It is the year 2050. Twenty years ago, an island rose in the Pacific Ocean and a horde of loathsome octopus-headed beasts swarmed over every ship sent to investigate, even withstanding multiple nuclear strikes. With a great being known as Cthulhu at their head, the creatures launched neurological attacks that warped and corrupted the survivors. Within a month, humanity survived only in a handful of enclaves. 

It is the year 2050. Twenty-two years ago, an island rose off the coast of Massachusetts and as the resulting tsunami floods the coast up and down the east coast of the USA there came reports of ships and towns being attacked by fish people. Then in the isolated town of Innsmouth, a search and rescue team saw survivors transforming into the fish people—quickly identified as Deep Ones. They were only the first, for what became known as the Innsmouth Plague spread around the world. Billions transform, millions die. What they have in common is that they were taking Palliagil, a cure to an MRSA plague from eight years before. Could it be linked?

It is the year 2050. On Hexenacht, April 30th, 2030, the top of Brocken, Germany’s highest mountain exploded to reveal a thousand foot tall, eight-legged and hoof-footed, tentacled monstrosity. Its appearance instigated a wave of cannibalism amongst the nearby Hexenacht celebrants that would leave thousands dead. But then from the corpses exploded miniature versions of the giant thing that had appeared earlier that night. They killed anyone who investigated, then more spawned from the new corpses. Within days, these tentacled horrors dominated the planet bar three, slowly contracting exclusion zones in New England, Nigeria, and Australia.

It is the year 2050. Twenty-two years ago, the unknown Nour Al Hasan walked out of the desert and won the Egyptian presidential election. He declared himself Nyarlathotep, the Dark Pharaoh, and that he would return Egypt to its former glory, whilst in Antarctica, over a hundred volcanoes exploded and revealed great cities and waves of star-headed, barrel-shaped and winged creatures which fly north to meet up with the armies of Faceless Ones that the Dark Pharaoh freed from below the pyramids. Within weeks, humanity is dead.

It is the year 2050. Twenty years ago a strange figure appeared in Covent Garden in London, all in yellow and masked, a strange mist spreading in its wake. Those touched by the mist exhibit symptoms of diseases in seconds that normally take days, either dying almost immediately or undergoing grisly transformations. Within hours this King in Yellow appears in cities around the world, spreading disease, and in weeks, there is nowhere in the world that remains untouched, most of humanity dead by then.

It is the year 2050. You are one of the few survivors of an unholy apocalypse that struck the world two decades ago. Scientists and researchers have developed the means to effect limited time travel and it has been decided that they will send one or more men or women—forewarned of knowledge of the future—back in time to meddle with one of these timelines and thwart the efforts of an Old Ones and its cultists. This is not without a cost though, for every time traveller must connect with another alien being known as Yog-Sothoth in order to come back to 2020, literally connect with the corruptive power of the Mythos, and that leaves a mark. It likely gives the time traveller a strange power, one beyond science, a power that itself will be of use in combating the Mythos and its influence, but even that will corrupt the user even further, however beneficial it may well be…

It seems that despite Call of Cthulhu having been in print for almost four decades and both initiating and dominating the Cosmic Horror subgenre, the long reach of Lovecraftian investigative roleplaying seems to touch upon roleplaying game upon roleplaying game. From Savage Worlds and Realms of Cthulhu and GURPS and Cthulhupunk, numerous roleplaying games have provided different takes upon the role of H.P. Lovecraft’s Mythos and approaches to it, so it is no surprise that it has finally reached FATE Core. The highly anticipated FATE of Cthulhu is radically different to the roleplaying games of Lovecraftian investigative horror that have come before it.

FATE of Cthulhu is a roleplaying game—a standalone roleplaying game which does not require FATE Core to play or run— of confronting the Mythos a la the James Cameron film, The Terminator. One or more of the investigators will have come back from 2050 to 2020 to stop the apocalyptic plans of an Old One and its cultists. They come back aware of the steps along the way which brought about the apocalypse and they come back ready to fight it. This though is not the Cthulhu Mythos in general, but rather a single Old One and its cultists, and each thwarting of an Old One is a self-contained campaign in its own right, in which no other element of the Mythos appears. So no cultist dedicated to another Old One or Nyarlathotep himself stepping in, even if only mockingly, to help the investigators thwart a common enemy. Unless the Game Master wants them to, that is… So what FATE of Cthulhu is not, is a roleplaying game of Lovecraftian investigative horror, but is instead, a roleplaying game of Lovecraftian action horror. Now this does not mean that the Game Master could not take the elements of the Lovecraft Mythos in FATE of Cthulhu and use them to run a scenario or campaign of Lovecraftian investigative horror as per other similar roleplaying games. That would take a little more effort upon the part of the Game Master, as FATE of Cthulhu is not written or organised to support that, in part because the Mythos is compartmentalised timeline by timeline.

Investigators in FATE of Cthulhu are defined by their Aspects, Skills, and Stunts. Aspects describe elements of a character and to work effectively, they need to be double-edged, that is, each should be both an advantage or a disadvantage. For example, the Aspect ‘An eye for the ladies’ could be used as an Advantage to spot a particular woman in a crowd or a bonus to seduction attempts, but as a Disadvantage, it would mean that the character would be easily distracted in female company. Each investigator has an Aspect each for his High Concept and his Trouble, plus two free Aspects. In play, an Aspect is Invoked by the player to gain an advantageous bonus or a reroll, but Compelled to trigger its disadvantageous elements. It costs a player a Fate point to Invoke an Aspect, but he will gain a Fate point if the Aspect is Compelled. (A Compel can be resisted by a player, but this costs him a Fate point). Stunts provide advantages or bonuses under certain circumstances, usually to skills, and they can be Corrupted by exposure to the Mythos. Skills simply provide a bonus to skill rolls, there being a limited number of broad skills in the game, one of which is Lore, expanded here to cover knowledge and its application of the Mythos.

Francine Hernandez
Personal Timeline: 2050
High Concept (Aspect): Desperate Housewife who knows too much
Trouble (Aspect): My husband was a cultist
Relationship: I trust John, but he doesn’t trust me
Aspects: Ex-Society Matron, Gets lost in the Future (Corrupted) 
Stunts: The Voice of Reason, Hound of Tinadalos’ Eye (Corrupted)
Skills: Deceive (Great +4); Contacts, Resources (Good +3); Fight, Rapport, Shoot (Fair +2); Drive, Lore, Notice, Will (Average +1)
Physical Stress (Physique): 1 2 3
Mental Stress (Will): 1 2 3
Corruption Clock: O O O O
Refresh Rate: 3 Fate Points: 3

Mechanically, whenever a player wants to undertake an action, he selects a skill and rolls four Fudge dice—FATE having originally been derived from the Fudge RPG mechanics—special six-sided dice, each of which has two faces marked with a ‘+’ symbol, two faces marked with a ‘–’ symbol, and two faces left blank. The ‘+’ and ‘–’ symbols cancel each out and the blank faces add nothing, so the results range simply between +4 and –4. The result is added to the player’s skill, aim being to beat a target set by the Game Master, an Average target being +1, a Fair target being +2, and so on, the targets matching the skill values in terms of progression. Should a player’s result match the target, then he succeeds at a cost; if the result is one or two points or shifts above the target, he simply succeeds; and if the result is three or more  shifts, he succeeds with style. In combat, shifts usually represent damage inflicted upon a target, but should a character succeed with style, then he can place a temporary Aspect in play, that can either be used once and then it is lost, or used once for free with subsequent uses requiring a Fate point to be expended.

Aspects like this can be set up on locations, objects, on NPCs, and on player characters, and then during play both the players and the Game Master can interact with them, Invoking and Compelling as necessary. Similarly, the Game Master can design and create places, people, and things all with the simple use of Aspects that get to the core of anything that he designs and creates, and again these can be Invoked or Compelled as part of FATE Core collaborative play between the players and between the Game Master and the players. Unlike FATE Core there is less of this collaborative effort involved during character creation, primarily because FATE of Cthulhu does not involve the worldbuilding that is part of the core rules.

One of the big differences between FATE of Cthulhu and other roleplaying games of Lovecraftian investigative horror is that where in those roleplaying games the corrosive effect of witnessing or employing the Mythos, whether that is seeing a Mythos entity or reading a Mythos tome, or casting a Mythos spell, is mental. In other words, investigators lose Sanity. Now in FATE of Cthulhu, the corrupting effect of the Mythos can work that way, but in the main, its effects are physical. Every time an investigator is exposed to the Mythos or uses it in the case of casting a spell or ritual, or using a Corrupted Aspect or Stunt, the investigator will face backlash as the universe tries to protect itself against the changes forced upon by the unnatural nature of the Mythos. If the investigator cannot withstand this backlash—the backlash being equal to the success of the use or power of the Mythos—he adds points to his Corruption Clock. Fill that in, the Corruption Clock is emptied, but the investigator is drawn further into the influence of the Old Ones and one of his Aspects is corrupted. Should an investigator have all of his Aspects corrupted, he is lost to the Mythos.
For example, Francine Hernandez is attempting to find where her husband, Hector,  is going to be as she knows that he will be participating in a great ritual to learn the location of a lost tomb. He has already managed to deceive her as to where he is going, but Francine and her compatriots need to know. Francine’s player decides to use her Gets lost in the Future Corrupted Aspect. Francine’s player pays the Fate point to Invoke the Aspect. This will give a bonus of +2 to Francine’s Notice of +1. The Game Master takes Hector’s Deceive of +4 and rolls blank, blank, ‘–’, and ‘–’, to give Hector a total of +2. Francine’s player rolls blank, ‘–’, ‘+’, and ‘+’, for a total of +5. This beats Hector’s attempt at Deception, and means that Francine learns where he has gone. Unfortunately Francine suffers backlash equal to the roll her player made or +5. Her player has to make a roll using her Will of +1  and rolls blank, ‘–’, ‘+’, and ‘+’, for a total of +2, which is not good enough as it leaves three mental shifts to absorb. Francine can absorb one of the shifts on her mental stress boxes, the other two having been filled earlier in the investigation. For the remaining two mental shifts, Francine can either take a point of Corruption and have part of her Corruption Clock filled in, or suffer a Consequence. Francine’s player decides on the latter and Francine gains ‘Visions of an alternate failed timeline’.Despite the physicality of the Corruption Clock versus the Sanity mechanics of other Lovecraftian investigative horror roleplaying games, there is still a downward spiral of being exposed to, and in this case, using the Mythos to fight the Mythos, over and over. Essentially, it may well be necessary to fight fire with fire, but the cost…? Once gained, Corruption is fairly difficult to lose, though it is possible if no Corruption has been gained during an investigation or through a supreme act of sacrifice upon the part of another investigator.

Instead of giving a greater sense of the Mythos, FATE of Cthulhu focuses on five distinct threats—five distinct threats powerful enough to bring about an apocalypse. Each threat is essentially a separate campaign or timeline in which someone from the future of 2050 has some knowledge of. Each of the five timelines—which in turn deal with Cthulhu, Dagon, Shub-Nigggurath, Nyarlathotep, and the King in Yellow—consists of five events, the last of which is always the rise of the Old One itself. The events represent the roadmap to that last apocalyptic confrontation, and can each be further broken down into four event catalysts which can be people, places, foes, and things. The significance of these events are represented by a die face, that is either a bank, a ‘–’, or a ‘+’. These starts out with two blanks and two ‘–’, the aim of the players and their investigators being to try prevent their being too many, if any ‘–’ symbols in play and ideally to flip them from ‘–’ to blank and from blank to ‘+’. Ultimately the more ‘+’ there are, the more positive the ripple will be back down the timeline and the more of chance the investigators have to defeat or prevent the rise of the Old One. Conversely, too many ‘–’ and the known timeline will play out as follows and the less likely the chance the investigators have in stopping the Old One.

Each of the five timelines comes with details of what a time traveller from 2050 would know about it, more detail for the Game Master with a breakdown of the events and their Aspects, Stunts, Mythos creatures, and NPCs. Most of these can serve as useful inspiration for the Game Master as well as the advice given on running FATE of Cthulhu and her creating her own timelines. In addition, FATE of Cthulhu highlights two issues with Lovecraftian investigative roleplaying. First it makes clear that in spite of his deplorable social views, H.P. Lovecraft’s writings and creations are worth examining as sources of inspiration, as are the writings of more modern writers who do not share Lovecraft’s views, race, or gender. Second, it makes clear that in FATE of Cthulhu, Corruption is not Sanity—or the loss of it—and that in Corruption, it not only has a far wider array of effects to apply to investigators, it wants to avoid any stereotypes or insensitivity that the portrayal of insanity or other mental illness might lead to. It goes on to give good advice about the portrayal of those affected by Corruption and how to avoid clichés. Both are fair, balanced, and mature approaches to their subject matters, being aware of the sensitivity and difficulty that some gamers may have with either subject.

