ 2 Doctorin’ 0 Booklearnin’ 2
TalentsLawyer
Big Dream‘Where there is opportunity, so comes law, and by the Lord this town needs a judge in good standing—that will be you.’
Faith (4)‘Money talks. Always has, always will.’
Gear$45Ounce of goldRoper repeating shotgun and D6 rounds
The other method is to use the Lifepath system included in Tales of the Old West. This provides a more detailed Player Character, determining where he comes from and what his family is like, and then what he has done. This is how he has made his Living, up to three times, depending upon his age. This provides far more flavour and detail.
Name: Deborah LeungArchetype: TraderAge: Tested
Place of Birth: ChinaUpbringing: “You come from an old sea-faring family. It is said your forefathers traded across the Pacific long before the Europeans discovered that coast. If it’s true, it made them rich. Gain +1 point of Capital.”What Of The Family You Left Behind?: “Your family was big until the curse. Death, madness, and foolishness reduced them all to ruins, and you had no choice to leave those who still survived behind.”Livings: Frontier Folk (‘You used to come into town just to sell your furs. But it’s warmer to sit and sell those furs. So now you sell clothes for the discerning outdoorsman. Make your next Living roll on the Trader Living Outcome Table.’)Trader (‘You make the most of the influx of single men coming to the town by advertising “employment opportunities for young women” back east. Your successful bordello earns you the respect of a town elder. Make your next Living Roll on the Gentlefolk Living Outcome Table.’)
Grit: 04 Labour 0 Presence 4 Fightin’ 2 Resilience 1Quick: 02 Move 0 Operate 0 Shootin’ 0 Light-Fingered 0Cunning: 04 Hawkeye 2 Nature 0 Insight 3 Animal Handlin’ 0Docity: 04 Performin’ 4 Makin’ 3 Doctorin’ 0 Booklearnin’ 1
TalentsKnife FighterCharming
Big Dream‘Where there is opportunity, there is a woman. I will make my way to respectability in this town and beyond.’
Faith (4)‘Money talks. Always has, always will.’
GearKnifeOutfit: Store with 1 CapitalOutfit: Salon with 1D3 CapitalCapital: 1Harford Coach Gun & 2D6 Cartridges$28
Mechanically, Tales of the Old West uses the Year Zero engine. To have his character undertake an action, a player rolls a number of dice equal to a combination of Attribute and Ability. The pool of dice consists of ‘Trouble’ dice and standard dice. There will always be ‘Trouble’ dice in the dice pool, up to five. A single roll of a six on either die type indicates a success. Multiple successes improve the outcome and allow the Player Character to perform stunts. In combat, these might be to inflict extra damage or inflict a critical injury, but for other Abilities, Stunts include giving a bonus on subsequent rolls, completing a task quicker, impressing someone, and so on. If no sixes are rolled, the action fails. If ones are rolled on the ‘Trouble’ dice, these have no effect unless the player decides to ‘push’ the roll. This enables him to reroll any dice that did not roll a one or a six. However, if there are any ones remaining after the roll has been pushed, even if the Player Character has succeeded, they trigger a check on the ‘Trouble Outcome Table’. There is a ‘Trouble Outcome Table’ for conflict and physical situations and for social and mental situations. The effects vary depending how many ones have been rolled.
For example, if a Player Character has generated three ones in a conflict, the outcome might be “You’re shaken and shocked. For the rest of the scene, you suffer -2 to all rolls using the ability that suffered the Trouble” or “Your gun explodes, your weapon breaks and slices into you, or your blow catches something sharp. You suffer a 6 dice attack, either with Damage and Critical rating of your weapon or Damage 1, Crit 1.” The roll can have a straightforward outcome, but it can also escalate from one column to the next if a player rolls high enough.
Pushing a roll costs a Player Character a point of Faith, of which he has four at the start of every scenario, and ideally, the reason for Pushing a roll should tie in with the Player Character’s Faith statement. Faith can also be spent to buy off Trouble dice showing a one. It is better to do this before a roll is pushed as it still allows the dice to be rolled as part of the Push attempt, but negates the dice if done after the Pushed roll. Faith can be recovered for making good rolls without Pushing, or for undertaking actions such as a Player Character saving his Pardner, praying, or taking revenge, and for performing rituals like cleaning a weapon, grooming a horse, going to church, and so on. Faith can be lost, though this is a roleplaying choice rather than a mechanical one.
Conflict in Tales of the Old West uses the same core mechanics. Initiative is determined by drawing cards from a deck of ordinary playing cards, whilst in combat, a Player Character can act twice per round. This is either a fast action and a slow action, or two fast actions. A Slow Action might be ‘Shoot’, ‘Melee Attack’, and ‘Mount’, whilst a ‘Fast Action might be ‘Quick Shot’, ‘Aim’, and ‘Draw Weapon’. The rules cover brawling, the use of the lasso, as well as gunfights, including, of course, duels. As expected, duels are a step-by-step process, beginning with the face-off and then going through the draw and the shoot-off to see who is left standing. Other combat rules cover fanning, overwatch, cover, and ammunition. All weapons inflict a minimum amount of damage, applied directly to the defender’s Attributes. Damage done to Grit is called Hurts, if to Quick it is Shakes, to Cunning it is Vexes, and to Docity, it is Doubts. If reduced to zero, an Attribute is Broken. However, if the number of Successes rolled on an attack equal the Crit Rating of the weapon used, then a critical attack has been made. Critical hits are inflicted if either Grit or Quick is Broken. Overall, combat is fairly quick and brutal. Weapons are quite detailed and include a variety of historical models, noting in particular the difference between single action and double action pistols, the former being slower, but lighter and more accurate, the latter being heavier, but faster.
So far, so good. Tales of the Old West can do all of the things that you expect of a Wild West roleplaying game. Duels, gambling, chases, cattle rustling, bank robberies, and more. However, where it really begins to shine is in its support and capacity for long term play. This can start during Player Character creation with the players deciding upon a group concept. Suggestions include lawmen and bounty hunters, outlaws, ranchers, farmers, business owners, vaqueros & cowboys, and mountain folk. Selecting a concept suggests the type of campaign that the players want to roleplay as well as granting their players bonuses in terms of equipment and money. Whatever the campaign concept, what Tales of the Old West really encourages the players and their characters to do is to earn sufficient dollars to make enough Capital, which can then be invested in a business. This can then generate further monies to make more Capital and so on. This gives both the players and their characters a personal attachment to the town. Alongside this, with the Turn of the Season, as well as potentially, from scenarios, the players earn Settlement Points, which can also be invested in the town. The progress and growth of the town itself is tracked in six ratings—Farming, Mercantile, Natural Riches, Law, Civic, and Welfare. The Settlement Points are spent on amenities that will adjust the various ratings. For example, holding a Season fair will increase farming and Mercantile both by one, Civic by two, but reduce Law by one. The combination of town prosperity, the Player Characters’ business outcome, a personal fortune roll, and the amenities added with the expenditure of Settlement Points, and what the Game Master has is a set of prompts around which she can design adventures, roleplaying opportunities, and themes. However, whilst a town can grow and prosper, it can also decline and fail, as can a Player Character’s business, the latter especially if the Player Character gets into debt, whether through gambling or other causes.
This is supported by a discussion of possible themes for a campaign and fifteen detailed story seeds. In terms of setting, Tales of the Old West provides an overview of the Wild West and its frontier, but focuses very much on the New Mexico territory, presenting a description and a history as well as a campaign framework set in the southwest of the territory. This is ‘The King of Santa Fe’. Set across three fictional towns, it focuses on the machinations and corruption in the Santa Fe Ring, the cadre of politicians and businessmen which dominate the corrupt politics of the territory and circle the governor, Marsh Giddings. All three towns are described, including the mining and lumber town of  Steaming Rock, the hunting town of Carson’s Folly, and ranching and mining town of Jornada Springs. All three towns include descriptions of its most notable citizens, and come with several campaign adventure outlines, two of which are the campaign starters and the campaign finishers. This is in addition to the descriptions of the territory’s major towns of cities of Albuquerque, Lincoln, Silver City, and even Las Vegas. Rounding out the support is a starting scenario, ‘Patience is a Virtue’.

In terms of tone, Tales of the Old West advises player and Game Master alike that the American West of the period is challenging in terms of both history and roleplaying, given the social attitudes of the period. It addresses in turn the status of women, Native Americans, the Hispanics, Chinese, and African Americans, clearly stating that participants should be respectful of the history and the diversity of the various peoples living in the setting it depicts, acknowledging the prejudices of the period, rather than embracing or revelling in them.
Physically, Tales of the Old West is a buff-coloured hardback with spots of muted colour that echoes classic depictions of the Old West. It is well written, easy to read, and a good looking book.
Respectful of the history, Tales of the Old West gives players and Game Masters alike the means to run and play more than a black and white, Cowboys & Indians game, a detailed, roleplaying campaign where the Player Characters are part of a community and building a better place. Modern, accessible, and playable, without being overly complex, Tales of the Old West is a thoroughly engaging and earnest treatment of the Old West.

You awake slowly, reaching through the murk of a befogged mind, guided by the sound of a bell. A constant sound. You are cold, it is night, and you are barefoot, just like the men and women standing around you. All dressed the same. Nightgowns. Eyes staring wide. You do not know who you are, but you know you are in Oakwood Springs, a sanitorium for the wealthy in the retreat town of Lake Geneva, though you are not quite sure why. You recall being questioned. Was it about what ailment or condition that besets you, or was not something else? You are not sure. The orderlies snap at you to return to your rooms, but unlike your fellow patients, whose faces only show bewilderment at being roused from their bed at this time of night, the look in the orderlies is one of fear. Why are you in Oakwood Springs? Are you sick or simply need rest? And just what is that the orderlies are afraid of?