Physically, FATE of Cthulhu is well produced, nicely illustrated, and well written, including numerous detailed examples. It is however more limited in scope than other roleplaying games of Lovecraftian investigative horror, being focused on a certain type of campaign, and if a Game Master wanted to do more with it than run those campaigns—although any of the five offers opportunities for roleplaying and action—she would have to make more of an effort. In terms of the five timelines and the concept behind FATE of Cthulhu, what is really missing is the point of departure for any time traveller (or time travellers if the Game Master was running a full on ‘Chrono-Commandos versus Cthulhu-style campaign), so no details of what the future is like. There is advice on how time travel works, how it is possible to meet your past self and even have them die in your past, but no background about what life is like in 2050. Also as written, it is very much focussed upon the timelines, so writing a solo adventure would also be challenging.

As befitting a FATE Core roleplaying game, FATE of Cthulhu is more action-orientated, more direct, and more upfront about its confrontation with the forces of the Mythos. It definitely veers to being Pulp in nature rather than Purist and can probably be best described as High Derlethian. Further, its ‘time commando comes back from the future to stop…’ may not be original, but FATE of Cthulhu does provide a fresh approach to confronting the Mythos with Lovercraftian action horror.

Published by Livres de l’Ours, what Rats in the Walls: A roleplaying game of cosmic horror offers is a mechanically light roleplaying game of Lovecraftian investigative horror with consequences. Set in the Jazz Age of the nineteen twenties and the Desperate Decade of the nineteen thirties, it is very much inspired by the writings and Mythos of H.P. Lovecraft, but does not actually use the writings and Mythos of H.P. Lovecraft. The consequences come with failure upon the part of an investigator, whether that is in combat, when he casts a spell, his will suffers from a sanity-draining incident or encounter. As well as facing Old Ones such as The Feeder, The Grinder, and The Void Mother, and their cultists, investigators in Rats in the Walls may discover wonders and dangers beyond the Walls of Sleep in worlds that reflect the dreams of the Old Ones. What drives the investigators is the knowledge that only they are in a position to defeat the terrifying machinations of the Old Ones and their cultists, that only they can prevent all of mankind being exposed to the horrifying truths of the universe.

An investigator in Rats in the Walls is defined by five attributes, which range in value between 0 and +3. These are Brawn, Dexterity, Violence, Wits, and Willpower. He also has a Profession, such as Artist, Boxer, or Magician, and a Reputation, like Anonymous, Old, or Shady. These provide a particular benefit. For example, the Lumberjack is used to living in harsh conditions and receives two extra Hit Points and the Occultist knows one spell and two dead languages, whilst a Feared Reputation means that most people will back down if they know who you are and Well-Travelled means that you never get lost above ground and learn languages easily. A Profession also allows an Investigator to succeed at the mundane aspects of his job and affords him several contacts in the field. An investigator also has a couple of pieces of equipment, perhaps a weapon as well, and some languages. To create an investigator, a player divides five points between the five attributes, and chooses a Profession, a Reputation, and some equipment and languages for him. With the rulebook in hand, the process takes mere minutes.

Our sample investigator is Henry Brinded, a Bostonian from a wealthy family who studied Classics at Yale before serving as an artillery officer with the American Expeditionary Force in Northern France during the Great War. As a consequence he is slightly deaf and abhors loud noises. He owns and runs a small antiquarian shop which specialises in ancient and medieval manuscripts.

Henry Brinded
Profession: Occultist
Reputation: Dilettante

Brawn 0, Dexterity 0, Violence +1, Wits +3, Willpower +1

Hit Points: 10
Sanity Points: 11

Languages: Latin, Ancient Greek, Hebrew
Spells:
Equipment: Notebook & Pen, Magnifying Glass

Mechanically, Rats in the Walls uses two six-sided dice. For an investigator to undertake an action, his player rolls the dice and attempts to get a high result. Bonuses are flat, either a +2 because the task is easy—due to the investigator’s Profession or he has the right tools or time, or -2 because the task is hard—due to a lack of time, tools, help, and so on. The target for the roll is typically an eight, but whilst that is always a success, it is a success with consequences. A player will need to roll ten or more for his investigator to succeed without consequences. Further, the Game Master does not roll, only the player does.

Before the roll is made though, player and Game Master discuss and set the terms of the task. Now a player can roll and the result be a failure, but it can instead be a partial success rather than an out and out failure. For example, in attempting to break into a house to view an occult tome which the owner is believed to possess, a player and the Game Master negotiate not an unsuccessful attempt if the player rolls a failure, but the fact that although the investigator manages to break in, find the occult tome, and get the information he needs, he leaves evidence of his intrusion that the house’s owner might find. 

Now, this act of negotiation is not carried out throughout the whole of Rats in the Walls. For tasks that take time, a player is simply rolling to determine how long the task takes, the better the skill check, the quicker it takes. Combat works in a similar fashion. At its most basic, with the average investigator having just ten Hit Points and a rifle inflicting 2d6 points of damage, combat in Rats in the Walls is deadly, and if an investigator is reduced to zero Hit Points and survives, then he suffers a scar, which might a limp, chronic pain, or a nasty scar. What a player is really doing in combat is rolling to see whether his investigator will inflict Consequences or suffer them. If a player rolls poorly, then his investigator will suffer one or two Consequences—decided upon by the Game Master, but roll well and his investigator can inflict them on his opponents. Potential Consequences include Harm, Ignore Armour, Stray Bullet, Vulnerable, and Stress, but the Game Master and the players are free to make them up.
For example, Henry Brinded confronts a cultist about to slice open the throat of a wouldbe sacrifice. His player states that he wants to disarm the cultist. He rushes forward and attempts to stop him by grabbing the knife. His player rolls two dice and adds Brinded’s Violence of +1. Unfortunately, he only manages to get a result of a nine and not the target number of ten he needs. This means that Game Master can inflict a Consequence on Brinded. Since Brinded was attempting to disarm the cultist, the Game Master rules that it be Harm as although he does not disarm the cultist, but he does in effect stop the cultist from cutting the victim’s throat when the cultist plunges the dagger into Brinded’s shoulder.Like most good roleplaying games of Lovecraftian investigative horror, Rats in the Walls has a Sanity mechanic. Whenever an investigator encounters a supernatural event or monster rather than any mundane horror, his player makes a Willpower roll. He can roll and succeed and lose nothing, but gain a bonus when encountering either again, or he can fail and lose Sanity Points. How many depends on how poorly the Willpower roll was failed by, either one to three or one to six points. Once an investigator suffers one shock too many and loses all of his Sanity Points, he may do something silly—run away in a random direction, shoot mindlessly, abandon his friends, and so on, faint, or even continue to act normally. The latter is not without its consequences, so the investigator might be shell-shocked and lose one Sanity Point permanently, gain a scar which aches in the presence of the unnatural or a third eye which detects the use of sorcery, a weak heart, or suffer from PTSD. Once a player has made his choice, the investigator gains a die’s worth of Sanity Points back, but it can also be gained between sessions by an investigator engaging in favourite activity.

Should an investigator permanently lose all of his Sanity Points, he becomes permanently insane and thus an NPC. There are two ways in which Sanity Points can be permanently lost. One is through being Shell-shocked, another is by learning a spell. Learning sorcery requires finding and deciphering an old tome. Casting a spell is a Willpower check and can lose the caster Sanity Points. Spells include Curse of the Mute which renders the target incapable of speech, Murmurs inflicts strange whispering voices on the target revealing dark secrets and a loss of Sanity Points, and Withering which gives the target the strength and vitality of a nonagenarian for a few hours. Now one of the things that Rats in the Walls does omit here are the tomes which contain these spells.

In terms of its mythos, Rats in the Walls does step over into the Cthulhu Mythos with the inclusion of the Ghoul and the Shoggoth, but in the main it offers its own Horrors Behind the WAlls of Sanity. Abyssals are creatures of living water which can teleport between any body of water in sight and manipulate water tendrils to attack; the Dying Light come from the centre of the universe in search of life to take back to the Void and can absorb life, but the sight of which is the same as seeing into the Void; and Memory Hounds target those humans who have killed other humans, possessing the face of the person who was killed. The Old Ones of Rats in the Walls’ mythos are unstoppable, almost unquantifiable entities who have found a home on Earth, Consequently, they have no statistics and cannot be killed, rather their plans can be delayed, the efforts of their cultists thwarted, and so Humanity saved for a while. They include the Feeder, the Grinder, the Howler, the Mad Dancer, the Stranger, and the Void Mother, each being conceptual in nature, and each comes with thumbnail descriptions of three cults, one from the Middle Ages, one from the Jazz Age, and one from the future, a Science Fiction setting.

The mythos of Rats in the Walls and the reach of the Old Ones stretches ‘Beyond the Walls of Sleep’. Here their inhuman dreams intermingle with Humanity’s imagination to create medieval cities lit by gaslight, lands reached by ships that sail the skies, souks populated by peoples and creatures out of myth, so realms of the fantastic, but also the disturbing and the weird, such as the Iron Plain, a wide plain covered in flowers of brass populated by the victims of the Great War, perhaps hunted by the first war machines or the City of a Hundred Summers where everything is bought and traded for in facts. Although it is possible to learn a ritual that will enable you to enter the Old Ones’ dreams, the greater likelihood is that an investigator will be drawn in after being embroiled in their machinations.

In terms of support for the Game Master, Rats in the Walls provides solid advice on running Cosmic Horror at the table, primarily that her task is not to scare the players, but the investigators. It advises using contrast to highlight the weird versus the mundane, making sure that the world is worth saving, and not to draw upon the Mythos of H.P. Lovecraft. It makes clear that although Rats in the Walls is inspired by his writings in its treatment of Cosmic Horror, it does not set out to emulate it. Further, on the Purist to Pulp scale, Rats on the Walls veers away from the former, being about stalwarts caring enough about the world to fight to save it from the alien beings which embody Cosmic Horror, even if that fight is daunting and there is the possibility that the investigators will die or go insane. Further advice guides the Game Master through creating investigations, whilst an appendix provides means to create investigators in The Past—the Victorian era and the Wild West, for example, and during the Crusades.

Physically, Rats in the Walls is available as an art free version or a version with full colour artwork. The latter consists of full page pieces, all fairly decent. The book is well written, although it needs an edit in places. If there is anything missing from Rats in the Walls it is a sample investigation or scenario.

What Rats in the Walls offers is rules-light cosmic horror roleplaying inspired by H.P. Lovecraft, but not emulating him. Its player-facing mechanics—a combination of Advanced Fighting Fantasy and Powered by the Apocalypse—make for faster, easier play and enable the Game Master to focus on guiding the narrative and portraying the NPCs. The lightly drawn mythos of Rats in the Walls: A roleplaying game of cosmic horror, means that there is plenty of scope also for the Game Master to create new content and develop new scenarios that may avoid some of the familiarity of similar horror roleplaying games.

I am a Trekkie, and I have always preferred "Trekkie" over "Trekker" as well.  No negative connotations for me, I embrace them.

To that end, I am a fan of both "Axanar" and "Discovery" even if they are competing and incompatible with versions of the war with the Klingon Empire. 


In Discovery the war takes place around 2256-2257.
In the Axanar and FASA Trek RPG continuity, this is known as the Four Years War and takes place between 2247 and 2250.
(Note the Enterprise NCC 1701 launches in 2245, so that tracks with Discovery but off a bit for Axanar.)

Once you start digging more and more with Disco, Axanar, and FASA it becomes obvious that the continuities will never line up even by my normal desire to handwave some details in favor of others.

I enjoyed Star Trek Discovery, I also happen to like Star Trek Axanar maybe just a little bit better. Mainly for all the same reasons spelled out here: Star Trek Discovery vs Axanar Choose Your Klingon War.



I do want a universe where Adm. Ramirez gets to say, "For myself I have but one fear: destroying the dream of the Federation. Compared to such a loss I DO NOT FEAR THE KLINGON EMPIRE!" 

Hey, I said I was a Trekkie.

BUT I also want a universe with Anson Mount's Captain Pike and Sonequa Martin-Green as Commander Michael Burnham.

How do I have my cake and eat it too?

So I am going to steal a page from myself.
Back when I was playtesting the Doctor Who Adventures in Time and Space RPG I converted a bunch of Angel and Ghosts of Albion characters to DWAITAS characters (easy enough to do) and ran them all through The Ghost Tower of  Inverness. Only I called it the Ghost Tower of Inverness, Illinois.

Why does Inverness, IL need a Lighthouse??In that adventure, the Soul Gen is replaced by the Time Beacon.  A lighthouse for time travelers.
I can replace the lighthouse and tower with the 23rd Century equivalent; a Starbase.

The Ghost Station of Inverness Five

Inverness Five.  During the Federation-Klingon War, this colony was the site of one of the bloodiest battles and the greatest defeat of the Federation.  Hundreds of thousands of souls were lost and many more were made homeless overnight.   Inverness was a colony of four inhabited worlds rich in dilithium.  To the Klingon Empire, the Inverness system is a sacred, if not holy place.

I'll take a page from Discovery and TNG and make Inverness like the Klingon monastery on Boreth.  Not just holy, but also the home of Time Crystals.   At the time of the war no one knew this.   The humans just knew that there were large deposits of dilithium.  The Klingons knew it was holy to Kahless.  The battle managed to disrupt the crystals, one of which was located in the science lab on the Inverness Station, and now the place is like the Bermuda Triangle in space.

In 2352 the Protector is sent the Inverness system, getting strange readings.  The system is unstable and both the Federation and the Klingon Empire have agreed to stay out of the system.  The Federation considers it too dangerous and the Klingons want everyone to stay out.  Both sides treat it like something akin to a battlefield graveyard.

When the Protector shows up they should send an Away Team over to the station, the source of the readings, but "chronometric interference" makes it impossible to get a good lock.  So they are sent to what is basically the bottom of the station.  The team has to work its way to the science lab.
Here I basically will run a version of the Ghost Tower of Inverness.
In space, the Protector is fired upon by a Klingon D6 from Axanar's time.  Communications are ignored and channels to Federation Space are blocked.  They are then both attacked by a Klingon cruiser from Discovery's time.

Both teams end up having to battle with Klingons from Axanar, Discovery and even smooth ridged Klingons from the time between Enterprise and The Original Series.


So weird time dilations effects.  Battling anywhere from two to four different sorts of Klingons.  Starfleet chatter from nearly 100 years ago about the Klingon war and the Federation is getting it's ass kicked.

I need to figure out how to up the horror elements too.  After all, that is what makes this BlackStar and not just Star Trek.  I do know how it will end though.  Once the Away Team gets the Time Crystal aligned/sealed/destroyed/reversed to the polarity of the neutron flow, the battle will stop and the Protector will be hailed by the current era Klingons asking if they need assistance.  A reminder that at this time (2352) the Klingons and the Federation are allies.

This is my homage to not just Axanar and Discovery, but also Yesterday's Enterprise, the Bermuda Triangle and the chance to do the one thing that all old school Trekkies love, and that is to battle Klingons.

In the end, the players will not know if they had really gone back in time OR if they were battling ghosts of some sort.  Also, they might never find out which version of history, Axanar or Discovery, was the correct one since they all remember it both ways.

This one will be fun too.

There is no denying the continued and growing popularity of Dungeons & Dragons, Fifth Edition, with it having appeared on the television series Stranger Things and the YouTube series, Critical Role, it no longer being seen as a hobby solely the preserve of typically male, nerdy teenagers and young adults. Yet as acceptable a hobby as roleplaying and in particular, playing Dungeons & Dragons has become, getting into the hobby is still a daunting prospect. Imagine if you will, being faced with making your first character for your first game of Dungeons & Dragons? Then what monsters will face? What adventures will you have? For nearly all of us, answering these questions are not all that far from being a challenge, for all started somewhere and we all had to make that first step—making our first character, entering our first dungeon, and encountering our first monster. As well written as both Dungeons & Dragons Starter Set and the Player’s Handbook are, both still present the prospective reader and player with a lot of choices, but without really answering these questions in an easy to read and reference fashion.

Step forward the ‘Dungeons & Dragons Young Adventurer’s Guides Series’ published by Ten Speed Press. This is a series of introductory guides to Dungeons & Dragons, designed as primers to various aspects of the world’s leading roleplaying game. Each in the series is profusely illustrated, no page consisting entirely of text. The artwork is all drawn from and matches the style of Dungeon & Dragons, Fifth Edition, so as much as it provides an introduction to the different aspects of the roleplaying game covered in each book in the series, it provides an introduction to the look of the roleplaying game, so providing continuity between the other books in the ‘Dungeons & Dragons Young Adventurer’s Guides Series’ and the Dungeons & Dragons Starter Set and the core rulebooks. This use of art and the digest size of the book means that from the start, every entry in the ‘Dungeons & Dragons Young Adventurer’s Guides Series’ is an attractive little package.

The first in the series, Warriors & Weapons provided an introduction to the various Races of Dungeons & Dragons, the martial character Classes, and the equipment they use. Second is not Wizards & Spells, the companion to Warriors & Weapons which covers Clerics, Sorcerers, and Wizards, or indeed any of the other spellcasting character types in Dungeons & Dragons. Instead the second book in the series is Monsters & Creatures. As the title suggests, this presents an introduction to the monsters, creatures, and animals that the prospective player may well have his character encounter on his adventures, many of them—like the Beholder, the Mind Flayer, the Owl Bear, and more—iconic to Dungeons & Dragons. Equally, the third in the series is not the eagerly anticipated Wizards & Spells, but Dungeons & Tombs, a guide to the dungeons, tombs, castles, crypts, cave networks, and other complexes which populate the many fantasy words of Dungeons & Dragons.

Dungeons & Tombs begins in promising fashion, warning of the dangers of dungeon delving, but highlighting also that they are places of mystery and adventure before discussing a little just some of the preparations necessary to venture into such places. Then the book leaps into the first of its three parts, ‘The Most Dangerous Dungeons’ which looks at six of the strange, sinister places ready to be explored by the adventurers. These are Ironslag from Storm King's Thunder, The Temple of Elemental Evil from Princes of the Apocalypse, The Sea Ghost from Ghosts of Saltmarsh, Ravenloft from Curse of Strahd, Chult from Tomb of Annihilation, and Undermountain from Waterdeep: Dungeon of the Mad Mage. Each is given an overview, highlights its important places, shines a spotlight on a specific area, and outlines a key encounter in the dungeon where the adventurers will have to make a critical choice.

So for example, Ironslag is a former iron mine and fortress which has been reopened by the Fire Giant, Duke Zalto, who wants to construct a mighty warmachine. Besides Duke Zalto himself, other threats include the treacherous Yakfolk, salamanders, and other Fire Giants, as well getting into the dungeon itself—behind a high cliff face protected by the village of the Yakfolk. The latter is included listed in the dungeon’s important places, alongside the mines, the foundry, assembly hall, and at last, the Adamantite Forge. The spotlight is on The Foundry where Fire Giants are smelting iron and Duke Zalto’s son, Zaltember is about to toss a prisoner into the molten metal! Here is a chance for the adventurers to intervene, story prompts suggesting an idea for the Dungeon Master and an idea for the player characters. Lastly, the Encounter is presented in a short piece of fiction, here describing the final scenes in the dungeon and asking the reader what the character in the fiction should do next.

Now there is nothing wrong in Dungeons & Tombs showcasing the dungeons and campaigns available for Dungeons & Dragons, Fifth Edition, and it has the benefit of all six ‘Most Dangerous Dungeons’ actually being in print—unlike the last time that Wizards of the Coast did something similar with the near useless, Dungeon Survival Guide. Yet Dungeons & Tombs only highlights six of the campaigns when at the time of publication there are ten available and it ignores the excellent Lost Mine of Phandelver from the excellent Dungeons & Dragons, Starter Set. Further, it exposes secrets (spoilers?) about each of these dungeons when perhaps the write-ups could have been more circumspect in what was revealed. Nevertheless, the six do showcase various types of dungeons—a ship, a mine, a castle, and so on.

The middle section returns to the territory of Monsters & Creatures, but specifically focusing on creatures found underground with the ‘Dungeon Bestiary’. Some fifteen monsters are detailed, each entry accorded a double page spread, the left hand page showing an illustration of the creature or monster, a listing of its special powers, a description of its size, and an indication of its Danger Level, from ‘0’ or harmless to ‘5’ for really nasty. On the right hand page there is a description of the monster or creature and its lair, accompanied by a list of things to do or not do when dealing with it. Many of the entries are Dungeons & Dragons classics, like the Basilisk, Mimic, Oozes like Black Puddings and Gelatinous Cubes, and Ropers. Others, like the Grung, the Sea Elf, and the Yikaria, are simply not, leaving the reader to wonder why such a random selection was included. The simple reason is that these monsters and creatures appear in the ‘Most Dangerous Dungeons’ rather than because they are classic Dungeons & Dragons creatures.

The last of the three parts in Dungeons & Tombs, is ‘Building Your Own Dungeon’, a relatively short guide for the potential Dungeon Master wanting to create her own dungeon. This looks at potential concepts—location, creator, and purpose; populating a dungeon with inhabitants and traps; mapmaking with examples and map symbols; quests and exploring dungeons; and using dungeons to tell stories. All of this is good advice, a solid introduction to designing dungeons and running them, but it is all for the Dungeon Master. The fundamental problem with Dungeons & Tombs is that it does not do the same for the potential player. There is no equivalent introduction to dungeoneering and its dangers for the player and his character, because instead, Dungeons & Tombs is focusing on specific dungeons and their dangers, which both player and character are likely to encounter just the once.

Now there is nothing wrong with a book for Dungeons & Dragons, Fifth Edition examining dungeons or adventures and their dangers for Dungeons & Dragons, Fifth Edition. Yet in devoting over half of the book to specific dungeons, including the monsters and creatures which are specific to those dungeons, it forgoes the opportunity to give more general advice on dungeoneering for the prospective player and Dungeon Master. General advice which would enhance the utility of Dungeons & Tombs, potentially serving as general reference which could sit on the playing table or close at hand, ready to be checked for advice and hints. Much like the Monsters & Creatures book can work.

Physically, Dungeons & Tombs is an attractive little hardback. It is bright, it is breezy, and it shows a prospective player what his character might face, both in the art and the writing. Further, the art shows lots of adventuring scenes which can only spur the prospective player’s imagination.

The problem with Dungeons & Tombs is that it does not deliver on its tagline of ‘Explore the Magical Worlds of D&D’, but rather the bulk of it delivers ‘Explore SIX of the Magical Worlds of D&D’. Apart from the last section, the last fifth of Dungeons & Tombs, which is specifically written for the Dungeon Master, its approach to its subject matter is just not general enough to be useful in the long term. Dungeons & Tombs is disappointingly specific and the least useful, least interesting of the three Young Adventurer’s Guide’ titles to date.

In my post yesterday I talked about my favorite adventure, B1 In Search Of The Unknown.


One of the things that brought back memories for me was Cavern #43.  It is blank in the adventure, but I added something special, a witch named "Marissia" (sic, I was 11 ok).  She might not be the very first witch I ever made, but I am having a hard time figuring out who exactly was.  Until some other proof comes up, it will be Marissia.


Her name comes from me miss hearing the Jerry Reed version of "Pretty Mary Sunlight".  I thought he was saying "Pretty Marissa mine".  Hey, I was little and I certainly heard from The New Scooby-Doo Movies.  In fact a lot of my early ideas about witches came from Scooby-Doo. In fact it is also very, very likely I based her and her name also on Millissa Wilcox, The Ghost Witch of Salem, from the Scooby-Doo episode "To Switch a Witch." An interesting episode since since it featured a gravestone for the witch with a Leviathan Cross on it.   I mean seriously, a goddamn Leviathan Cross in 1978? That was a ballsy move on the eve of the Satanic Panic.



Marissia
7th level Witch, Mara Tradition
Chaotic

Strength: 11
Intelligence: 17
Wisdom: 17
Dexterity: 12
Constitution: 15
Charisma: 18

AC: 7
HP: 36

Magic items: Dagger +1, Ring of Protection +2

Occult Powers
Familiar: Dog (looks like a Hell Hound)
Dream Invasion

Spells
First: Allure, Bewitch I, Cause Fear, Chill of Death, Ghostly Slashing
Second: Bewitch II, Death Armor, Scare, Summon Olitiau
Third: Bestow Curse, Danse Macabre, Lover’s Vengeance, Summon and Bind Imp of the Perverse (Ritual)
Fourth: Intangible Cloak of Shadows, Witch's Cradle

I made her into a Mara witch since I wanted her to be a Basic-era witch and the Mara was one of the first traditions I ever wrote.  Marissia was also an early archetype of the evil, or at least chaotic, seductress type witch. Something the Mara does perfectly.  Marissia was not actually all that evil, just a little evil or really mostly chaotic.