This is the set-up for the Madness at Geneva Lake: A Call of Cthulhu Adventure. It is the second convention scenario to be published by Chaosium, Inc. for Call of Cthulhu, Seventh Edition, the other being The Shadow Over Providence. Where that scenario is set during the roleplaying game’s classic period of the nineteen twenties, this scenario is set in December 1891—for a very good reason—and thus could be run using Cthulhu by Gaslight. However, Madness at Geneva Lake is just a little special. It was published for Gary Con XVII, the convention that celebrates the life of E. Gary Gygax, in conjunction with Gygax Ink, to celebrate the fiftieth anniversary of Chaosium, Inc. It takes place in Lake Geneva, the Wisconsin town where E. Gary Gygax grew up, where TSR, Inc. was based, and where Gary Con is held each year. Lake Geneva stands on Geneva Lake and beginning at the end of the nineteenth century, was renowned as a resort town and retreat for the wealthy from Chicago to the east. Here the socialites would spend their summers and perhaps when they needed long term medical rest or treatment, months in the town’s expensive sanatoriums, receiving the most expensive medical care that money could buy.

However, times have changed in Lake Geneva. Winter has drawn in and as crisp snow lies on the ground, thick fog rolls in off the lake. Many of the visitors to the town, expecting to enjoy an excursion aboard one of the steamers, have returned to shore, touched and disturbed by a dread presence lurking in the icy depths of the lake. Is this why the Investigators are in Oakwood Springs?

The thrust of Madness at Geneva Lake: A Call of Cthulhu Adventure is quite simple. Cultists are attempting to summon something nasty, in this case from Geneva Lake. For veteran players of Call of Cthulhu, the identity of the cultists should be a surprise this far from the coast, being a mixture of Deep Ones and Deep One Hybrids as well as ordinary cultists. Actually, there are two factions of cultists involved in the whole affair, but the fact that there are two factions is unlikely to become apparent to the Investigators.

The scenario is divided into two acts. In the first act, the Investigators need to find why they are in Oakwood Springs, find their belongings, examine their patient records, and then escape the sanitorium. The emphasis is upon stealth, trying to get past the orderlies and the nightwatchmen, and attempting to get into the sanitorium’s various locked rooms. One of the pre-generated Investigators does have the Locksmith skill, so he will be useful, but in the main the Investigators will need to find the keys. All this whilst sleepwalking patients try to stagger out of the front door into the fog where things lurk, and towards Geneva Lake. The atmosphere in the sanitorium is creepy and tense, and this will grow and grow as the Investigators determine who they are and what they know. Despite the atmosphere in the sanitorium and despite the feeling that they are trapped, the Investigators are not truly in danger in the sanitorium. Further, they even have help in their attempts to escape.

The second act of Madness at Geneva Lake: A Call of Cthulhu Adventure begins with the Investigators having found out who they are and what they know, escaped from Oakwood Springs, and learned that the source of everyone’s anxiety and terror lies on Geneva Lake, and is tied to a well known paddle steamer, the Lucius Newberry. This is described as one of Lake Geneva’s more exquisite sidewheelers, “complete with a luxurious decor that included crystal, brass and polished fixtures, and even oil paintings.” The scenario should ideally culminate aboard the vessel, with the Investigators confronting a betentacled abomination and preventing a vile ritual. Amusingly, the best solution given is to set the ship alight and burn it down to the waterline. This is because the Lucius Newberry actually did catch fire in December 1891 and sink, and that in 1982, TSR, Inc. actually funded a salvage attempt on the recently discovered wreck of the vessel.

Over half of Madness at Geneva Lake: A Call of Cthulhu Adventure is dedicated to six appendices. These include all of the scenario’s adversaries and monsters, a dark history of both Lake Geneva and Geneva Lake, handouts, seven pre-generated Investigators, new spells, and details of Lake Geneva’s sanitoriums. The pre-generated Investigators all come with male and female options, but they do include a ‘brain in a jar’ capable of casting spells; a Deep One Hybrid; an archaeologist; a member of the clergy; a journalist and photographer; a private investigator; and a scientist. The ‘brain in a jar’ will present a roleplaying challenge, but integrating it into the scenario is likely to be more challenging.

Physically, Madness at Geneva Lake: A Call of Cthulhu Adventure is cleanly and tidily presented. The artwork is good, the cartography serviceable, and the handouts nicely done. However, the scenario does need another edit.

The scenario is short and serviceable, with a twist or two as well as an initial emphasis on stealth and investigation, which will satisfy veteran players of Call of Cthulhu. It is designed for convention play, so it misses an opportunity to really roleplay the recovery of the Investigators’ memories and their treatment at Oakwood Springs, and the shortness means that the true nature of the villains in the sanitorium never get a chance to come to the fore. Nevertheless, Madness at Geneva Lake: A Call of Cthulhu Adventure takes the classic set-up of amnesiac protagonists and being confined in a sanitorium and gives it a fast-paced spin through some roleplaying adjacent history!

Now in its eighteenth year, Free RPG Day for 2025 took place on Saturday, June 21st. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.

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Into The Living Sands is a scenario for the Arora: Age of Desolation setting published by Ghostfire Gaming, one of three released by the publisher for Free RPG Day 2025. All three scenarios and settings are written for use with Dungeons & Dragons, Fifth Edition and designed to be played by a party of five to six Player Characters of Third Level. The scenario opens with ‘Welcome to the Arora: Age of Desolation’, a much needed description of the setting and its key features, because the scenario does not have a back cover blurb. What it tells the reader is that the setting for Arora: Age of Desolation is Arora, a post-apocalyptic world once ruled by dragons, but which has crumbled since they were infected with Shardscale, which causes instability and uncontrollable rage in dragons and similar creatures. Without the stability and structure provided by the dragons, the survivors fled in search of refuge. Their descendants face the constant danger of dragon warlords and their draconic warbands, whilst living in often extremely harsh conditions. In the desert region of Gallaht, they have adapted, harvesting water from quicksand, carving homes from the mesas known as ‘metehs’, which often collapse due to earthquakes, forcing the inhabitants to find a new meteh, often one that has risen from the ground due to the same earthquake activity, and race magical sand skiffs across the desert in search of resources, trade, and to avoid the desert pirates! The setting feels similar to that of Dark Sun, the savage, post-apocalyptic setting published by TSR, Inc. for Advanced Dungeons & Dragons, Second Edition in 1991. However, the parallels are relatively slight in that both are desert settings and both have dragons that feature at their core, but that is all.

At the beginning of Into the Living Sands, the Player Characters have travelled to the Claw of Khulud, the only permanent city in the Tremoring Badlands. Their metehs, all four of them, recently collapsed, forcing their inhabitants to resettle in a larger, single meteh. However, this has left the new meteh short of supplies and the Player Characters to obtain what they need and to entreat merchants to set up a regular water trade route to their new meteh. Unfortunately, Khulud was recently hit by a storm that destroyed supplies and depleted water stores. To replenish the latter, the city’s Trade Council is organising a ‘Great Water Race’, a daylong event in which participants go in search of water and attempt to bring back more than the other competitors. They are popular in Khulud and although dangerous, participants are well paid for the water they bring back and the winner is feted throughout the city. The Player Characters have already decided to enter the race, hoping that the money they will make on the water they bring back will be enough to buy the supplies their new meteh requires and that if they win, the local water merchants will be persuaded to set up a trade route.

Into the Living Sands is literally a sandbox. The Player Characters can go where they will in the scenario. There are pools to find and collect water from, secret locations to reach, and ruins to explore, and encounters to have along the way, including running into other competitors, being attacked by a swarm of Fulgurite Crabs with their razor-sharp shell, be misdirected by the illusions of a Wakeshark, and being chased by water pirates! The Player Characters need to make several choices, beginning with deciding upon which guide to help them crew their desert skiff and what type of desert skiff to choose. Five guides are detailed, each of whom has their own motivation and interests, some of them actually quite selfish, as well as advantages and disadvantages when it comes to participating in the Great Water Race. Some also know the locations of the secret locations, and only if the Player Characters choose them, will they be able to reach those locations. Similarly, the choice of desert skiff—either sturdy, standard, or swift—will affect what locations they can reach. The faster the skiff, the more distant places they will be able to reach. The unique and distant locations tend to have more water.

The Game Master will then tailor the scenario to the choices that the players and their characters have made. The scenario includes four locations and a total of ten encounters. Two of the encounters are categorised as ‘unique’ and do require the presence of particular NPCs, so not all of the scenario is going to be open to the Player Characters depending upon the choices made. That said, they could be added to an ongoing Arora: Age of Desolation campaign. Whichever of the locations and encounters the Game Master uses, the scenario comes to a close with a race back to the Claw of Khulud, chased by water pirates, and ultimately, the determination as to which of the competitors have brought back the most water and won the Great Water Race.

The scenario comes with several appendices. The first includes the stats for the various monsters, like the Lingering Wakeshark, Sand Elementals, and Crystal Snails, whilst the second provides rules for desert skiffs. This covers operation, combat, and mishaps, plus attachments that increase their versatility, like a boarding clamp, raider launcher, and reinforced steering sail. The third appendix covers water hunting and its rules, whilst the fourth gives the stats for various sizes of desert skiff. A set of resources is also available for all three of the scenarios published by Ghostfire Gaming. They include maps, tokens, and pre-generated Player Characters for each. One of the features of the Arora: Age of Desolation setting is that it does not have Races, species, lineages, or heritages in the traditional Dungeons & Dragons sense. Instead, the sentient humanoids of Arora have the potential to express the traits of any fantasy Race, bar the draconic Races. This leads to a diverse, mishmash set of Player Characters rather than ones delineated along traditional lines. For Into the Living Sands, the Player Characters consist of a Draconic Sorcerer and healer; an Equilibrist Rogue who likes storytelling and can talk to and understand both beasts and plants; a Legionnaire Fighter who is a good tracker and forager; a feline scavenger and cleric who worships the dragon goddess Jha-dhol; a Ranger who is a skilled hunter and is at home in the desert; and a Paladin who grew up in the darkness of caves and is lucky. All six are nicely detailed and come with some background as well as an illustration and an explanation of all their abilities and features.

Physically, Into the Living Sands is well presented. The artwork and the maps are excellent, and the scenario is well written. The only disappointments are the lack of a back cover blurb to inform the reader what Into the Living Sands actually is. That said, a map of the region without the secret locations marked would have been useful

Into the Living Sands is the most complex and demanding of the scenarios published by Ghostfire Gaming for Free RPG Day 2025. It requires the Game Master to adjust the scenario to her players and their characters rather than run a straightforward, plot-driven or exploratory scenario. If she can do that, Into the Living Sands is an exciting, action-packed scenario that introduces the Game Master and her players to a little of the strangeness that is Arora: Age of Desolation.