Also, I thought let's make her Zelligar's daughter. Seemed liked a good thing. Given the Caves of Chaos she should be a witch of Ereshkigal, but I likely at the time thought more about Hecate.  Maybe a syncretized Ereshkigal with Hecate.  She is a nice perky blonde goth witch.  She was my late 70s Taylor Momsen.

I found these images of Elmore's Green Witch and Early Snow witch pained by the same artist.  The images are really perfect. First off these minis are the same ones I have used for my Larina.


This one is blonde (which Marissia was), wearing green (ditto), and a purple dress. It is a nice call-back to the Scooby-doo witch above.  I wish I had a spare $330.00 to buy them both.

This has been a fun romp down memory lane. It's like reconnecting with an old girl-friend and hearing she is ok and doing great.

I want to look back at some of my favorite classic adventures both from TSR and others.  I'll give a review, though most everyone knows what is in these adventures by now, I'll also talk about how I have used them in the past and I'll also talk about what other games I have used them with or would like too.  So there is a little bit of Plays Well With Others in this too.

Why do classic adventures? Easy, I love these adventures.  I have written hundreds of my own adventures, some I have even published, but these are the adventures that everyone knows and we all have a history with.

B1 In Search of the Unknown
In Search of the Unknown was not the first adventure ever created, it was not even the first TSR adventure ever created.  It was though one of the very first adventures I ever encountered and one of the first I ever ran.

This is my "go-to" adventure anytime I want to start up a new group or game.  It's a ritual for me, roll up characters and run them through the halls of the lost Castle of Quasqueton. I still have my copy that I bought all those years ago and it was also one of the first PDFs I purchased from WotC. I also have the DriveThruRPG Print on Demand copy and it is very nice.



It is one of those adventures I can run with zero prep time and each time I learn something new or remember something I forgot. This module is simple, easy to use and can be adapted to any campaign world and even any game. It is a perfect module for the Basic game.

The adventure is a great case of both teaching tool for learning DMs (we were all new to this once) and DIY Dungeon.  Some areas are detailed, but many are not, leaving room for the neophyte DM to record what monsters and treasure were in each room.  There are also a plethora of cliche spawning Dungeon tropes, that were just getting started here.  Magic mouths, one-way secret doors, a mysterious creator of the dungeon, or in this case, two, and strange magical artifacts.

This adventure was the perfect learning tool for me at the time since my own version of D&D was a mix of Holmes Basic and the AD&D Monster Manual.   This "Basic" introductory module was released before the Basic game, but it moves elegantly between Basic and Advanced that begs you to mix and match your rules systems.  Author Mike Carr even gives some guidelines on how to use this adventure with AD&D.


Note how the using this adventure with AD&D is absent from the later printings.


The module is pretty typical for the time. 32 pages of b/w art and text. Detached cover with blue maps printed on the inside of the cover. The first 6 pages are dedicated to running the adventure and how to run this one in particular.

I have used this adventure to start every new campaign I have ever run in D&D, regardless of the edition.  The dungeon crawl here is so primal that it calls out to you. A true In Search of the Unknown indeed.   The one thing I never did, however, was to investigate more about who Rogahn and Zelligar were and why they left their lair of Castle Quasquenton.

One thing that B1 did give me, in a roundabout way, was my very first witch NPC Marissia.  She is in the lower parts of Quasquenton and she is attempting to summon the spirit of her master Zelligar and her father Rogahn.




The adventure has stood the test of time and it is a great combination of flexible dungeon design.  Nearly anything can be put into this adventure to raise or lower the difficulty as needed.

DriveThruRPG and DMSGuild offer this as both a PDF and Print On Demand.






B1 Legacy of the Unknown
This adventure is billed as a "sequel" from Pacesetter Games & Simulations.  It furthers the mystery of Rogahn and Zelligar and what they were doing.  There is a druid in this adventure named "Melissia" which I thought was very fun and worked as some sort of relative (daughter may be) of my own "Marissia", a witch NPC I always included in my own runnings of B1 In Search of the Unknown.

You can get this adventure from DriveThruRPG (PDF only) or from Pacesetter's own store (Print and PDF). While overtly designed for AD&D1/OSRIC, it would be a great fit for Pacesetter's own BX RPG.  In fact, it might fit better.

Other Games / Plays Well With Others

Dungeons & Dragons 5th Edition
The simplicity of B1 has made it an enduring adventure for over 40 years.  I have used it with every version of D&D I have ever played. But if you want everything at your fingertips for easy conversions I do recommend the Classic Modules Today conversion of B1 In Search of the Unknown.
Goodman Games also offers their Original Adventures Reincarnated, with B1 and it's various printings going into their Into the Borderlands Hardcover. It features the original printings of the original module as a complete 5th edition update.
There is also a set of maps that can be printed out or used with virtual tabletops.

B1 and Astonishing Swordsmen & Sorcerers of Hyperborea
Like many old-school adventures, one merely needs to turn up the horror aspect to give it a good run in Astonishing Swordsmen & Sorcerers of Hyperborea.  Though there is not much that needs to be done to change it.  There is a feeling that Rogahn and Zelligar were messing with the forces of chaos a little more than they should have been.  Make that Chaos now with a capital "C" and we are getting the adventure closer to what we might see in AS&SH.  The one thing that always struck me about Quasquenton is that it is all underground.  It's not a castle, not really, but a warren.  Eric Fabiaschi suggests that the complex had been built by one of the older Lovecraftian races and the adventurers Rogahn and Zelligar only found it later.  It seems to fit for me.
Also given that B1 is an odd admixture of proto-Basic D&D, OD&D, and AD&D, the feel is perfect for AS&SH.


B1 and Blue Rose
In this mix, the chaos elements run the other direction so to speak.  Here Rogahn and Zelligar stumble upon an element of Shadow while constructing their castle/lair.   Maybe it has something to do with what I call the "Chaos Stone", Room 45/XLV "Cavern of the Mystical Stone".  This is obviously some artifact of Shadow and it either drone Rogahn and Zelligar mad, killed them or caused them to kill each other, or destroyed them outright.  Maybe all the above.
When converting ANY D&D adventure to Blue Rose I take some points from Fantasy Age where I can. In particular the monsters.  Typically in Blue Rose, you would not see this concentration of monsters in one place, the Chaos Stone/Mystical Stone is drawing them near.   As Envoys of the Sovereign, it would the character's jobs to find out what is going on and how to stop it.   I would give more background to Rogahn and Zelligar and stat up Marrissia a little more.
While this is a good "first-level" adventure in D&D, the implication of Shadow here makes this a much more dangerous enterprise.

Step with care here Envoys. More than your life is at stake.


B1 and Army of Darkness
One of my favorite mixes, but not my top favorite (more on that one next time).  Army of Darkness allows for all sorts of crazy adventures.  For the same reasons that B1 works for Astonishing Swordsmen & Sorcerers of Hyperborea, it works for this.  So imagine this, you have a party of Primative Screwheads, they are out in the woods. It starts to rain.  They find an entrance to a cave and boom, suddenly it is horror movie shenanigans. Monsters chasing you, weird-ass artifacts and cultists who are somehow still alive from the Middle Ages.  Have at least one archeologist to talk about how insane this all is and then go monster hunting and maybe, just maybe stop the forces of Chaos from ruling the world.  Use Dungeons & Zombies as your guide to covert D&D to Cinematic Unisystem.

“I love deadlines. I love the whooshing noise they make as they go by.”
― Douglas Adams, The Salmon of Doubt
So.  I missed my next deadline for the Pagan Witch for OSE.  I was working on getting things done for Night Shift and my day job has been pretty busy.  But this is fine, it has given me a chance to make it a better book and to review the OSE rules and style guide some more.

The OSE style guide has a short monster stat block template and a long one.  The short one is the one seen in the current OSE books and what I have been posting for a while.
The long one though is more to my liking.  So let's give it a go.



Lithobolia*
Stone-throwing "demons" summoned by witches to plague homes. They are invisible and intangible.

Armour Class 3 [17]
Hit Dice 5 (hp)
Attacks 1 × rock (1d4)
THAC0 15 [4]
Movement Rate 90’ (30’)
Saves D10 W11 P12 B13 S 14 (5)
Morale 10
Alignment Chaotic
XP for Defeating 300
Number Appearing 1d4 (2d10)
Treasure Type None

• Intangible: Lithobolia are spirits and cannot be seen or hit by anything other than magic.  A Detect Invisible spell will locate them and they take damage from magic and magical weapons.
• Elemental Spirit: Lithobolia are elemental spirits of the land.  They are not undead but can be turned by a Druid as if they were a cleric of the same level.
• Immune to charm, hold or sleep spells.
• Can be dismissed by clerics, druids or witches with Dispel Magic or Dispel Evil spell.  Creature can return after 24 hours.

I like this format better.

So. The Pagan Witch is coming. 2020 is shaping up to be a big year for me publication wise. I have heard from three publishers who have manuscripts of mine saying this is the year they will get them out.  Looking forward to it.

Much like the Miskatonic Repository for Call of Cthulhu, Seventh Edition, the Jonstown Compendium 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 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.


—oOo—

What is it?Rubble Runners - A collection of Pavis Characters is a collection of fifteen NPCs and almost eighty members of the supporting cast and scenario hooks.

It is a thirty-nine page, full colour, 5.97 MB PDF.

Rubble Runners - A collection of Pavis Characters is well presented and reasonably well written, but needs a thorough edit from start to finish. The illustrations are decent, being photographs reworked by the author.

Where is it set?
The content of Rubble Runners - A collection of Pavis Characters is set in Pavis and civilised Prax, specifically in the years 1625, 1626, and 1627 after Prince Argrath White Bull has defeated  Lunar forces at the Second Battle of Moonbroth and liberated the city and drove out it Lunar occupiers—mostly at the point of a sword.Who do you play?The supplement primarily consists of NPCs, though some NPCs can be used as player characters.

What do you need?
Rubble Runners - A collection of Pavis Characters requires RuneQuest: Roleplaying in Glorantha and a whole lot more. Being set in New Pavis and its environs, to get the full benefit of this supplement, the Game Master will require access to various supplements including Cults of Prax, Pavis, Big Rubble, and Borderlands for RuneQuest II or River of Cradles, Sun County, and Shadows on the Borderlands for RuneQuest III.

Note that this is at the time of publication of Rubble Runners - A collection of Pavis Characters and will change when a new supplement dedicated to Pavis and the Big Rubble is published. 

What do you get?
Rubble Runners - A collection of Pavis Characters is a collection of fifteen NPCs, each of which is accompanied by five or six associates and contacts—their supporting cast and five or six encounter and plot hooks. Every NPC includes a half to full page description and background, full stats for RuneQuest: Roleplaying in Glorantha, an illustration, and the aforementioned supporting cast, encounters, and hooks.

Many of the characters in Rubble Runners - A collection of Pavis Characters are connected to each other, either directly as friends or family, or through the members of the supporting cast they have in common. Yet what really connects this diverse range of characters in the supplement is that they have all been affected by the bloody expulsion of the Lunar occupation. In this the supplement draws its inspiration from the Wild West following the American Civil War, as well as the cinema that it inspired. That said, the nastiness and antipathy expressed by and towards some of the NPCs in this supplement echoes that of occupied Europe following its liberation at the end of World War II.

One further limiting factor to the supplement is not the setting itself, but the nature of that setting. Rubble Runners - A collection of Pavis Characters is predominately a city supplement and there few cities in Glorantha which are large enough and urbanised enough to support this range of characters and their elements. Nevertheless, if the Game Master has such access to such a setting or is using New Pavis, this supplement is a ready-made cast into which the Game Master can draw her player characters, involve them in each other’s plans and objectives, and so help build towards an ongoing campaign.

Is it worth your time?
Yes. Rubble Runners - A collection of Pavis Characters is a solid set of inventive NPCs, a good mix of contacts, friends, foes, employers, and more. Particularly useful for the Game Master running a campaign set in New Pavis.
No. If the Game Master is not running a campaign set in New Pavis—or planning to take her campaign to New Pavis, Rubble Runners - A collection of Pavis Characters is not a useful supplement.
Maybe. Even if the Game Master is not running a campaign in New Pavis, the content of Rubble Runners - A collection of Pavis Characters may still be of interest. Some of the characters contained in its pages can be used as player characters, pulled out and used in other settings, or simply used as inspiration for NPCs of the Game Master’s own design.

The kids had their games this weekend.

Friday Liam has his group, The Dungeoneers that have been playing together for over 10 years.  He ran a 5e game and had a blast.

Saturday was the game with Connor's group with Liam running.
They were supposed to go on a quest, given to them by a librarian in Waterdeep, they headed out to the forest area outside.