Now in its eighteenth year, Free RPG Day for 2025 took place on Saturday, June 21st. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.

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Life in the Dales has been good and all you have ever known. The working of the soil, the turning of the seasons, the joy of the festivals scattered throughout the year, and shared stories, some of past exploits, others of caution and calamity, and then, legends of great deeds long in the past and far away, outside the mountain fastness of the Dales. Above you know the wind as it blows cold down the mountain and into your bones or wafts along the river to warm your face and sway the barley. Of late, the wind has changed. You know it as it wails through the ruins of an ancient tower. You feel it as it brings a chill earlier in the nights than it should. You see the shadows deepen and hearts fill with uncertainty. The tales of old twist to tell of a fallen kingdom, of the Creatures of Twilight, and of Deceivers that stalked the innocent and the unwary, preying on the lost… Has an age-old threat returned and if so, why do you feel compelled to seek out the truth of the doom whispered upon the winds? To explore the extent of the Dales, before leaving its sanctuary, your home, and embark on a long journey in the Wanderlands?
This is the Legend in the Mist Demo Game, a quick-start for Legend in the Mist: The Rustic Fantasy RPG, published by the Son of Oak Game Studio, best known for City of Mist, the Pulp Noir, Urban Fantasy storytelling game. It is a narrative roleplaying game with optional tactical features intended to evoke the feeling of an old fireside tale. It uses a variant of the Powered by the Apocalypse mechanics, and the Legend in the Mist Demo Game includes a short three-act scenario, ‘A Shadow in the Barley’, that can be played through in a single session with the three pre-generated Player Characters provided.
A Player Character in Legend in the Mist is defined by four sets of themed Tags. These Themes vary, but can include Devotion, Trade or Skill, Trait, Personality, People, Trait, Possessions, and more. Themes are categorised as either Origin, Adventure, or Greatness Themes, which define where the Player Character came from, how he works to affect the world, and what he is good at, respectively. Each Theme set contains five Tags which can be used as a ‘Power Tag’ or a ‘Weakness Tag’. For example, the Red Marshal has the Tags of ‘The Red Armour’, ‘Stand Watch’, ‘Reassuring Presence’, ‘Know These Lands’, and ‘Loyal Horse’ for his Devotion Theme. A Theme has tracks for Experience—gained when a Tag is used as a weakness, and Decay, gained for acting against a Theme—that is, out of character—and which if filled, will lead to the replacement of the Theme. Each Player Character has a set of items which can be used as Tags too.
The three Player Characters in the Legend in the Mist Demo Game are ‘the Apple Picker’, a young, orphaned prankster; ‘the Red Marshal’, the new village scout; and ‘the Wise One’, the village healer who knows some of the mysteries of the world. Each Theme comes with some colour text which gives it and the Player Character some context. Lastly, each of the three pre-generated Player Characters comes on a double-sided A3-size sheet, with a female version on one side and a male version on the other.
Mechanically, to have his character attempt a task a player rolls two six-sided dice. If the result is ten or more, the Player Character succeeds without Consequences; if it is seven to nine, he succeeds, but suffers Consequences; and if six or less, the Player Character fails and suffers the Consequences. To the roll, the player adds as many Power Tags as he can and which are appropriate, but has to deduct any Weakness Tags that apply. The resulting value is the Player Character’s Power. This can be spent on various Effects—Attack, Influence, Boost, Create, and Restore. They can also be applied to Challenges and Threats in an attempt to overcome them. Each Challenge or Threat has a rating or a ‘Limit’, for example, to get past an encampment of bandits with two men on watch, the Limits might be ‘stealth: 2’ and ‘wounded: 3’. In the first example, the Player Characters would apply the Effects from a stealth-related Tag to exceed the Limit, whilst in the second, the Effects from an attack-type Tag would be used. This can be done over multiple attempts with the Effects stacking each time, but if successful will change the status of a Challenge or Threat. Thus, the ‘stealth: 2’ Limit changes to ‘evaded-2’ and the ‘wounded: 3’ Limit to ‘wounded-3’.
However, there are ramifications if a Challenge or Threat is not dealt with succinctly or is even ignored. The Narrator can apply Consequences. This might be something as straightforward as ‘bleeding-3’ for a wound, ‘burning-1’ from a spell, or ‘lost-4’ if in a blizzard, but Limits themselves could change. For example, the Limits for the bandits could change to ‘hunted: 3’ and ‘wounded: 4’, now that the Player Characters failed to get past the encampment. The Legend in the Mist Demo Game includes a list of possible Effects, a very quick introduction to character creation—more of an enticement to look at the full rulebook and what it offers than anything else, advice on running the roleplaying game, and possible Challenges, Threats, and Consequences that the Player Characters might face and suffer.
The adventure itself, ‘a Shadow in The Barley’ is set in the village of Ravenhome in the Dales. One autumn morning, the three Player Characters met on the road* outside of the village. They have time to interact before they hear the scream of a child coming from a nearby field of barley. Investigating reveals a very scared child, paralysed with fear, as well as a strange feeling upon the air. Is there something lurking in the field? All is revealed when a shambling, water-logged corpse, wearing old armour and wielding a rusty sword lurches onto the road. This is a Waken Sentry and the Player Characters will realise that the only source of water nearby is that of a pond in a decrepit tower. However, before the Player Characters can investigate they need to get the child to safety and warn the villagers. This sets up a social challenge which can end with the whole village fleeing or even arming everyone with pitch forks to deal with themselves. There is scope here for some good roleplaying versus some interesting, but not always helpful NPCs. The finale of the scenario sees the Player Characters investigate the tower, encounter a strange NPC who wants their help in retrieving a ‘family heirloom’ from the pond, and discover the cause of the Waken Sentry.
* Well, it makes a change from a tavern.
‘a Shadow in The Barley’ is ultimately the introduction to a longer scenario, setting up, as it does, a mystery at the end . In the process of setting that up, it showcases how the rules apply to different situations—one combat related, one social, and one exploratory.
Physically, the Legend in the Mist Demo Game is well presented. The artwork is good and the writing decent. All three Player Character sheets come separate from the main book and there is even a sheet of Tracking Cards to cut and use to keep track of Effects being applied to Threats and Challenges and Limits being reduced.
If the Legend in the Mist Demo Game is lacking anything, it is an example of play or the rules in play. Without either, it is not quite as easy to grasp as it could have been, presenting more of a challenge to learn for anyone new to roleplaying or new to the narrative style of play employed in Legend in the Mist: The Rustic Fantasy RPG. However, for the experienced Narrator or the Narrator willing to grasp its slightly different rules, the Legend in the Mist Demo Game is a solid, engaging introduction to Legend in the Mist: The Rustic Fantasy RPG.

Now in its eighteenth year, Free RPG Day for 2025 took place on Saturday, June 21st. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.

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If there was an award for the most generically useful item released for Free RPG Day 2025, it would go to the Deck of Worlds Sampler Pack. Published by The Story Engine, this is an introduction to The Story Engine: Deck of World, a deck of cards designed to help users create worlds complete with cultures, geographies, histories, flora, and fauna, simply by drawing and combining cards. The Deck of Worlds Sampler Pack contains just thirty-five cards, little more than a tenth of the two-hundred-and-forty cards to be found in The Story Engine: Deck of World, all packed into a seven-by-seven centimetre box. Unlike previous offerings from The Story Engine, the Deck of Worlds Sampler Pack opens easily and then opens up fully and easily. When closed, the box holds the cards firmly in place, but when opened up, forms the instruction sheet, which takes the user through the process step-by-step.
The Deck of Worlds Sampler Pack contains six card types. These are Region, Landmark, Namesake, Origin, Attribute, and Advent. A Region card has one element which gives the setting a basic environment, like ‘Desert’ or ‘Swamp’. The Landmark expands the basic environment and provides a point of interest, such as ‘Tree’ or ‘Workshop’, ‘Peak’ or ‘Town’, and ‘Point’ or ‘Temple’. The Namesake card gives the Region a sobriquet, providing four like ‘Roaming’, ‘Of Fools’, ‘Of Glass’, and ‘That Knows’. The Origin card also has four elements such as ‘Home of a vanished People’, ‘Founded by Outcasts’, ‘Last Known Location of An Ancient Artifact’, and ‘Said To Have Been The Home Of God(s)’, which provides a lore-based background. Similarly, the Attribute card also has four elements and provides a present day feature about the Region, for example, ‘Polluted’, ‘Unusual Election Process’, ‘Hunting Ground’, and ‘Known For Fossil(s)’. Lastly, the Advent card only has two elements, such as ‘They Are Under Siege By A Foreign Power: An Army, Bombardment, or Propaganda War’ and ‘Wildlife Is Behaving Peculiarly: Aggression, Disorientation, Or Hyperactivity’. The six card types are each a different colour, front and back, and so easy to identify.
To create a micro setting, the user draws a card of each type, one-by-one. The core is the Region card, whilst the others are slipped underneath the Region card so that only one of their elements shows. For example, the ‘Island(s)’ Region card is drawn followed by the Landmark card, which presents a choice of ‘Library’ or ‘Cave’. The former is chosen, then for the Namesake card there is a choice of ‘Shattered’, ‘Of Flags’, ‘Of Strays’, and ‘That Sleeps’. Of these ‘Of Strays’ is added the micro setting. The four choices for the Origin are ‘Was Once Encased In Ice’, ‘Origin of A Popular Game Or Sport’, ‘Founded As A Claim Of Independence’, and ‘Linked To Apocalyptic Lore’. The latter is added. The Attribute card suggests ‘Religiously Diverse’, ‘Known For Street Food’, ‘Seasonal Flooding’, and ‘Carnivorous Plants’, of which ‘Religiously Diverse’ is suitable. Lastly, the Advent card suggests either ‘A Leader’s Sudden Death Is Creating A Power Vacuum: To Be Filled By Heirs, Council Members, Or A Vote’ or ‘Earthquakes Are Uncovering Something Long Buried: A Hive, Sinkhole, Or Tomb’, with the former being chosen.
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The Island of Strays (‘Islands’ and ‘Of Strays’) sits at the far end of the world, awaiting the end of the world. Literally, for it is home to the Athenaeum Apocalyptica, its scholars and monks and prophets dedicated to the study of the end of the world (‘Linked To Apocalyptic Lore’). Over the centuries, it has built up the most complete collection of lore—scrolls, books, carvings, songs, and stories—about the end of the world and even has a whole school, Wisdom Pursuant Apocalyptica dedicated to determining when the end is coming. Although its members include adherents of militant millenarianism and devotees of extreme eschatology, as well as mathematical prophets and augural ascetics (‘Religiously Diverse’), only verbal conflict and debate is allowed on the island. However, the death of the Head Haruspex, Marius IX, Envoy of the Epoch, has left the Athenaeum Apocalyptica without a prime prophet. Accession would not be a matter of great consequence, but the Athenaeum Apocalyptica is approaching the turning point between millennial years and the apocalyptic belief of the Herald of Honesty will determine the belief and the funding distribution for the prophetic phrontisteries for centuries to come (‘A Leader’s Sudden Death Is Creating A Power Vacuum: To Be Filled By Heirs, Council Members, Or A Vote’). —oOo—
Physically, the Deck of Worlds Sampler Pack is a delightfully simple package. The artwork is engaging and the instructions on the inside of the clever packaging are very well done.
The Deck of Worlds Sampler Pack is only a taster of the full The Story Engine: Deck of World—a quick-start if you will… Yet it offers a surprising degree of versatility, even with just six Region types and twelve Landmarks, on top of which the Namesake, Origin, and Attribute cards add twenty-four options of their own, that can all be combined to create micro settings that a writer or a storyteller or a Game Master can start her world from and then add to it with further micro settings, developing it micro setting by micro setting, or even just focus on the one micro setting. The Deck of Worlds Sampler Pack is a great introduction to The Story Engine: Deck of World and offers prompts aplenty for what is a release for Free RPG Day.

Much like the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Miskatonic Repository for Call of Cthulhu, Seventh Edition is a curated platform for user-made content. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

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Name: Buffalo Bill & the Southsea HorrorPublisher: Chaosium, Inc.
Author: C.M. Arnold

Setting: Ewardian PortsmouthProduct: Scenario for Cthulhu by Gaslight and Down Darker Trails: Terrors of the Mythos in the Old West
What You Get: Fifty page, 13.33 MB Full Colour PDF
Elevator Pitch: “Cowboys & Indians & Rhinoceroses, oh my!”Plot Hook: Why is patronage in Portsmouth so poor?Plot Support: Staging advice, six pre-generated Investigators, no NPCs with stats, eight handouts, one map, and one Mythos monster.Production Values: Adequate
Pros# Marvelous sense of period parochialism# Nice period handouts# Culminates in a Wild West Shoggoth Showdown (hoedown?)# Possible sequel to Pilgrim’s Hope?# Zoophobia# Megalophobia# Plokámiphobia
Cons# No Investigator backgrounds
# Needs an edit
Conclusion# Cowboys & Indians & a Cthulhu Confection, OH BOY!# Short, single session period piece

Now in its eighteenth year, Free RPG Day for 2025 took place on Saturday, June 21st. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.

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If there was an award for the smallest roleplaying game—not the smallest item—released for Free RPG Day 2025, it would go to the Nobi Nobi Quickstart Booster. It consists of twenty-four cards which all together provides a roleplaying experience that can be played through in an hour and even be played through more than once. Nobi Nobi is a Japanese roleplaying game, published by Arclight Games, and intended to be played at board game cafes as well as with beginners as introduction to roleplaying. The four core games, each covering a different genre, are designed to be played by between one and five players, including the Game Master, and played through in thirty to sixty minutes. These four have since been translated into English by French publisher, Don’t Panic Games, following a successful Kickstarter campaign. The Nobi Nobi Quickstart Booster is easy to transport, fitting into any pocket, and requires just six six-sided dice. Which means that it can be played just about anywhere that has a flat surface.
The cards in the Nobi Nobi Quickstart Booster consist of two Epilogue cards, one of which contains the roleplaying game’s rules on the reverse; two Introduction cards, one for the Game Master and one the first Main Character; eight Scene cards; four Darkness and four Light cards; and four Character cards. The Character cards are double-sided, each side depicting a different character archetype. Altogether, the eight archetypes are Enchanter, Wizard, Priestess, Cleric, Warrior, Shieldmaiden, Huntress, and Samurai. Each has two stats, Power and Technique, rated from one to six (together they total seven), and an Ability. These are quite simple, requiring specific rolls, add bonuses, and even require dice to land on the Character card itself when rolled! For example, the Warrior has a Power of six and a Technique of one, plus the ‘Destiny’s Strike’ Ability, which grants the player a roll with straight +7 bonus rather than adding either Power or Technique, but only if the player can persuade the Game Master that “a sword could come in handy” for the Scene.
The Scene cards come in two types, a ‘Check’ or a ‘Role-play’ Scene. Each comes with a prompt and a description that the Game Master reads out and the means of resolution. For a ‘Role-play’ Scene, this might require a player to roleplay in the traditional sense, add a storytelling element, and even act out a mime! A ‘Check’ result requires a dice roll, a player rolling two dice and adding either Power or Technique as indicated by the Scene card. If the player succeeds, determined by the dice roll for a ‘Check’ Scene or the Game Master for a ‘Role-play’ Scene, he earns a Light card. If the player fails, he earns a Darkness card. A Light card grants a bonus that can be used later in the game, for example, ‘Disciple’ reads, “You can designate any player with the arrow on this card or spin it to pick one at random. From now on, the designated PC will be your disciple. To guide them in their learning, you will need to steer them gently at times, and at others, be more severe.” and grants ‘Technique +1’. Whereas, a Darkness card grants an effect that breaks the rules, such as ‘Dark Force’, which reads “A dark force capable of twisting the laws of nature, rearranging causality… Even though it darkens your soul, right now you have no choice but use it.” and gives the ‘Dirty cheat’ ability to alter a Check by +2 or -2.
Nobi Nobi is played with a revolving Game Master and Main Character. At the start of the game, the designated Game Master sets the game up by reading out an Introduction card out and drawing the first Scene card and reading that out. The player to her left is the designated Main Character for the scene and his character will resolve the scene described. This can involve one or more of the other characters and their players, but it is the Main Character and his player who resolves the Scene. Once done, the role of the Game Master and of the Main Character passes to the left. Play like this continues until all of the Scene cards have been drawn and played. Then an Epilogue card is drawn and resolved, with every Player Character participating, and the session brought to a close.
Nobi Nobi is quick and easy to play though and the Nobi Nobi Quickstart Booster even quicker. With just eight Scene cards, it plays better with either two players or four players so that every player is accorded a fair share of the Scenes. An experienced group of players will likely run through this in thirty minutes or so, whereas a less experienced group will take slightly longer. That said, the reaction to the demands of each ‘Role-play’ Scene will vary according to the experience of the players. The more experienced roleplayers will be au fait with the dice rolling, whereas the less experienced players will be more comfortable with the scenes which require something like miming to resolve.
Physically, the Nobi Nobi Quickstart Booster is a simple pack of twenty-four cards. All are colour-coded according to type and so easy to spot, whilst the Character cards are illustrated in classic Manga style. The Scene cards do each have line art on them which depicts what is going on, but due to the size of the card, the artwork is slightly small.
Nobi Nobi looks to be an interesting format and means of introducing roleplaying to a wider audience, as well as having a low presence at the game table. The Nobi Nobi Quickstart Booster is an intriguing introduction, offering both a surprising amount of play in a very small package and easy replay value with different groups.

The halls of each of the Mappa Mundi Institutes stand as a repository of memory and a cradle of curiosity. Each is an archive of what was before and an empty store of what is to be found and discovered. Their Chroniclers are ready and eager to explore the world anew, to travel to the next valley or the other side of the world, and return with tales of what they have seen and stories of how such places have changed. For the world of Ecumene is a world that has changed. People once willingly travelled, making the long and sometimes difficult journeys from their homes to the other three continents and returned as living libraries of all they had experienced and all that they had seen. People, places, and Monsters and Creatures were learned about and from, and the stories shared and remembered, again and again. Then the Flux came and the world changed. Storms rose so big and so furious that travel became impossible. Rivers burst their banks and mountains were lost to fog so thick, it was as their very existence was greyed out. The Monsters and Creatures too changed. Before they had been studied and known, their behaviours and patterns respected, and some had even lived alongside and been protectors of the people, now some retreated into the Wilds, whilst others became aggressive, even monstrous… The nature of the Flux has long been debated, but now change has come again to the world of Ecumene. It is receding and people can begin to travel again. The Chroniclers can not only recover the stories of old, before the coming of the Flux, but observe anew and record stories of the world of Ecumene as it is now.

This is the set-up to Mappa Mundi – An Exploration + Ecology RPG, a collaborative storytelling roleplaying game of exploration, discovery, and ecological change. Published by Three Sails Studios following a successful Kickstarter campaign, this is a roleplaying game with a firm emphasis on world building through play and a firm emphasis on non-violence to the extent that the roleplaying game does not actually have a combat system! Instead, the Chroniclers—as the Player Characters are known—having sworn an oath to ‘Do No Harm’, will explore new regions of the world, encounter new peoples, discover Monsters and Creatures, and interact with them, whilst their players are encouraged to ‘Shape’ the world around their Chroniclers, describing and adding detail to what they see, building upon what has been described before. The roleplaying game uses a deck of cards called the Journey Deck to create the story and the challenges the Chroniclers will need to overcome, all before coming face-to-face with the Monster or Creature they want to study and learn about. What they will not do, though, is discover what the Flux was—and perhaps still is—as that is not the point of the roleplaying game and the roleplaying game goes out of its way to not define it.