Instead, they spent three days looking for 62 mushrooms, 134 "magic" carrots, some catfish and berries.  The druid has decided that the forest needs to reclaim the land and has been casting Plant Growth and Commune with Nature to convince the forest to retake the lands.  The goblin warlock decided it would be fun to play a joke on a horse so they stabbed it, killing it and then they got in a fight with the owner.   They also crashed the funeral.

It was Gwen's (of the Goblin Warlock) birthday today and like everyone else in the group, they wanted to celebrate their birthday here, playing D&D.

We made the group ham & cheese sliders and turkey, bacon and provolone sliders.





We made these for both boy's respective New Year's Eve parties and they were a huge hit.

Since it was a birthday game we also made homemade cupcakes (yes from cake flour and everything) and brownies.


It was a blast.  The characters did not get very far and the Goblin is now wanted for murder and killing a horse.

Sunday was Liam's High School / College group. Kids he met in High School and continued into their college days.

This is his Curse of Strahd game.  So what is on the menu?  Bolognese sauce of course!

So three games this weekend. Not too bad really.

Originally published in 1987, Terror Australis, for use with Call of Cthulhu, Third Edition, the supplement was always, much like its source material, something of an outlier in comparison with the venerable roleplaying game’s focus on North America and Europe. Indeed, Terror Australis was perhaps best known for the inclusion of the scenario, ‘City Beneath the Sands’, the Australian chapter of the highly regarded Masks of Nyarlathotep campaign. Of course the removal of ‘City Beneath the Sands’ for its inclusion in The Complete Masks of Nyarlathotep left scope for Chaosium, Inc. to revisit Terror Australis, but that opportunity did not come until the publication of the Masks of Nyarlathotep: Dark Schemes Herald the End of the World and the revised edition of Terror Australis, both of which have been written for use with Call of Cthulhu, Seventh Edition and updated, revised, and expanded in scope to make their respective contents more accessible and playable.

Notably Terror Australis: Call of Cthulhu in the Land Down Under is double the size of the original Terror Australis. In fact, it includes half as much again in terms of background and source material in comparison to the original Terror Australis—and that is in addition the supplement’s two scenarios, both new and both lengthy. From the start, Terror Australis takes a mature and respectful attitude towards its subject matter. It identifies the continent’s  indigenous peoples throughout as the Aboriginal and Torres Strait Islander peoples, it acknowledges the racism prevalent against by those peoples by White Australia through much of its history, and it explores the presence of LGBTQI subculture to be found Australia’s big cities. Of course, not as prevalent as in Berlin as detailed in Berlin: The Wicked City – Unveiling the Mythos in Weimar Berlin in this period, but present nonetheless.

Terror Australis opens with an examination of Australian history, which of course begins with the arrival of the Europeans, there being no recorded history before that, looking at turn with the initial European exploration, the founding of the British penal colony—a period which has been looked at in greater detail in Convicts & Cthulhu: Call of Cthulhu Roleplaying in the Penal Colonies of 18th Century Australia, the Gold Rush of the 1850s, and so on, right up to the Commonwealth of Australia’s involvement in the Great War and its effects. It is followed by a guide to the continent’s geography which also touches a little upon its archaeology.

Where the history starts with the arrival of the Europeans, Terror Australis’ coverage of the Australians as a people starts with the indigenous peoples, identified throughout as the Aboriginal and Torres Strait Islander peoples. It covers their history, culture, art, spiritual beliefs, and world-view, information enough for the Keeper to create interesting NPCs and the players create interesting investigators. White Australians receive similar treatment, the supplement noting that most will be British and that the Mother Country dominates Australian life and society, whilst highlighting the dominant male culture with its love of the working man, drinking, and gambling. It includes a guide to Australian slang and pronunciation, plus new Occupations and skills. For the Aboriginal and Torres Strait Islander peoples there are the Hunter/Gather and Clever Man/Woman, whilst the broader Occupations are all support the working class nature of Australian society. They include the Boundary Rider who tours and repairs the boundaries of cattle stations, the Bushranger  or Outback outlaw, the Camel Driver who acts as guides and escorts in the Outback, the Digger or former miner or soldier, the Jackaroo/Jillaroo who are working cattle or sheep stations for the first time, the Stockman/woman who have more experience than the Jackaroo/Jillaroo, and the Swagman/woman or itinerant labourer. Of course, the many other Occupations from Call of Cthulhu are suitable for inclusion in a scenario or campaign set in Terror Australis, although it does discuss the nature of the Private Eye in Australia during this period, highlighting how they are unregulated, distrusted, and sometimes guilty of criminal acts themselves in pursuit the evidence or proof their clients want. The Relativists—mostly physicists and astronomers—is given as an investigator organisation with an interest in the unexplained, whilst The Theosophical Society is given later on.

As well as giving thumbnail portraits of some twenty or so Australians of note, ranging from artists, scientists, and journalists to politicians, activists, and aviators, the supplement details Australia’s police and legal system, healthcare, transport networks, and communications. Given the nature of Call of Cthulhu, it is likely that the investigators will find themselves ‘going Bush’ or mounting an expedition into the Outback, so there is advice on handling expeditions and ensuring their survival in the harsh environment beyond Australia’s settled coasts. Similarly, for players and their investigators, there is most obviously a guide to law as it related to firearms and the institutions, all museums, where research can be conducted. Australia’s five main cities are described—the two largest, Sydney and Melbourne in some detail, as well as Perth, Adelaide, and Brisbane. Each starts with a pair of handy references, one a guide to portraying the city, the other a guide to the city at a glance, plus places of note, criminal underworld, and more.

As well as detailed city maps, it is here that Terror Australis begins to explore the weirder side of the Land Down Under. Initially, this is via the ‘Strange Australia’ sidebars such as the river monster said to inhabit the Hawkesbury River and the fate of the Alert, the ferry which was used to ram great Cthulhu himself as described in Lovecraft’s The Call of Cthulhu. The presence of various cults in each of the cities are also covered, the homegrown Cult of the Sandbat from Masks of Nyarlathotep being joined by the Cthulhu Cult and the acquisitive New World Incorporated from Day of the Beast. A good sixth of Terror Australis is specifically dedicated to the Mythos in Australia. Understandably, its initial focus is upon the Great Race of Yith, their place in Australia’s prehistory, their great city of Pnakotus, and their enemy, the Flying Polyps, exploring how both inhabit (or have inhabited) the very geography of Australia itself and this continues with the Great Hive of the Sand-dwellers. In addition various sites of Mythos interest, Terror Australis describes threats brought to the continent by Europeans. These include Ghouls, cultists from the darkest part of Gloucester, and a cult in the Barossa Valley sure to put off any oenophile. The Mythos bestiary adds a variety of different creatures and entities as well as discussing the presence of more traditional Mythos creatures and entities in Australia. So Ghouls and Hounds of Tindalos as well as Bunyips and Yowies, the latter akin to the North American Sasquatch or Himalayan Yeti, and Dark Spirits of Earth, which inhabit or haunt particular features of the land. No one Dark Spirit is the same as any other and the Keeper is given the means to create her own, for which she will need access to the Grand Grimoire of Cthulhu Mythos Magic.

The spiritual beliefs and existence of the Aboriginal and Torres Strait Islander peoples are explored in some depth in ‘Alcheringa’, also known as ‘Dreamtime’. A spiritual space which surrounds everything, this is where the world can be explained, not as a creation myth, but as the world is, has been, and always will be. It is also a space which can be entered via ‘song-lines’, not just to learn how the world is, but also for learning knowledge, for revealing the secret nature of the world, and for bringing about supernatural changes to the world. This is done via specific rituals and requires the participants to follow each song-line fairly tightly if they are to gain the desired rewards, otherwise there is a chance that they may get kicked out of Alcheringa rather roughly. Following a song-line and entering Alcheringa is not without its dangers, which is even worse should an investigator actually enter physically. There is even the possibility that participants can alter and even twist a song-line, although this is not easy and is not without its consequences. 

Song-lines are in some ways a Mythos tome which an investigator can experience spiritually rather simply read and which a player can roleplay that experience. Further, there is a social roleplaying aspect to Alcheringa in that the investigators will need to find someone who will teach them the ritual or allow them to participate in the ritual. The rules for Alcheringa are supported with sample rewards—either internal and personal or changes to the world and external, artefacts which help in the Dreaming, and sample stories which can be used as song-lines, including an expanded one which shows how they work in play. Four examples of megafauna, long extinct, but of course still alive in Alcheringa where the investigators might encounter them… The rules for Alcheringa and song-lines are an impressive addition to Call of Cthulhu, helping to bring an aspect of Aboringal culture and spirituality to life and mark investigations in Australia as being different to those in other countries. They literally add another dimension to Lovecraftian investigative horror and as a side note, there are parallels between the song-lines of Alcheringa and the heroquests of RuneQuest: Roleplaying in Glorantha—also published by Chaosium, Inc. 

The two scenarios in Terror Australis are both new. The first is ‘Long Way From Home’ is radically different to almost every scenario before it. Taking a leaf out of the Old School Renaissance, it is a ‘sandbox’ scenario in which the player characters—or investigators—are free to wander as they please and engage with the elements of the scenario as is their wont. Now Call of Cthulhu being a roleplaying game of Lovecraftian investigative horror, ‘Long Way From Home’ provides multiple lines of investigation into the scenario. Set in the Northern Flinders Range to the north of Adelaide, these lines include a strange shower of meteors, a growing pattern of earthquakes, a spa deep in the outback providing miraculous cures, and a job offer to look after a copper mine which has been put into mothballs. Each of these strands are standalone, but all have links to Australia’s deep past and H.P. Lovecraft’s ‘The Shadow Out of Time’. There is a certain benign quality to the nature of the Mythos and a scientific feel to it at the heart of this scenario. The multiple strands means that there is also a flexibility to it also, because the investigators are free to follow whichever strand they want in whatever order they want. The strands include some pleasingly creepy scenes—one of which is archetypically Australian—and the final series of encounters have a surprising grandeur.

The second scenario, ‘Black Water, White Death’, feels more traditional in terms of Call of Cthulhu, possessing an onion skin layering of its mystery. Even its beginning is traditional, the investigators being asked to attend an auction on behalf of a client. He is a professor of anthropology with an interest in cannibalism in tribal society who wants the diary of a convict who escaped prison on the island of Tasmania in the 1830s and is reputed to have involved. Not everyone wants the diary to end up in his hands, but should the investigators get it to their employer, he further wants their aid in following up the information and that means they get to visit wintery Tasmania. Essentially a scenario of two halves, ‘Black Water, White Death’ is more confrontational than ‘Long Way From Home’, with a potentially bloodier ending which comes out of nowhere after strong investigative, almost academic, focus.

These are both good scenarios and worthy replacements for those which appeared in the original Terror Australis. Hopefully the two scenarios from that supplement—‘Pride of Yirrimburra’ and ‘Old Fellow That Bunyip’, the third, ‘City Beneath the Sands’ appearing in Masks of Nyarlathotep—will be revised and revisited in an Antipodean-themed anthology of further scenarios. Of the two, ‘Black Water, White Death’ is the easier to run, being more direct and straightforward than ‘Long Way From Home’, which will require greater preparation upon the part of the Keeper because there are more plots and they are separate plots. If there is a weakness to the pair of scenarios in the revised Terror Australis, it is that neither involves Alcheringa, although there is an option to include it in ‘Long Way From Home’. In addition to the two scenarios, it should be noted that the supplement is strewn with scenario hooks ready for the Keeper to develop, which would provide multiple sessions of play. Rounding out Terror Australis is a set of four appendices, containing in turn a list of equipment prices, a bestiary of Australia’s mundane, but often deadly wildlife, timelines mundane and fortean, and a good bibliography. All useful content.

Terror Australis being from Chaosium, Inc., this means that this is a good looking supplement. The layout is clean and tidy, done in full colour, illustrated with a wide range of artwork and period photographs. The cartography is also good and the writing excellent.

In 1987, Terror Australis was a decent supplement and thirty years on, it could simply have been a case of Chaosium, Inc. publishing a straight reprint, probably with the addition of a new scenario to replace ‘City Beneath the Sands’, but doing so would have been a missed opportunity. Thankfully, Chaosium has not missed that opportunity and has taken it to publish more than just a reprint, allowing the original authors to revisit, update, and greatly expand upon the original. The result of that effort is undeniably impressive and it almost goes without saying that this is another great supplement from Chaosium, Inc. Terror Australis: Call of Cthulhu in the Land Down Under fully fleshes out the continent, not just in mundane and Mythos terms as you would expect, but in magical terms with the extra dimension of Alcheringa. 