As a Chronicler, a Player Character will receive a Licence from the Mappa Mundi Institute, representing the training he has received. This is either Archivist, who specialises in recording folklore and separating it from the truth about Monsters and Creatures, and surveying new lands; Diviner, linked to Fate, who reads the signs in everything around him and the cards he draws and bones he rolls; Fixer, good at recognising social cues in both people and Monsters and Creatures, but also capable of jury-rigging tools, traps, and other helpful devices; and Guardian, who defends people from Monsters and Creatures, Monsters and Creatures from people, and also serves as a tracker and guide. A Chronicler has general Training in four Abilities— Traversal, Observation, Deduction, and Exploration—represented by ‘Bones’ or dice, the higher the better or more capable a Chronicler is. Mappa Mundi maps the Bone or die size to age and experience, the ‘Fate Bone’ or two-sided die represents childhood, the ‘Growth Bone’ or four-sided die represents young adulthood, the ‘Travel Bone’ or four-sided die represents the freedom of adulthood, the ‘Life Bone’ or eight-sided die represents experience and maturity, and the ‘Scholar’s Bone’ or twelve-sided die represents mastery and wisdom, but also deception. A Chronicler’s Licence determines where two of his Trainings are assigned, representing a strength and weakness, as well as the first Skills from the Licence’s Skill paths and then gives choices in terms of Interactions, how the Chronicler approaches the world.

In terms of development, all four Chronicler Licences can improve their Bones and possess extensive Skill trees that will see them be recognised for their Specialisations. For example, the Diviner can be recognised as a Cartomancer, Ossimancer, or an Augur, whilst a Guardian can be recognised as a Warden, Survivalist, or Trapper. It is also possible for a Chronicler to learn Skills from a Licence other than their own, and when a Chronicler gains two Specialisations or more, he will receive Endorsements. In general, it is faster to learn from failure than success.

Edmund
Licence: Archivist
ABILITIES
Traversal d4 Observation d6 Deduction d6 Exploration d4
SKILLSTraversal:
Observation: Behaviourist, Politics
Deduction: Folk Tradition
Exploration: Geography
INTERACTIONS
Diagnose, Study, Study

Mechanically, Mappa Mundi is quite simple. Whenever the Narrator asks a player to make an Ability Check for his Chronicler, the player rolls the die appropriate to the Ability. If the roll is equal to or higher than the Target, the Chronicler succeeds. A player can choose to substitute an Ability with a Skill and if the Narrator agrees—and she does not have to—then she can allow the Chronicler to automatically succeed or the Target for the Ability roll be reduced. One oddity here is that Mappa Mundi does not list set Target values, which initially is going to leave the Narrator and players at a loss. However, Mappa Mundi does, a few pages later, explain that mechanically, Mappa Mundi is intended to be adaptive and proportional. The difficult Target value for each of the four Abilities is determined by the average of the dice values assigned to each Ability for all Chroniclers and then values are set above and below for more or less challenging Targets. For a group of beginning Chroniclers, the average would be five, so the challenging Target would be six, an impossible Target set at eight, a standard Target at four, and an easy Target at two. The actual difficulty of a task depends on the context and some tasks will remain challenging no matter what the Chroniclers do.

In addition, a Chronicler can earn Fate Points for good play and good roleplaying. These can be spent on Fate Checks, with more challenging situations requiring more than one Fate Point. A Fate Check requires both the expenditure of Fate Points and the roll of the Fate Die, so even if the Chronicler has the Fate Points and his player wants to use them, success is not guaranteed. Lastly, Fate Points can be saved and used to unlock new Interactions.

Lastly, although Mappa Mundi does not have a combat system and a Chronicler cannot die, he can still be hurt, whether that is from getting into a fight or getting too close to a Monster. In which case, he suffers one of four conditions—Minor, Major, Unconscious, or Transformative. Each of these will affect the Chronicler in some fashion, making it more difficult for him to succeed until he either recovers or adapts.

Whether played as a one-shot or a campaign—and it really is designed for long term play, The Mappa Mundi – An Exploration + Ecology RPG is played in three phases. These are the Research, Journey, and Encounter phases. During the Research phase, the Chroniclers will investigate a region, interact with its inhabitants, and learn about what they know about the region’s Monsters and Creatures. In the Journey phase, the Chroniclers will strike out into the wilderness in search of where the Monster or Creature they are looking for is located, and then, in the Encounter phase, they will confront the Monster or Creature. This is not to defeat it or tame it, perhaps as you would in another roleplaying game, but instead to observe it, learn about it, and discover its Behaviours. This requires the use of the Journey Deck. This consists of seventy-one Tarot deck-sized cards. These depict terrain such as a Summit, Stream, and Tor, and Monsters and Creatures such as the Afrit, Tiamat, and Shoroon Khutgagh. As well as being presented in full colour, each has a name at the top whose orientation in play will affect the challenges that the Chroniclers will face and work to overcome.

Prior to the start of play, the Narrator sets up the Journey Deck for the trip the Chroniclers want to make and the Creature or Monster that they want to encounter and learn about. This does not use all of the cards from the Journey Deck, but only the one representing the Creature or Monster and those that represent the terrain that the Chroniclers will traverse. This Monster or Creature and this terrain can be one of the Narrator’s own creation, or the Narrator can set it up based on the regions, Monsters, and Creatures detailed in Mappa Mundi. In response to the Chroniclers actions during the Research phase, the Narrator constructs the deck for the Journey phase. When added to this deck, a card can be placed ‘Rightwise’ or ‘Inverted’. ‘Rightwise’ if the Chroniclers encounter an NPC or learn a true fact during the Research phase, but ‘Inverted’ if they fail to find information, annoy an NPC, or so. During the Journey phase, reaching a location whose card is ‘Rightwise’ means that the travel is easier and more pleasant, and in game terms, the players have scope to ‘Shape’ the environment and narrative around their Chroniclers. Conversely, an ‘Inverted’ terrain card represents a challenge that the Chroniclers must overcome, but if they do, then they have the opportunity to again to ‘Shape’.

In the Encounter phase, the Chroniclers will come face-to-face with the Monster or Creature. Each Monster or Creature is defined by its Behaviours—eight for the Monster and four for the Creature—that are linked to and can be revealed by the Chroniclers’ Interactions, and Threads, which can either be Intact, Frayed, or Severed. These Threads require the Chroniclers to carefully handle them, and they can change according to the Chroniclers’ actions. Fail an Ability check and a Thread can go from Intact to Frayed and from Frayed to Severed, but where a Frayed Thread can be repaired to Intact, a Severed Thread cannot be repaired. Success means that a Chronicler can ultimately learn about a Behaviour and his player ‘Shape’ how it manifests. Overall success means learning about a Creature or Monster as much as the Chroniclers can and returning to the nearest Mappa Mundi Institute to share.

A Narrator is free to create her own regions and Monsters and Creatures, but almost two thirds of Mappa Mundi – An Exploration + Ecology RPG is dedicated to ten regional guides and Monster and Creature descriptions found across Ecumene. These provide geographies, histories, cultures, and bestiaries to explore, examine, and enter into the records, backed up with ‘Tales of Interest’ that provide rumours and hooks that the Narrator can use to draw the players and Chroniclers in to investigate further. Every region’s bestiary includes three Monsters and a list of the more mundane Creatures complete Threads, Interaction, and ‘Shaping’ inspirations that the players can draw from to ‘Shape’ their Chroniclers’ interactions with them. Each Region is prefaced by a map that the Narrator can also draw from for inspiration in terms of the Terrain cards that she will use from the Journey Deck.

For the Narrator, there is advice and suggestions, not just on running the game, but also its tone and its key principles, to create a living world that will react to the actions of the Chroniclers. There is advice too on the Narrator creating her own Monsters and Creatures beyond those given in the book, and also a ‘Frequently Asked Questions’ which addresses some of the enquiries already raised by Narrators.

Where Mappa Mundi underwhelms is in terms of its reader friendliness and accessibility. For example, there is no mention of the use of the cards to drive a story until the Narrator’s section and the explanation of how Target difficulties are rolled by the player and how Target difficulties are rolled by the Narrator are separate. Similarly, there are terms mentioned, such as various aspects of a Chronicler, that the reader is left to wonder at until several pages later. Consequently, there is a slight sense of disconnection in reading the book. Some of this could have been addressed with the inclusion of an index or even just a glossary. Further, whilst the use of the cards to set-up a story through its three phases is far from poorly explained, an example of play, from set-up to the three phases, would have eased the reader into what the designers intended. To be clear, none of these problems are insurmountable or impede play, they just mean that Mappa Mundi is just slightly harder to learn to play and harder to teach to play.

Physically, Mappa Mundi – An Exploration + Ecology RPG comes in a sturdy box that also contains the cards of the Journey Deck. The art and cartography of the book and the art of the Journey Deck are lovely, the Monsters in particular, portraying new Monsters as well as new interpretations of old ones. The book itself is engagingly written, especially in the colour text. However, there are sections of italicised text after italicised text which is awkward on the eye.

Mappa Mundi – An Exploration + Ecology RPG is a storytelling game and so offers a different style of play in comparison to traditional roleplaying games. Its lack of combat rules in particular, force the players and Chroniclers to roleplay and interact with the world in a different way, searching for signs of recovery from the Flux and finding out what has changed and what has stayed the same, and sharing what they have learned. This will require some adjustment for players and Narrators more used to the traditional style of roleplaying games, whilst those with experience with storytelling games will require far less adjustment, if any. The lack of fuller explanations and examples of play is likely to mean that the roleplaying game is better suited to be run by a Narrator who has some experience of running storytelling games. Nevertheless, the absence of combat rules and the ecological theme, very much mark Mappa Mundi out as a non-traditional roleplaying game and may open it up to a different audience. Overall, Mappa Mundi – An Exploration + Ecology RPG is a beautiful game about hope, discovery, and telling the story of the world around the Chroniclers.

Now in its eighteenth year, Free RPG Day for 2025 took place on Saturday, June 21st. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.

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The Basic Roleplaying: Universal Game Engine Quickstart introduces the most recent version of the Basic Roleplaying: Universal Game Engine, the rules system which has underpinned a variety of roleplaying games over the past forty-five years. Call of Cthulhu, RuneQuest: Roleplaying in Glorantha, and Pendragon, Sixth Edition all use a variation of Basic Roleplaying, and there are several others not published by Chaosium, Inc. which do not use the system. Key features of Basic Roleplaying are that its resolution mechanic is percentile-based, with rolls under the value—skill or attribute—ensuring success, low Hit Points which means that combat can be quite deadly, armour points reduce damage suffered and adaptability to a variety of different genres. Of all the releases for Free RPG Day 2025, it seems almost superfluous to review the Basic Roleplaying: Universal Game Engine Quickstart, since it is the one whose contents will be familiar to the majority of the readership for this blog. Nevertheless…

The Basic Roleplaying: Universal Game Engine Quickstart is very much written as a mini-roleplaying game. It explains what roleplaying is and what it entails, what is needed to play, and so on, before explaining the rules these start with characters and their creation. A Player Character has seven attributes—Strength, Constitution, Size, Intelligence, Power, Dexterity, and Charisma, rated between three and eighteen. Character creation begins by rolling for an array of values to assign. Each attribute also has its own active value that can rolled like a skill and skills themselves are divided in six categories—Communication, Manipulation, Mental, Perception, Physical, and Combat. Depending upon the type and genre of the setting or scenario, a Player Character will need to make use of Power Points, Fatigue, Sanity, Powers, and Attack Powers. (Only one pre-generated Player Character has spells rather than powers.) A Player Character will also have a Profession which provides a standard set of bonuses to apply. The Basic Roleplaying: Universal Game Engine Quickstart includes twelve, from Cowboy and Detective to Thief and Warrior, whilst the core rulebook provides four times as many. The Basic Roleplaying: Universal Game Engine Quickstart even go so far as to provide an example of the creation process.
The system is explained simply and easily. A standard task will not modify the chance of a success, but an easy chance simply means that a player rolls only to see if the result is a critical success or a fumble. A difficult task halves the chance of success, whilst an impossible task will always fail. A critical result is one tenth of the skill chance or less, while a fumble is equal to one tenth of the chance of the Player Character failing (unfortunately, the Basic Roleplaying: Universal Game Engine Quickstart does not make this clear). For opposed rolls, the quality of the rolls are compared, whether critical successes, successes, failures, or fumbles. For more granular detail, the mainstay of Basic Roleplaying, the Resistance Table is included.
The rules also coverts time for various actions and combat. The combat round is broken down into five phases—‘Preparation’, ‘Social’, Ranged’, ‘Movement’, and ‘Close’. Attacks can be parried or dodged, critical successes double base damage and ignore armour, so are very deadly. Otherwise, armour reduces damage taken, as can shields. The spot rules for cover ambushes, backstabbing, cover, disarming, knockout attacks, and more. Just as the Basic Roleplaying: Universal Game Engine Quickstart actually includes an example of character generation, it also includes an example combat, which amusing involves an anachronistic fight involving an Elf with a bow and a starship captain with a laser rifle.
The Basic Roleplaying: Universal Game Engine Quickstart comes with three adventures. These are ‘The Prisoner of Richelieu’ by Anthony Warren, ‘Footsteps in the Dark’ by Nick Middleton, and ‘The Lost Temple of Garthoon’ by Troy Wilhelmson.’ These are quite short affairs and each comes with its own set of four pre-generated Player Characters. In ‘The Prisoner of Richelieu’, the Player Characters are asked by the Queen to rescue her messenger, Monsieur Treville, who has been arrested by the evil Viceroy Renault. They have to break into Viceroy Renault’s secret prison and in the process will discover his own dark nature and why the prisoners look rather pale. ‘Footsteps in the Dark’ is a Science Fiction scenario in which the crew of a starship is forced to crash land on a planet after it has been fired upon when responding to a distress call. They must fight their way past robot sentries to get to the source of the signal, and then decide whether or not they actually want to save the source of the signal. ‘The Lost Temple of Garthoon’ is a mini-dungeon delve into a lost temple for treasure in a fantasy world. Now all four come with tips for the Game Master, but all three are really extended encounters that should take a group of players a couple of hours or so to play through. Of the three, ‘The Prisoner of Richelieu’ is the best one, allowing for that much more roleplaying and planning than the other two, which rather underwhelm the reader.
Physically, the Basic Roleplaying: Universal Game Engine Quickstart is clean and tidy. In terms of its content, it feels slightly dense, but the content is not at all that complex. So, it is easier to read than it looks. The artwork is good as is the cartography, the map and text do not always align as they should. It is easy to work out what the author means, it means that the Basic Roleplaying: Universal Game Engine Quickstart feels rushed in places.
Basic Roleplaying: Universal Game Engine Quickstart is a basic introduction to the Basic Roleplaying because it does not cover the more advanced aspects of the roleplaying game, such as Power Points, Fatigue, Sanity, Powers, and Attack Powers. In this, it feels like an update of the Basic Roleplay introduction published in 1981 and similar in complexity to the roleplaying game built directly off of that, Worlds of Wonder, which like the Basic Roleplaying: Universal Game Engine Quickstart, detailed three different settings. Overall, the Basic Roleplaying: Universal Game Engine Quickstart feels old as well as new and is a good basic introduction to the Basic Roleplaying.

The gaming magazine is dead. After all, when was the last time that you were able to purchase a gaming magazine at your nearest newsagent? Games Workshop’s White Dwarf is of course the exception, but it has been over a decade since Dragon appeared in print. However, in more recent times, the hobby has found other means to bring the magazine format to the market. Digitally, of course, but publishers have also created their own in-house titles and sold them direct or through distribution. Another vehicle has been Kickststarter.com, which has allowed amateurs to write, create, fund, and publish titles of their own, much like the fanzines of Kickstarter’s ZineQuest. The resulting titles are not fanzines though, being longer, tackling broader subject matters, and more professional in terms of their layout and design.

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Technically Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 2 is not a magazine. It collects some of the downloadable content made available for Cyberpunk RED , the fourth edition of R. Talsorian Games, Inc.’s Cyberpunk roleplaying game. So, its origins are not those of a magazine, but between 1990 and 1992, Prometheus Press published six issues of the magazine, Interface, which provided support for both Cyberpunk 2013 and Cyberpunk 2.0.2.0. It this mantle that Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 1 and future issues is picking up in providing support for the current edition of the roleplaying game. As a consequence of the issue collecting previously available downloadable content, there is a lot in the issue that is both immediately useful and can be prepared for play with relative ease. There is also some that is not, and may not make it into a Game Master’s campaign.

Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 2 starts on a hard note, or rather, on a ‘hardened’ note. James Hutt begins the anthology with two connected articles—‘Hardened Mooks: break glass in case of powergaming’ and ‘Hardened Lieutenants: break glass in case of powergaming’, both of which provide tougher versions of the standard threats, mooks and lieutenants, to provide the Player Characters with more of a challenge. The former includes stats for the bodyguard, boosterganger, road ganger, and security, whilst the latter has stats for the netrunner—anti-personnel and anti-program; reclaimer chief, including a ‘lightning’ version for lieutenant who likes to fight form the front and a ‘thunder’ version’, who prefers to support from the back; and raid and siege versions of the security officer. None of these are suitable to be used against combat-orientated Player Characters, especially the lieutenants. In addition, the Game Master can customise them further with a table of complications for the mooks and tactics for the lieutenants. Further, the second article actually lists what a hardened Player Character actually looks like, so that the Game Master has a definitive ideas as to what that also looks like! Overall, solid support for when the Player Characters are finding things a little too easy.
Infamously, Night City is the site of a nuclear weapon being detonated, as well as having subject to numerous chemical spills and the ongoing effects of climate change over the years. All of which is reflected in ‘Night City Weather: The Sky Is Crying Blood’ by J Gray and James Hutt gives advice and a set of tables that the Game Master can use to colour her depiction of Night City. The latter are organised by season and each has a one-in-six chance of the weather turning strange. When it does, this could be anything from a radioactive windstorm or blood rain to dust storm or blackout. These are extremes, of course, but virtually all of Night’s Weather is extreme, whether that is suffering from exposure in a cold snap or increased armour penalties in a heatwave to suffering as if poisoned and a foreign object critical injury during an ash storm if not wearing a filter mask or nasal filters or simply being exposed to a biotoxin during a blood storm! All of it is nasty and extreme, and all of it is going to make the Player Characters value days when the weather is not a danger. The article details new gear and clothing designed to deal with this weather, including a Militech Combat Umbrellas, which of course, is also an umbrella gun! The article is the first of two in the that further develops Night City as a place and gives it some verisimilitude, being the sort of thing that can be worked into a scenario cannot only add atmosphere, but also affect how a mission might be played.
Infamously, Night City is the site of a nuclear weapon being detonated, as well as having subject to numerous chemical spills and the ongoing effects of climate change over the years. All of which is reflected in ‘Night City Weather: The Sky Is Crying Blood’ by J Gray and James Hutt gives advice and a set of tables that the Game Master can use to colour her depiction of Night City. The latter are organised by season and each has a one-in-six chance of the weather turning strange. When it does, this could be anything from a radioactive windstorm or blood rain to dust storm or blackout. These are extremes, of course, but virtually all of Night’s Weather is extreme, whether that is suffering from exposure in a cold snap or increased armour penalties in a heatwave to suffering as if poisoned and a foreign object critical injury during an ash storm if not wearing a filter mask or nasal filters or simply being exposed to a biotoxin during a blood storm! All of it is nasty and extreme, and all of it is going to make the Player Characters value days when the weather is not a danger. The article details new gear and clothing designed to deal with this weather, including a Militech Combat Umbrellas, which of course, is also an umbrella gun! The article is the first of two in the that further develops Night City as a place and gives it some verisimilitude.
The other is ‘Cargo Containers & Cube Hotels’ by James Hutt and J Gray, which asks the question, “Where might my character living and what is it that I am getting for rent each month?” Essentially, what can a Player Character can afford and with a few extra eurobucks afterwards, what he buy to make the place a little more homely. There are tables of locations and accompanying descriptions for both habitat types and then descriptions of potential upgrades, like some wall art, a fire safe, and even a hidden compartment.