Ok. Not *really* BlackStar related, but this is in the back of my mind the whole time I am thinking about BlackStar.  This is always worth forwarding.   Some of the comments are gold too.



The United Federation of "hold my beer, I got this"

It is impossible to ignore the influence of Dungeons & Dragons and the effect that its imprint has had on the gaming hobby. It remains the most popular roleplaying game some forty or more years since it was first published, and it is a design and a set-up which for many was their first experience of roleplaying—and one to which they return again and again. This explains the popularity of the Old School Renaissance and the many retroclones—roleplaying games which seek to emulate the mechanics and play style of previous editions Dungeons & Dragons—which that movement has spawned in the last fifteen years. Just as with the Indie Game movement before it began as an amateur endeavour, so did the Old School Renaissance, and just as with the Indie Game movement before it, many of the aspects of the Old School Renaissance are being adopted by mainstream roleplaying publishers who go on to publish retroclones of their own. Dungeon Crawl Classics Role Playing Game, published by Goodman Games is a perfect example of this. Other publishers have been around long enough for them to publish new editions of their games which originally appeared in the first few years of the hobby, whilst still others are taking their new, more contemporary games and mapping them onto the retroclone.

Yet there are other roleplaying games which draw upon the roleplaying games of the 1970s, part of the Old School Renaissance, but which may not necessarily draw directly upon Dungeons & Dragons. Some are new, like Forbidden Lands – Raiders & Rogues in a Cursed World and Classic Fantasy: Dungeoneering Adventures, d100 Style!, but others are almost as old as Dungeons & Dragons. One of these is The Fantasy Trip, published by Metagaming Concepts in 1980. Designed by Steve Jackson, this was a fantasy roleplaying game built around two earlier microgames, also designed by Steve Jackson, MicroGame #3: Melee in 1977 and  MicroGame #6: Wizard in 1978. With the closure of Metagaming Concepts in 1983, The Fantasy Trip and its various titles went out of print. Steve Jackson would go on to found Steve Jackson Games and design further titles like Car Wars and Munchkin as well as the detailed, universal roleplaying game, GURPS. Then in December, 2017, Steve Jackson announced that he had got the rights back to The Fantasy Trip and then in April, 2019, following a successful Kickstarter campaign, Steve Jackson Games republished The Fantasy Trip. The mascot version of The Fantasy Trip is of course, The Fantasy Trip: Legacy Edition. 

The Fantasy Trip: Legacy Edition is a big box of things, including the original two microgames. So instead of reviewing the deep box as a whole, it is worth examining the constituent parts of The Fantasy Trip: Legacy Edition one by one, delving ever deeper into its depths bit by bit. The first of these is Melee, quick to set up, quick to play game of man-to-man combat. It was followed by Wizard, a companion to Melee which sends wizards into the arena to duel against each other. It is designed to be played by two or more players, aged ten and over, with a game lasting roughly between thirty and sixty minutes. Inside the box can be found a twenty-four page rules booklet, a 19” by 23” game map, a set of sixty-two counters, and three six-sided dice. It also includes an eight page Wizard Reference Pages, which summarises all of the spells in the game as well as character actions and monster and beast stats.

The presentation of the game is rather plain and simple. So the layout of the black and white rulebook is clean and tidy, as the is the game map, which is marked in two inch Hexes, each with a centre spot, every seven Hexes forming a Megahex three standard Hexes in width. The standard Hexes are used for movement and facing in melee combat, whilst the Megahexes are used to determine range in missile combat. The various counters provide a range of opponents, including animals and monsters, plus condition counters and area effects. These are done in a range of monochrome colours, but all are different and include a pair of giants whose triangular counters take up three Hexes and dragons who take four and seven Hexes! All of the counters have a skull and crossbones on the other side to indicate when they have been killed. Lastly, the set of three eggshell-blue six-sided dice add a spot of colour to the game.


Play of Wizard begins with the creation of well, a wizard. In Melee, each fighter had just the two attributes—Strength and Dexterity, whereas Wizard adds a third, IQ. All three it turns out are important to spellcasting magic-users. Just as in Melee, Strength covers how many hit points a wizard has, what weapons he can use, and how effective he is in hand-to-hand combat. Dexterity covers how easily a wizard can hit an opponent, disengage from the enemy, and how quickly he can attack. For a wizard though, Strength represents how many spells he can cast, each spell having a cost that is paid in Strength points, not only to cast the spell, but also maintain it if necessary. Dexterity also represents a wizard's ability to hit a target with a spell. Intelligence or IQ, the new attribute, governs the number of spells a wizard knows, the maximum level of spells he knows—each spell has an IQ rating between eight and sixteen which the wizard’s IQ must match for him to know, and his resistance to illusions and Control spells. 

All three attributes begin at a base value of eight each, to which a player distributes another eight points. Once done, a wizard receives a staff, though it can be a staff, a wand, a rod, or the like, through which he casts spells. It is not a physical weapon though, but Wizard does cover physical combat should a wizard resort to using a dagger or his fists. Once a player has selected his wizard’s spells, the character is ready to play.

For example, Sibbe Stigandidottir, a Seeress from the north who is studying at a secret academy in the warm south. Her rough manners have made her the target of other students and when she struck out at one of her tormentors, Alzono, he challenged her to a duel in the academy’s arena.

Sibbe Stigandidottir
Strength 09
Dexterity 10
Intelligence 13
MA 11
Wizard’s Staff
Spells: Blur, Clumsiness, Confusion, Control Animal, Dazzle, Destroy Creation, Freeze, Magic Fist, Mage Sight, Reverse Missiles, Sleep, Stone Flesh, Summon Wolf


Wizard lists some sixty or so spells. They are rated according to the minimum Intelligence or IQ a wizard must have to learn them. Each has a cost in terms of Strength points which need to be expended when a wizard casts the spell and many have an ongoing cost if the wizard wants to maintain them. They are catagorised into four types. These are Missile spells such as Magic Fist and Lightning,  which are direct damage spells; Thrown spells, like Blur and Slippery Floor, which can be cast on a target, whether that is a person or a location, but which do not inflict damage; Control spells such as Control Animal and Control Person; and Creation spells, being further divided between spells which create an actual object like  Summon Bear and spells which create illusions like  Illusion. 

Wizard is played out over a series of turns consisting of six phases—initiative, renew spells (or spell upkeep), movement, the opponent’s movement, actions (physical attacks, spell casting, attempts to disbelieve spells, and so on), and forced retreats, and dropped weapons. None of which happens simultaneously, but it takes place across a five-second round. Now in Melee, the primary objective in play is for the combatants to close with other and fight, essentially go from Disengaged to Engaged. This provides the fighter with a number of options. If Engaged, he can ‘Shift and Attack’, ‘Shift and Defend’, ‘Change Weapons’, ‘Disengage’, and so on. If Disengaged, he can ‘Move’. Charge’, Dodge’, ‘Drop’ (to prone), ‘Ready New Weapon’, make a ‘Missile Weapon Attack’, and so on. All of these options are available for the wizards in Wizard, but in the main, it will not be the wizards who will enraging with each other at such close range. Rather, it will be the things that they have summoned, whether that is wolves, bears, myrmidons, gargoyles, giants, and even dragons, or illusions—of them and other things—which can also inflict damage if the defending wizard fails to disbelieve them, which are likely to be engaging in close combat.

Which in main means that wizards will be dueling it out with each other at range. Mostly obviously this means casting missile spells at each other in order to do direct damage, but with four types and sixty spells to choose from, a wizard has more options available to him than a fighter has in Melee. Spells like Blur, Reverse Missiles, Spell Shield, and Iron Flesh all provide various forms of protection, whilst Slow Movement, Clumsiness, and Trip will hinder a target. These though are spells that target either the casting wizard or his opponent, but a wizard has access to spells which can the environment between himself and his opponent. So spells like Shadow fills a hex with black shadow, so hindering sight; Create Wall places a wall which blocks sight and movement; and Slippery Floor makes a megahex slippery, which forces anyone entering it to make a Dexterity check or loose their footing. It is also possible for a wizard to hide in the arena, either by casting Invisibility or slipping into a hex containing the effects of the Shadow spell. 

Being companion games, both Melee and Wizard share the same mechanics. This is essentially a Saving Throw, rolled on the three six-sided dice, made against an attribute. Typically, this will be a roll against the wizard’s Dexterity in order to hit an opponent or object with a spell, but roll against a wizard’s Intelligence to avoid a Control Person spell, disbelieve an illusion, and so on. Damage is dealt in six-sided dice, more damage being done by spells by a wizard expending more Strength on the spell when cast. Damage is deducted from a wizard’s Strength, a wizard being knocked unconscious when it is reduced to zero and killed when it goes below that. Wizard duels in the arena are either to the death, arena combat, or practice combat, each awarding fewer—fifty, thirty, or ten—Experience Points to any survivors. It takes one hundred Experience Points for a wizard to increase one of his three attributes.

Alonzo Bianchi
Strength 11
Dexterity 10
Intelligence 11
MA 11
Wizard’s Staff
Spells: Blur, Control Animal, Control Person, Freeze, Illusion, Magic Fist, Reveal Magic, Reverse Missiles, Rope, Shock Shield, Summon Myrmidon
For example, Sibbe Stigandidottir and her challenger, Alonzo Bianchi enter the arena and stand ten hexes apart from each other. Each player rolls a six-sided die for initiative, Alonzo’s player rolling a two, Sibbe’s player rolling a five, so she acts first. She knows that Alonzo wants this duel over and done with as quick as possible, so suspects that he will launch an attack as soon as possible. So she casts Reverse Missiles. This costs two Strength to cast and one to maintain. Her player tells Alonzo’s player that Sibbe has cast a spell, but not what, and notes it down. As she suspects, Alonzo casts a missile spell—in this case Magic Fist. This is a telekinetic blow which will do 1d6-2 for each point of Strength powered into it. In this case, two points. Alonzo’s player makes a roll against Alonzo’s Dexterity—there are no adjustments for range—and rolling three six-sided six, hits with a result of a seven. Unfortunately, because Sibbe has cast Reverse Missiles, her player reveals the the Magic Fist rebounds and hits Alonzo. His player rolls 1d6-2 for each missile, getting a result of a three and a one. Adjusted, this would be a one and a minus one, but since the damage can never be less than the Strength points put into the spell, the adjusted damage is two and two, for a total of four damage! At the start of Round Two, Alonzo has a Strength of five, having lost two for casting Magic Fist and four for the damage that spell would have inflicted. Sibbe has a Strength of seven from casting Reverse Missiles. Alonzo’s player rolls a six for initiative, whereas Sibbe’s player rolls a one. Alonzo, reeling from damage that should have struck his opponent, fires of a quick Freeze, which would hold Sibbe in place for several rounds. It costs him four Strength, leaving him with just one! Sibbe will need to make a Saving Throw to shrug off this effect to act, her player rolling fourteen, so not enough to hold her in place. She will be held immobile for seven Rounds. In Round Three, Alonzo’s player rolls a four for initiative, whereas Sibbe’s player rolls a six. She gets to act first and her player makes another Saving Throw, this time with a result of seven, which means she throws off the effects of Freeze and acts, casting Summon Wolf. This costs two Strength to cast and one to maintain. The creature appears and Sibbe directs it to hound Alonzo. Being left with just one Strength, he can only hope to hold off the wolf long enough for Sibbe to use up her Strength, but otherwise it looks like the end of the duel for Alonzo...This is just a simple duel, but with the range of spellcasting options available in Wizard, players have a lot of choice terms of what spells they cast and when. Duels can become tense, tactical affairs, especially when summoned creatures and illusions come into play because then the wizards will not be fighting against just each other, but multiple opponents. One type of spell missing from Wizard is the healing spell, though were there any such spell, a wizard would in effect be expending Strength to cast it in order to increase his Strength and so have more points to cast spells and withstand damage. Rounding out Wizard are rules combining Wizard with Melee, which will provide more options and tactics, and provide for a more involved game. Together, they also lay the groundwork for a proto-roleplaying game, but that will have to wait until The Fantasy Trip: In the Labyrinth.

Physically, Wizard is well presented. It has a ‘Old School’ monochrome feel, but the writing is excellent and the rules clearly explained, and the new artwork in the rulebook is very nice. The cover artwork for the box is also excellent. The game is also supported by short piece of fiction which is explained with a fully worked example of play.

Wizard, much like Melee is a little game, but offers quite a lot of tactical play and options in terms of its rules, much of which will be later seen in Steve Jackson’s GURPS. It is pleasingly self-contained—there is room inside the box for another set of dice and index cards to record the details of every wizard—and easy to set up and play. Unlike Melee, this game is not as easy to teach and certainly not as easy to master, for Wizard offers more options and more tactics, than simple armed combat. Learning them and mastering them will bring players back to Wizard as they try out different spell combinations and tactics, providing a magical counterpart to the brutality of Melee.