In between, ‘Jumpstart Kit Conversion Guide: JSK adventures using core rules’, by James Hutt, Mike Pondsmith, and J Gray, addresses a problem with the Cyberpunk Red Jumpstart Kit. This is that its rules do not match those of Cyberpunk RED. The article is not simple an adaptation, but rather a rebalancing of its missions and adjustments so that it can form the basis of a starting point for a campaign. It includes advice too on how to run each of the missions in the Cyberpunk Red Jumpstart Kit. It is rare that game designers get to revisit an earlier product in their roleplaying game line—especially without the publication of an entirely new edition—but the release of the original PDF article and its inclusion here in Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 2 gives them space to do so. The article is easier to use if the Game Master has not run the Cyberpunk Red Jumpstart Kit, but makes it more accessible and easier to use overall.
‘Daeric Sylar’s Guide to Elflines Online’ by James Hutt continues exploring the online world of the most popular MMO played via Braindance in Night City, Elflines Online. First described in ‘Elflines Online: A Segotari Rush Revolution Exclusive’ and ‘Elflines Online: Expansion Pack’ in Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 1, this third article includes a map of the setting and a guide to levelling up in the game and when to visit the various locations in the game, plus various monsters. The level of detail in the article feels like gilding the lily, adding extra detail to a world that feels superfluous to most Cyberpunk RED campaigns. That said, Elflines can be added as an activity in the game that NPCs and Player Characters engage in as flavour, but there is nothing to stop that the Player Characters needing to play in order to find an NPC or hidden data, or even adding fantasy roleplaying game that uses the Interlock system of Cyberpunk RED.
One of the issues with Cyberpunk RED is that its technology is often genericised and that includes its guns. This is in comparison to the weapons of Cyberpunk 2.0.2.0., in which all of the weapons are named and branded. In part, this has been offset by the release of the Black Chrome, but that does not include weapons or piece of gears from the previous versions of the roleplaying game. This was addressed in part by ‘Old Guns Never Die: A step-by-step conversion guide for bringing weapons from Cyberpunk 2020 into Cyberpunk RED’ in Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 1, and is continued in Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 2 with by James Hutt’s ‘The 12 Days of Gunmas: A Cyberpunk Red Holiday Special’. As much a parody of The Twelve Days of Christmas, the article updates some classic weapons from Cyberpunk 2.0.2.0., such as the Arasaka WAA Bullpup Assault Weapon, Militech Crusher, and Stolbovoy ST-5 Assault Rifle. Drawn from various supplements, these are a welcome addition that add weapon variety and flavour.

Lastly, the issue gets a bit weird with ‘Exotics of 2045: There’s nothing you can’t become’. Again, written by James Hutt, this details some of the options available as part of the Biotechnica’s Bioexotics programme, which for two decades has offered a range of full body sculpts and modifications, evolving into a month-long intensive ‘Zoo camp’ that requires a fixer and money beyond the cost of any surgery done, to attend. It has become highly exclusive, but can be accessed during character creation with the purchase of an Exotic Package using non-fashion/fashionware locked money. Seventeen packages are detailed, including what each package includes and its resulting Humanity Loss. They divided between major and minor Bioexotic packages. The minor include the ‘Embrace Rodentia’ rat form, ‘LagoForm’ rabbit form, and ‘Serpentise Yourself’ snake form, whilst the major include the ‘AquaForm’ whale form, ‘Bughouse’ insect form, and ‘UrsaForm’ bear form. Added to these are the FantaForms, which represent classic fantasy biosculpts, such as with the ‘Draconic FantaForm’ and the ‘Elvish FantaForm’. All of the new cyberware for these Exotic Packages is given too, like the ‘Reflex Co-Processor’ to super enhance a character’s Reflexes and a Combat Tail which act as a Heavy Melee Weapon. All of the options here push Cyberpunk RED into the realms of the fantastic to one degree or another, even to the point where with the FantaForms, the Player Characters could find themselves in the LARP equivalent of the Elflines Online! Certainly, these provide Cyberpunk RED with an anime element not as extrovertly present in the setting.
Physically, Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 2 is cleanly, tidily laid out. The artwork is decent too and everything is easy to read.

Although much of it was originally available for free, with the publication of Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 2 it is nice to have it in print. Some of its content is more useful than others, and some of it is going to find less favour with some Game Masters. The latter includes the articles on Elflines Online and the Exotic Biosculpts, whereas the ‘Cargo Containers & Cube Hotels’ and ‘Night City Weather: The Sky Is Crying Blood’ articles will add flavour and verisimilitude to a Game Master’s campaign, however they are used. Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 2 is a mixed bag in terms of content, but not quality of content. There is definitely something in its pages that every Cyberpunk RED Game Master is going to find useful.

Now in its eighteenth year, Free RPG Day for 2025 took place on Saturday, June 21st. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.

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The Expanse RPG Transport Union Edition Quickstart is the introduction to, and quick-start for The Expanse RPG Transport Union Edition, which is an update and expansion to The Expanse Roleplaying Game. Both roleplaying games are published by Green Ronin Publishing, and both are based upon The Expanse series of Science Fiction novels by James S.A. Corey, and the television series of the same name. However, where The Expanse Roleplaying Game is set during the events of Leviathan Wakes, Caliban’s War, and Abaddon's Gate, the first three novels, The Expanse RPG Transport Union Edition moves the action on to the Transport Union era, the thirty-year period between Babylon’s Ashes and Persepolis Rising, the sixth and seventh books in the series. The events of the series to date have taken place across a settled Solar System with tensions between the United Nations of Earth, the Martian Congressional Republic, and the Belters of the outer planets, which would lead to the establishment of the Outer Planets Alliance to protect their interests. The discovery of a strange molecular technology on Phoebe, a moon of Saturn, would lead to radical changes across the Solar System. The Protogen Corporation, the corporation assigned by the Martian Congressional Republic to study it, branded it the Protomolecule and conducted experiments which would kill millions and ultimately threaten the Earth. Fortunately, there were some who could direct the threat away from the Earth and towards Venus, where it would radically transform the planet beyond all understanding. Further conflict would arise with the discovery of the first ring gate, but the establishment of the Transport Union has placed the Belters on an equal footing with the United Nations of Earth and the Martian Congressional Republic, and given them access to over a thousand worlds beyond the Solar System.

The Expanse RPG Transport Union Edition uses what has become known as the ‘AGE’ or ‘Adventure Game Engine’ was first seen 2010 in Dragon Age – Dark Fantasy Roleplaying Set 1: For Characters Level 1 to 5, the adaptation of Dragon Age: Origins, the computer game from Bioware. It has since been developed into the Dragon Age Roleplaying Game as well as the more generic Fantasy AGE Basic Rulebook and a more contemporary and futuristic setting with Modern AGE Basic Rulebook.

A Player Character in The Expanse RPG Transport Union Edition is defined by his Abilities, Focuses, and Talents. There are nine Abilities—Accuracy, Communication, Constitution, Dexterity, Fighting, Intelligence, Perception, Strength, and Willpower. Each attribute is rated between -2 and 4, with 1 being the average, and each can have a Focus, an area of expertise such as Accuracy (Gunnery), Communication (Leadership), Intelligence (Technology), or Willpower (Courage). A Focus provides a bonus to associated skill rolls and, in some cases, access to a particular area of knowledge. A Talent represents an area of natural aptitude or special training. A Player Character also has a Background, Social Class, and Profession, plus a Drive, Resources and Equipment, Health, Defence, Toughness, and Speed, and Goals, Ties, and Relationships. Instead of Hit Points, a Player Character has Fortune Points, which can be used to alter the result on the Drama Die or withstand damage, reflecting the Player Character’s luck being used up or running out.

Mechanically, the AGE System and thus The Expanse RPG Transport Union Edition, is simple enough. If a Player Character wants to undertake an action, his player rolls three six-sided dice and totals the result to beat the difficulty of the test, ranging from eleven or Average to twenty-one or Nigh Impossible. To this total, the player can add an appropriate Ability, and if it applies, an appropriate Focus, which adds two to the roll. Where the AGE System gets fun and where the Player Characters have a chance to shine, is in the rolling of the Drama die and the generation of Stunt Points. When a player rolls the three six-sided dice for an action, one of the dice is of a different colour. This is the Drama die. Whenever doubles are rolled on any of the dice—including the Drama die—and the result of the test is successful, the roll generates Stunt Points. The number of Stunt Points is determined by the result of the Drama die. For example, if a player rolls five, six, and five on the Drama die, then five Stunt Points are generated on the Drama die. What a player gets to spend these Stunt Points on depends on the action being undertaken. In the original 2010 Dragon Age – Dark Fantasy Roleplaying Set 1: For Characters Level 1 to 5, the only options were for combat actions and the casting of spells, but subsequent releases for the roleplaying game and then Modern AGE and The Expanse Roleplaying Game, have expanded the options. Now they include not just combat options, including firearm-related actions of all kinds, but also movement, exploration, and social situations, plus, of course spaceship operation and combat.
The Expanse RPG Transport Union Edition Quickstart explains all this in twelve pages and provides everything needed for the accompany scenario, ‘Lost, But Not Alone’. The Player Characters are the crew of the Miriam Makeba, bound for Castila, when they pick up a faint distress call coming from a moon orbiting one of the outer planets. Following the signal to its source reveals the Ratel, a cargo hauler that appears to have crash-landed after being attacked. Further investigation locates the crew in a nearby series of tunnels. Unfortunately, only one has survived, the others having been attacked by something in the tunnels. The lone survivor will be able to tell the Player Characters what happened, but now they find themselves also at the mercy of what killed the surviving crew. ‘Lost, But Not Alone’ is a survival horror scenario, which takes place in a complex built by the same species which built the rings that give access to so many extra-solar system planets. It is a classic Science Fiction survival horror scenario, so not too demanding for either the Game Master or her players.
The scenario does include options for adding it to a campaign or beginning one if the Player Characters have no spaceship. There are ways—legal and illegal—included to make some money as well. Six pre-generated Player Characters are also included with the quick-start. These consist of Cho Ha-Neul, an engineer with a zest for life who’s good at fixing things and making friends; Koa Garcia, a former MCRN engineer seeking adventure and opportunity; Marcus Toussard, an ex-UN soldier who survived the devastation of Earth during the Free Navy Conflict; Olivia Anand, a former combat medic who has seen their fair share of pain and suffering; Phoenix Wu, a hotshot pilot who is still haunted by their involvement in the Free Navy Conflict; Titiana Osun, a natural leader and activist from the Belt who seeks to help those still suffering from the depredations of war and disparity.
Physically, The Expanse RPG Transport Union Edition Quickstart is cleanly presented, illustrated throughout in full colour, the artwork nicely depicting the future of The Expanse, as well as its various characters. In places, it is perhaps slightly too busy in terms of its layout, sometimes making it less than an easy read. However, it is well written and an engaging read, especially the background and the advice for the Game Master on running a game.
The Expanse RPG Transport Union Edition Quickstart is a serviceable introduction to what is the second edition of The Expanse Roleplaying Game. The accompanying scenario is well presented and easy to slip into a campaign, but just feels a bit too familiar.

Now in its eighteenth year, Free RPG Day for 2025 took place on Saturday, June 21st. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.

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A Great Offering: An Obojima Adventure is a scenario for Obojima Tales From The Tall Grass: A 5E Campaign Setting published by 1985 Games. Obojima Tales From The Tall Grass is designed to be played using Dungeons & Dragons, Fifth Edition and describes itself as ‘leisure fantasy’, in which the Player Characters do go on adventures, but take the time to ‘stop and smell the roses’, to regard the world around them and its wonders, and interact with the fairytale creatures that might live next door or up a mountain. It is a ‘lo-fi’ setting that takes as its primary influence as the anime films of Studio Ghibli, in particular, My Neighbour Totoro and Spirited Away, and sets in a version of eighties Japan. The result combines the modernism of the rise of the Electronic Age with Japanese folklore and fantasy in a rural island setting. A Great Offering: An Obojima Adventure is designed for two to four Player Characters of Third Level.
A Great Offering: An Obojima Adventure opens with the Player Characters completing a hike to the base of Mount Arbora and the village of Dorrin. Mount Arbora is also home to Jumaga, the Sky Salamander, one of the three great beasts of Obojima. Islanders from all across Obojima to Mount Arbora to make the difficult ascent and leave something of value on the Ledge of Offering, in the hope of appeasing Jumaga. Most of Dorrin’s income comes from the Rockwinders, guides who take people up the mountain, although recently, Dorrin Plate, a common stone that can be broken into sheets and used as roofing tiles, crockery, and building materials, has been discovered to be also good for enhancing the magic properties of potions. Not every Rockwinder, or indeed, visitor to Dorrin, is entirely honest or scrupulous, and some do visit the Ledge of Offering to steal and sell the most valuable items left there.
The Player Characters are approached by a clearly distressed brother and sister. She will explain that they have been robbed by a gaggle of Harpy thugs who stole their money and the family heirloom they were planning to place on the Ledge of Offering following the death of their father. The Player Characters can ask around about the Harpies and their boss, and will quickly learn the location of their hideout, a rusty old pickup on a nearby cliff. In other settings, the Harpies would be portrayed as thoroughly evil creatures, but whilst they are Neutral Evil in Alignment, in A Great Offering: An Obojima Adventure, they are depicted as teenagers, wearing shorts and tee-shirts, more bullies than true villains. This sets the tone for the adventure, not without confrontation, but certainly less combative.
The second part of the adventure focuses on the climb up to the Ledge of Offering, first in hiring a Rockwinder and then in making the climb. Two Rockwinders are given, one of whom is less scrupulous than the other, so the Player Characters had better make the right choice! The Player Characters will confront the Harpies’ boss, but before that they will have a few encounters up the mountain. Some of these are quite fun, even a little silly, such as being swarmed by a flock of chicken spirits or being joined by Buttercup, a goat spirit, who is not only very chatty, but also has no break between her inner and outer voices—so she should be fun for the Game Master to portray. Others are more dangerous and so the Game Master should mix and match. Ultimately, the Player Characters will get to place the brother and sister’s family heirloom on the Ledge of Offering and survey what has been left before. The adventure does explore the possibility that one or more Player Characters might actually want to steal from the Ledge of Offering, and certainly several of the items are actually worth sealing, but such a course of action is not without its consequences. The adventure ends with the confrontation with Big Bonnie, the Harpies’ boss.
Physically, A Great Offering: An Obojima Adventure is a very good looking scenario. The artwork is excellent, whether in line drawing and full colour, imparting a delightful sense of place and wonder. The scenario is well written and comes to a close with a short explanation of Obojima Tales From The Tall Grass: A 5E Campaign Setting.
A Great Offering: An Obojima Adventure is a thoroughly charming and engaging scenario. There is a lovely sense of whimsy to it from start to finish, and it does a good job of showcasing both setting and tone of Obojima Tales From The Tall Grass: A 5E Campaign Setting.

Now in its eighteenth year, Free RPG Day for 2025 took place on Saturday, June 21st. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.

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The year is 1348 and mankind is subject to a divine punishment for its sins. For the last two years, all of Europe has suffered the devastating Black Plague which seems to spread fire and kills almost everyone it touches. The symptoms are easy to spot, black spots on the skin and swollen lymph nodes called buboes. Yet there is a second symptom, one that remained secret, one that the Papacy fought in secret and one it managed to eradicate—the Revenant Plague. Victims of the Black Plague are known to rise and not only spread its symptoms, but also feed upon the flesh of the living. The Papacy instituted the Ordo Mortis, a military order dedicated to not only fighting the secret war against the Revenant Plague, but also to keeping knowledge of the war against the Revenant Plague a secret. Word of it cannot spread, for it would weaken faith in the Catholic Church. This is the set-up for Píaga 1348, a storytelling game from NEED! Games, the Italian publisher best known for the Fabula Ultima TTJRPG.

Píaga 1348 Quickdeath is the quick-start released for Free RPG Day 2025. It includes the core rules, three scenarios, and four pre-generated Player Characters. The core mechanics are simple and straightforward, but the roleplaying game is played with shifting focus on the Soldiers of the Ordo Mortis who take it in turn to be the Soldier on Duty, whilst the other Soldiers will provide him with support—if they can. A Soldier is simply defined by several traits. These are the ‘Motto of the Ordo’; ‘Name’, including both full name and nickname, if any; ‘Description’; ‘Weapon’, which can also be an ability; and ‘Armour’. These are the five core traits, but he also has entries for ‘What I Want’, ‘What I Don’t Want’, and ‘Traumas’, the latter physical, psychological, and social wounds suffered when a conflict is lost. A player simply has to define these traits in order to create his Soldier.
At a start of scene, the Ludi Magister—as the Game Master is known in Píaga 1348—asks the player whose Soldier is the Soldier on Duty what he perceives and based on those answers, frames the scene for her players. When a conflict ensues, the Soldier on Duty’s player decides what his Soldier wants to do and builds a dice pool based on his five core traits. For each of them that the player can persuade the Ludi Magister to include, a six-sided die is added to the pool. Every result of five or six counts as a Success and only one Success is required for Soldier to achieve the objective outlined by the player. The Ludi Magister will narrate the outcome of the dice roll, though if a failure because no Successes are rolled, the Soldier on Duty will suffer a Trauma.
Any excess Success go into the Morale Pool, which on subsequent turns, the Soldier on Duty can draw from to increase the size of dice pool. Additional dice can come from the two sources. One is the other Soldiers, who can contribute dice based on their traits. The second is from a ‘Gamble’, in which the player adds a die of another colour to his dice pool. On a result of one, two, or three, nothing happens, but on a four, five, or six, the Soldier is ‘Exposed’. What this means that is a Soldier on Duty can still succeed—that is, roll a five or six—and still be ‘Exposed’. When ‘Exposed’, a roll is made on the ‘Gamble’s Outcome’ table. The result might be that a Soldier cannot use any further ‘Gamble’ attempts in the mission or that the Soldier is wounded and infected by a Revenant! Whatever the result, the outcome is narrated by the player.
What is important here is there is an economy to a player’s use of his Soldier’s five core traits. If they can be used all in one go whilst a Soldier is the Soldier on Duty, then they can be refreshed to be used on subsequent turns. Whilst a Soldier can use them to help another Soldier who is the current Soldier on Duty, it will mean that he will have fewer to use when it is his turn to be Soldier on Duty. Running out of traits and having none to confront a situation when a Soldier is Soldier on Duty means that he will automatically fail. This forces a player to husband the use of those traits from turn to turn.
The aim in Píaga 1348, and thus the Píaga 1348 Quickdeath, is to tell a choral story of life and death in the Middle Ages. This need not be a wholly accurate treatment of the Middle Ages and the Ludi Magister is free to add whatever anachronistic elements fits her campaign. For example, one of the pre-generated Soldiers is a Plague Doctor, a decidedly seventeenth century figure, but still feeling appropriate to the secret world of Píaga 1348. The basic elements driving a story are the Mission itself and ‘What I Want’ and ‘What I Don’t Want’ for each Soldier. The Ludi Magister is provided with decent advice for what is a quick-start, a set of prompts to set up her Missions, and three ready-play scenarios. They include investigating a haunted villa where several nobles fled to avoid the plague, tracking down a strange group of knights in rusted armour, and even ascending into the Carpathians to confront Count Vlad III who is said to have survived the Plague and become something more. All three come with detailed backgrounds, locations, secondaries (as NPCs are termed), and rumours. Lastly, there are four pre-generated Soldiers ready to play. They include an actual knight, a noble nun, an ex-assassin, and a plague doctor!
Physically, Píaga 1348 Quickdeath is fantastically presented. The woodcut style artwork and the use of a Gothic fount very gives it a singular look and conveys a lot of atmosphere to the Ludi Magister.
Píaga 1348 Quickdeath is simple to play and easy to grasp. After all, it could be described as just another zombie apocalypse roleplaying game, but the setting is different and the inclusion of the Black Death makes it even grimmer than most zombie apocalypse roleplaying games. As does the need for secrecy, which might result in the Soldiers going to deadly lengths to carry out this part of their duty. Overall, the Píaga 1348 Quickdeath provides a thoroughly engaging introduction to the setting of Píaga 1348 and purpose of the Ordo Mortis, as well as a gaming group with three good sessions of play.