A couple of big Kickstarters today.

First up a BIG one.

Swords and Wizardry: Limited and Collectors Edition Box Sets


https://www.kickstarter.com/projects/froggodgames/swords-and-wizardry-limited-and-collectors-edition-box-sets?ref=theotherside

This one is going fast.  The early bird options are all gone and all the original stretch goals we met in the first few hours.  I scored a Collector's Box (pictured above) but there are still great options to be had with this.


The Hero's Journey 2e


https://www.kickstarter.com/projects/gallantknightgames/the-heros-journey-2e?ref=theotherside

The Hero's Journey 1st edition was a delightful game. It was the perfect antidote for grim-dark murder hobo games that seem to be so popular.  A nice cup of tea vs whatever they sell in the local run-down dive where characters are supposed to meet.

We are in the last few minutes of this one!

A Bride for Dracula: A System neutral, one-shot adventure of bridal contests with bite. is one-shot camp gothic scenario from Mottokrosh Machinations, a publisher best known for Hypertellurians: Fantastic Thrills Through the Ultracosm. Indeed, Hypertellurians: Fantastic Thrills Through the Ultracosm is one for the systems for which A Bride for Dracula is written, although technically, and as its subtitle suggests, the scenario is entirely systemless and its plot and set-up could be run using a panoply of roleplaying games and systems—and genres! For A Bride of Dracula takes place in a time when Dracula still resides at his castle in Transylvania, his greatest victim still loves him, the Nazis lost World War II, and ‘brain in a jar’ technology is available. So there is a technological seam to the scenario alongside its gothic theming, much in keeping with its genre.

A Bride for Dracula takes place on one night at an event hosted by Count Dracula who seeks—or rather lusts after—a new wife. Thus six prospective brides—and thus six players—have come to his castle at his invitation, their suitability to be his wife to be tested. They include Princess Naomi Andress of the Pale Hills—the prospective bride and her mother, Queen Ursula Andress of the Pale Hills; Brigitte, a humble milk maid; Elsa Van Elseling (definitely not Van Helsing Senior’s daughter. Nope.); and the crimson-skinned Yvonna Fackelot, who comes with minions and an almost endless wardrobe. They are joined by John the Carriage Driver, who is just along for the ride. All six characters come with secrets, goals, fears, and a list of the things they are good at and bad at. As written, these characters are detailed enough for players to roleplay should the Game Master want to run A Bride for Dracula as a very rules light, almost freeform scenario.

Alternatively, the players could roleplay members of the entourage for one of the contestants in Dracula’s  bridal competition. The Game Master and the players can easily adapt A Bride for Dracula to the mechanics of their choice. It would work with just about any retroclone for the Old School Renaissance, but especially with the tone of Lamentations of the Flame Princess Weird Fantasy Roleplay, but also Troika, Into the Odd, or Numenera for example. Given that there are no stats given for any of the characters, it does mean that the Game Master will have some extra preparation to undertake prior to running the scenario. Plus, it is a pity that no stats are given for the characters written for the publisher’s own Hypertellurians: Fantastic Thrills Through the Ultracosm.

Plotwise, A Bride for Dracula is straightforward and linear. The characters start the game together and will experience the same encounters together before play opens up when the contest begins. The Game Master gets to throw in some complications too and much of the fun of the scenario will come as the players and their characters react to these complications and try to out-compete each other in Dracula’s contests. There is certainly enough to keep a playing group of six players occupied for the evening or session.

Physically, A Bride for Dracula is short book, neat and tidy. It is lightly illustrated, but the artwork is decent. The writing is clear and really, the Game Master could grab A Bride for Dracula as is and prepare it in ten minutes. So it really works as a pick-up game when not every player can make a regular session.

Unfortunately, there are couple of elements to A Bride for Dracula which may be problematic. One is the tone, which is camp and gothic, much in the style of the Carry on films—most obviously Carry on Screaming!—and the Hammer Horror series of films, and that tongue in cheek tone, even silliness, is not to everyone’s taste. The other issue is that one of the player characters is an ex-Nazi. Now the scenario does not dwell overly on this or go into further detail, but it does fit in with the campy, gothic tone of the scenario and the exploitation genre of films which inspired the scenario. As is, the character will need to be played with some care, but her very nature means that some players will find her inclusion offensive and not only will they not play her, they may not play the scenario because she is included. The Game Master will need to judge her players as to whether or not to include her, and if not, create a replacement. Arguably, it is a pity that the designer did not include an alternative.

A group need not even have a copy of A Bride for Dracula to play it, since the scenario is available online. Unless the Game Master and her group need to create characters, preparation for A Bride for Dracula is really, really quick, making it perfect to pull out and run at the last minute. There is scope for the Game Master to tinker with it at her heart’s content, but at the heart of A Bride for Dracula: A System neutral, one-shot adventure of bridal contests with bite. is a no fuss, straightforward, even linear scenario which can be run with the minimum of preparation.

The next D&D 5 book, Wildemount, is already breaking sales records for D&D and is well on it's way to being one of the most successful D&D books ever outside of a core rule book.

Yet some people are still not happy.

In fact, what they want is Greyhawk.


I get it. I do. There are some things I would love to see too. I love Greyhawk, it was my world for my high school days...back in the 80's.

There are petitions out now and some have been out for a while.  And let's be brutally honest here, petitions like this never work. Combined they are still just over 1,170. In other words nowhere near the 773,000 subscribers to the Critical Role YouTube channel.

I see postings of people complaining about the lack of Greyhawk, Planescape, Spelljammer, and others.  I have to be honest here, they are often from people that I also see claiming they don't play 5e.   Even if they do, they a tiny, tiny sliver of the potential buyers.


Sorry. But there are just not enough of us to make it financially viable.

There is an option for people that want Greyhawk in 5e.  Just get the Greyhawk boxed set from DriveThruRPG.

The World of Greyhawk Fantasy Game Setting for 1st Ed is still all you need to play.
It is just under $10 too.  I grabbed my boxed set and in 130 total pages, I found four (that's 4) that would need conversion.  You won't even need to convert these if you never use the Quasi-Deities.   I never have in 40 years.

The gods are all in 1st ed stats, but gods should not have stats in the first place.

Really. I have everything I need for a Greyhawk 5e game.  Would I like a Greyhawk 5e book? Yeah! I would love one really.  I am very much in that slim crossover on the Venn Diagram of "Just These Guys".  I am These Guys.

Maybe WotC will come out with it someday.  But in the meantime, I am doing ok and I suspect many of you really are as well.

 Exhibit / January 30, 2020 

Only in a decade as contradictory as the 1980s would one of America’s most respectable and historic companies spend nearly a million dollars on a commercial depicting new wave “adventurers” in a post-apocalyptic “third millennium” wasteland as part of a last ditch campaign to save its fatally outmatched consumer electronics line. The company was General Electric, and the commercial was aimed squarely, even obnoxiously, at the nascent MTV generation.

There were several different versions of the commercial, the longest a short film clocking in at two minutes. In all of them, our four Mad Max-garbed, shoulder-padded heroes come upon a city “imprisoned in silence,” whose princess is encased in a giant crystal (hilariously reminiscent of the alien cocoons in 1984’s This is Spinal Tap). Liking what he sees, the permed leader of the crew, his headphones curled suavely around his neck, signals for the boombox. A cassette is inserted, bad music rocks the cavern, and the people are freed from their “total audio block” helmets as the camera quick-cuts to various GE products (including a CD player in one version) no one ever bought. The crystal prison shatters, and hero and princess come together as the narrator intones: “The power of music. No one lets you experience it… like General Electric.”

The spot won a Clio award for best commercial in 1985 and was directed by Englishman Howard Guard, by this time well-known in the industry for his cinematic style. Guard had directed Roxy Music’s 1982 “Avalon” video (with then business partner Ridley Scott, who would soon set the benchmark in dystopian advertising), the 1983 “She’s In Parties” video starring goth legends Bauhaus, and a slew of commercials on both sides of the Atlantic, including a couple of impressive Maxell spots—one for blank cassettes, one for VHS tapes—featuring a smoldering Peter Murphy (Bauhaus’s frontman) and a host of ’80s aesthetic tropes: robots, ferns, lasers, prisms, neon, chrome, and… frogs?

The GE mini-epic sports obvious Cold War overtones, with the terse and swaggering warriors liberating the oppressed and repressed city with an arsenal of superior hair, superior tunes, and superior tech. The post-apocalyptic theme, which popped up in surprising corners of popular media throughout the decade, was even used in a print-advertised sweepstakes: grand prize was a 1986 Pontiac Fiero, and first prize was a trip for two to the ’86 MTV Music Video Awards. Alas, the good guys lost. GE’s consumer electronics division shuttered in 1986, soundly thrashed by another American Cold War nemesis: Japan and its bubble economy.

 Exhibit / January 29, 2020 

Object Name: “A Closer Look: Inside HBO’s City”
Maker and Year: Film produced and directed by Scott Morris; HBO intro bumper by Liberty Studios
Object Type: Short promotional film
Video Source: YouTube (archivefilms)
Description (Michael Grasso):

The pay-cable network Home Box Office grew out of the milieu of closed-circuit television in New York City. Charles Dolan, a pioneer in direct cable television in the New York metropolitan area, had already built closed-circuit TV infrastructure underground for use in Teleguide, a network that brought tourist information into New York City hotel televisions in the 1960s. Dolan sought to expand his offerings into actual programming brought by cable into individual consumers’ homes. With the skyscrapers of New York often obscuring over-the-air television reception, there was a desire there (and in other metropolitan areas) for direct cable TV, but there was a problem: exactly what programming could be sent to those homes, considering the major networks’ stranglehold on content production? Dolan got Time, Life, Inc., a company that was itself expanding into television production and distribution at the time, to take a flyer on his cable idea, and pilot systems were set up in two Pennsylvania cities—Allentown and Wilkes-Barre—to broadcast an array of movies and sporting events (Wilkes-Barre being chosen because it was outside of the Philadelphia 76ers “blackout” zone). The new channel’s name, Home Box Office, was meant as a temporary internal placeholder but remained in place after the network’s launch in 1972.

In the next ten years, as cable TV providers multiplied across the country in a rebuke of the long-perceived reluctance of American consumers to pay for a utility and medium that they’d long taken for granted as “free,” HBO’s new network backbone, powered by satellite relay, became a premier offering to entice new cable customers into the fold. Crystal clear reception was one thing, but a channel that could offer a variety of unedited films, live sporting events from outside the local area (including boxing matches, formerly a closed-circuit television staple and still one of America’s top sports attractions in the 1970s), turned HBO into a household name. By the beginning of the 1980s, HBO was running its programming 24 hours a day (at a time when most if not all over-the-air television channels still played the national anthem and a test pattern at the conclusion of their broadcast day) and starting to branch out more and more into original programming.

A large part of HBO’s dominance in the 1980s was an increased awareness of and attention to its branding. As a cable TV innovator with nearly a decade in the business, HBO understood the need to differentiate itself from a panoply of new nationwide cable competitors such as The Movie Channel, Showtime, and Ted Turner’s new pair of superstations out of Atlanta (WTBS and CNN), as well as local pay-TV innovators like ONTV in Los Angeles, PRISM in Philadelphia, Preview in Boston, and Spectrum in Chicago and the Twin Cities. HBO’s longer history, increased name recognition, and larger capitalization allowed the company to spare no expense in self-promotion, as can be seen in this mindblowing short film from 1982 documenting the making of the classic “HBO Feature Presentation” intro bumper used between 1983-1987, which should be familiar to anyone who had access to an HBO subscriber box at the time.

Earlier HBO idents had been relatively simple affairs, the kind of simply animated and crudely soundtracked bumpers you might see on your local UHF station’s movie revue. But this bumper—known here as “HBO Theater,” although it would eventually be titled “HBO Feature Presentation” when broadcast in 1983—combined live actors, models, motion control cameras, animation, and a full orchestra soundtrack. The spot begins in a family’s living room in a big city, and after the camera banks and turns out of the matted-in living room scene, it swoops down an intricate model of a busy city street resembling the channel’s New York City birthplace, full of model cars, buses, and pedestrians (as well as a marquee for the titular “HBO Theater,” a miniature of an old-school Golden Age of Hollywood movie house). But soon we are out into the leafy suburbs and the countryside, reproducing HBO’s own spread into all 50 states over the first ten years of its existence. We then head into outer space, where a giant shiny chrome set of HBO letters—a “space station,” the documentary narrator says—–leads us into a “Star Gate” sequence created using a combination of practical visual effects and computer animation, representing HBO’s presence across the satellite web now covering the United States. The final portion of the bumper, the colorful streaks of light inside the “O” of HBO, is created using a rig of multi-colored fiber optic cables, a relatively new technology in 1982.

One can’t help but be charmed by the extreme effort taken to produce this bumper—not to mention the ego it took to produce a ten-minute short film about the production of a ninety-second bumper. “Six craftsmen worked for over three months to create nearly 100 unique buildings for HBO’s City,” the narrator brags as we see tiny pedestrians, miniature potted plants on fire escapes, and actual working traffic lights and headlights. The craftsmen and effects specialists at Liberty Studios betray their New York roots as they discuss the supposedly idyllic city main street in this ostensibly family-friendly special. (One interesting note: the live-action actors sitting down in front of HBO in the original version of the bumper consisted of a young urban professional couple; in later versions of the “HBO Feature Presentation” bumper, the family had two kids.) In a hilarious, thick, only-in-New-York accent, director of special effects James Kowalski informs the viewer, “We threw a few extras in, seeing if people would spot ’em… we put a few bums on the street, a few hookers on the corner.” The mini-documentary portrays the animated portions of the bumper, on the other hand, in a much less earthy way, accentuating the high-tech computer guidance of both the animation and the motion control cameras.

This deluxe bumper expresses perfectly a liminal period between the physical and practical special effects era and the coming era of visual effects developed and produced on a video synthesizer or computer. It also presages the coming of HBO’s original programming, which would begin in the same year as this bumper’s debut (1983) with the TV movie The Terry Fox Story and the Jim Henson series Fraggle Rock.

One of the races I really enjoyed back in the Pre-TNG days of Trek (Pre 1987) was the Kzinti.  I was very familiar with the race from the Animated series and was aware, vaguely, of the "Man-Kzin Wars" books by Larry Niven.  I also knew of what would now be called fan-fiction in the form of some weird Trek zines I remember from the day.



The Kzinti in the Trek Universe
The Kzinti homeworld is called Kzin and it orbits 61 Ursae Majoris about 31 light-years away.  Humans of the late 21st century, pre-warp Earth headed to towards this system in the great migrations from Earth. On their way, they encountered the Kzinti and the first of three wars between the two races began.  The Kzinti are violent, expansionistic, and convinced of their own superiority.  The Kzinti lost each time to Earth's forces (then mostly sub-light ships) and they never got over that they lost to an "omnivorous" race.
The stellar cartographers of Starfleet named the Kzinti area of space the Kzinti Hegemony. Their own name for their government can be translated as The Patriarchy.

By 2151 Starfleet had pushed the Kzinti back to their homeworld and Archer IV, also orbiting 61 Ursae Majoris, was established as an Earth colony.  By 2371 it was a fully inhabited Federation planet.  The confusion came about because the Kzinti call any world they inhabit as their "homeworld".  The Federation not only defeated the Kzinti, they humiliated them.



So we have a chauvinistic race, that has a government called the Patriarchy, who is convinced they are superior to all other races and yet still got their asses kicked by the Federation. If you think I am not going to have a go at that then you have not been here reading this blog for long!

Besides.  Star Trek was doing Social Justice in the 60s.  This is a perfect subject to do in a Star Trek RPG.

I am planning on making them my "little bads" or at least make them appear to be the big bads.  They are not, they are just a pain in the ass.  Their area of space is close (ish) to other parts of the federation including Memory Alpha. This works out well since the first mission of the USS Protector is a "milk run" to Memory Alpha.  Yes I am making the first adventure a run to the Federation "Library" as an homage to all the library runs I made to read books about space, astronomy and then Lovecraft and Star Trek.



A couple reasons that make the Kzinti great for my BlackStar game is they are superstitious, still believe in magic and ghosts (and why not, they have a high level of psionic individuals in their population) and maybe best of all they allow me to use some ideas I have created for other games that would find fertile ground here.

Rebuilding the Kzinti for BlackStar
I am setting my BlackStar game between the TOS and TNG eras.  A time, calendar wise that also corresponds to the time when I first discovered the Kzinti and a time of evolution of Trek and in particular the Klingons.

In a fairly real sense, the Kzinti represent stepping stone really between the "old" and the "new" Klingons.  The honor, the violence, and even the warrior caste system of the Kzinti can be added to the old, or TOS Klingons to create the newer TNG and movie era Klingons. 
Since this "in-between" time is also covered fairly well by the FASA Trek game I will turn to it for ideas.

FASA Trek, much like Starfleet Battles, can be seen as an alternate evolution of the same core Trek from the Original Series on.  I am already borrowing a lot from FASA Trek, so I might take some of their ideas on Klingons and use them for the Kzinti.

In particular, their philosophy of "That which is not growing is dead." to explain their desire to expand their territory again.

I am not going to make Kzinti available as a playable race. If I want something like that I'll go with Caitians like M'Ress and Srrel.



White Star

Kzinti WarriorKZINTI WARRIOR
ARMOR CLASS: 7 [12]
HIT DICE: 2
HDE/XP: 2/25
SAVING THROW: 17
TOTAL HIT BONUS:  +2
MOVEMENT: 12 (12 when climbing)
SPECIAL: Dark vision 90 ft, Climb
ATTACK: Claws (1d6) or by weapon

KZINTI PSYCHIC
ARMOR CLASS: 9 [10]
HIT DICE: 1-1
HDE/XP: 1/15
SAVING THROW: 17
TOTAL HIT BONUS:  +1
MOVEMENT: 9 (0 when climbing)
SPECIAL: Dark vision 90 ft, Climb, Psychic Blast,
ATTACK: Psychic Blast (1d6)

Starships & Spacemen

Kzinti PsychicKZINTI WARRIOR
Encountered: 2d4 (2d10)
Movement: 120' (40')
Intelligence: Average
Psionic Potential: inactive
Hits: 2d8
Armor: 7 (2 with power armor)
Combat Skill: 12
Save: L1
Attacks: 1
Damage: By weapon
Morale: 10
XP: 25

KZINTI PSYCHIC
Encountered: 1 (1d6)
Movement: 90' (30')
Intelligence: Above-Average
Psionic Potential: active
Hits: 1d8
Armor: 9 (5 with power armor)
Combat Skill: 6
Save: L1
Attacks: 1, Psychic Blast
Damage: 1d6
Morale: 7
XP: 15

Kzinti Warriors are 2.1-meter tall  220 kg, barrel-chested felinoids.  They can attack with claws but prefer weapons.   They have long tails and hairless ears.  Their eyesight is good in the dark, but their sense of smell is superior to that of Terrans.  They are voracious carnivores and must consume raw meat. They can survive on replicated food, but they will claim it has "no life" to it.
They are a superstitious race and will not use the weapon of a fallen foe believing that the ghost of that foe still haunts the weapon.
Kzinti Warriors will often add honorifics to their name and title. So a captain of a Kzinti warship that has never been defeated might call himself Vrust-Captain, the Undefeated.

Kzinti Psychics almost apper to be a different race.  They are much smaller, 1.8-meter, and much thinner at 130 kg. They are hunched over and appear to ready to fall over.  They are powerful psychics and know many attack and defense modes.  They are often used to extract knowledge and secrets from other species.  Even though they appear frail they are driven by the same desires that affect the warrior caste.  This has caused many among the psychic class to adopt cruelty to others weaker than themselves which is even marked by Kzinti standards.

 Exhibit / January 28, 2020 

Object Name:  127 John Street neon tunnel
Maker and Year: Rudolph de Harak, Howard Brandston, 1971
Object Type: Corrugated iron tunnel
Image Source: Flaming Pablum, et al
Description: (Richard McKenna)

A rendering of the future in the form of a short stretch of corrugated steel, this neon tunnel that once greeted visitors to the foyer of 127 John Street in New York City feels innately familiar, even archetypal. Despite its appearance, the tunnel did not actually lead directly to a disconcertingly utopian future, but only to the elevators that ferried the building’s blue-collar workers up to their workplaces. Completed in 1971, 127 John Street was originally designed as a classic slab of second-wave International Style corporate office space by architecture practice Emery Roth & Sons. The building’s developers—brothers Melvyn and Robert Kaufman—were well-known for quirky decoration and the practice of turning ground level space into “plazas” that was not born simply out of generosity: forward-looking local construction ordinances offered floor space bonuses for their inclusion, encouraging developers to channel their greed into an engagement with public space. The Kaufmans employed graphic designer Rudolph de Harak to provide whimsical visual touches, which included a huge three-story digital clock and canvas covered scaffolds on the street outside to enliven the building’s otherwise bland frontage and foyer. 

Most of De Harak’s other contributions to the building’s appearance, however, feel as affected and dated as old greeting cards in comparison with the tunnel’s sleek glow. Accessible from the building’s entrance on Fulton Street, the corridor was illuminated by blue argon-gas-filled tubes, the work of architectural lighting expert Howard Brandston, with whom Harak had previously collaborated on the futurist Canadian Pavilion at the Montreal Expo in 1967 and the American Pavilion at Expo 1970 in Osaka, Japan. As well as providing a generation of New Yorkers with formative experiences, the tunnel’s ready-made shorthand for futurism provided an eye-catching backdrop for photography, and was especially popular with musicians for promo shots, NY band The System actually filming part of their monster “You Are in My System” inside it and the building’s lobby.

Why should a 250-foot stretch of corrugated steel sewer culvert decorated with neon piping constitute such a commanding and beguiling image of “the future”? Perhaps partly because of the optimism implicit in the the nature of tunnels themselves: like jet bridges and subway tunnels, they evoke passage, acceleration, the traversing of barriers, and perhaps even escape and transformation. Its cool visual temperature and paring down of space and perspective provided a sensation of propulsion that recalled TV series The Time Tunnel (1966-1967), hinting that the gateway would catapult those traversing it to some other place—perhaps one less venal and prosaic. The tunnel’s streamlined forms and its lack of sharp right angles also gave it a strange sense of weightlessness—of being unmoored from the everyday—and the neon punctuation seems almost to draw the onlooker inside, similar to the contemporary installations of artists like Doug Wheeler and James Turrell of the Light and Space arts movement. Vector graphics—the computer-generated geometric lines used to create “wireframe” images—had been around since the mid ’60s, and the glowing geometric lines seen on the Orion III shuttle’s control panel in 1968’s 2001: A Space Odyssey may be one source of the tunnel’s inspiration, as perhaps was that same film’s “Star Gate” sequence—which itself took up motifs developed by artists and animators like John Whitney and Jordan Belson. The tunnel also reflected the hunger for experimental environments pioneered by architectural practices like Archigram and Archizoom that produced the same year’s Instant City.

The tunnel was eventually dismantled in 1997, when the office building was in the process of being converted to apartments as part of the wave of gentrification then investing the city. Several of the artists—including Howard Brandston—-involved in creating 127 John Street’s installations successfully sued the new developers under the Visual Artists’ Rights Act; unfortunately, the elements of the decor preserved by the settlement did not include the tunnel. The images that remain of it, though, show a powerfully ethereal, dreamlike space that is one more small reminder of how much more stimulating our built environment could be if only we were in a position to demand it.

Working on all sorts of things, mostly getting my bits of Night Shift done and a TON of day job stuff.

I wanted to get The Pagan Witch out to you all soon, and I still might, it is done, minus some little bits. Here is something in the mean time.

Bánánach
Semi-transparent spectres of witches that haunt battlefields or other areas of great violence.
AC 3 [16], HD 5** (18hp), Att 1 × touch (1d6 +ability drain), THAC0 15 [+4], MV 120’ (40’) / 240’ (80’) flying, SV D10 W11 P12 B13 S14 (5), ML 12, AL Chaotic, XP 175, NA 1d4 (1d6), TT None

▶ Undead: Make no noise, until they attack. Immune to effects that affect living creatures (e.g. poison). Immune to mind-affecting or mind-reading spells (e.g. charm, hold, sleep).
▶ Mundane weapon immunity: Only harmed by silver weapons or magic.
▶ Damage reduction: Half damage from silver weapons.
▶ Energy drain: A successfully hit target permanently loses one point of Wisdom. This incurs a loss of all other benefits due to the drained ability (e.g. spells, saving throws, etc.). A person drained of all Wisdom becomes a wraith in one day, under the control of the bánánach that killed him or her.

A bánánach is the specter of a witch.  They are attracted to areas of great death and suffering.  They can be seen flying about the areas of death.  They drain the willpower of those she attacks. 
They are often accompanied by 2-3 wraiths.