On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.
Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. However, not every fanzine has to be for the Old School Renaissance.
Loviatar No. 1 was published in August, 2011. Written and published by Christian Walker, it was not written as a response to the Old School Renaissance, but rather as a means to focus the author’s mind when it comes to running fantasy games. Thus it is not written for any of the then available retroclones, such as Labyrinth Lord or Lamentations of the Flame Princess Weird Fantasy Roleplay. Instead it is hybrid between Dungeons & Dragons and Pathfinder, First Edition. Not mechanically, but rather between rules and setting, the author’s campaign being set in the Dungeons & Dragons setting of Forgotten Realms using Pathfinder, First Edition. If that sounds like Loviatar No. 1 is a mongrel of a fanzine, there might be some truth in that, but that is the author’s choice, and anyway, the point of the early gaming fanzines of the nineteen eighties which the modern fanzine revival so heavily draws from, was to present content from the editor’s own campaign world. Which is what the author is doing in the pages of Loviatar No. 1. 
If that sounds like the content of Loviatar No. 1 is not of use, that is not the case. Shorn of the Pathfinder, First Edition stats—which like nearly all Dungeons & Dragons derived content are easily adapted to the retroclone of your choice—the content in Loviatar No. 1 enjoyably playable and easily changed to fit any Game Master’s campaign, whether that is again, mechanically, or dramatically. Future issues of the fanzine would shift to being specifically aimed at the Old school Renaissance, although it could be argued that Loviatar No. 1 had a sensibility that leaned in that direction anyway.
Loviatar No. 1 carries the tag, “a zine about tabletop role-playing games”. This is not the case, although oddly the fanzine does carry a number of adverts for roleplaying games, many of them long out of print, even in 2011. They include adverts for The Traveller Adventure from Game Designer’s Workshop, Fantasy Games Unlimited’s Bushido and Aftermath, and Star Frontiers from TSR, Inc. Apart from these oddities, the fanzine focuses entirely on the publisher’s campaign setting and on providing a base of operations for the Player Characters in that campaign. To that end, there is only the one article in the fanzine. ‘At the Corner of River Street and Craft Way’. This details four possible dwellings for his Player Characters in the city of Baldur’s Gate. They include a ‘Small Home with Loft’, ‘Warehouse’, ‘Ground Level Flat’, and ‘Former Tavern with Apartment’. Each is mapped out, fully detailed, including rent, and more. They feel reminiscent of the homes that a player might buy in The Elder Scrolls V: Skyrim, which was released the same year as Loviatar No. 1 as well as possessing the sort of sales pitch that an estate agent or landlord might give the prospective purchaser or tenant. However, it is the ‘more’ of the dwelling descriptions where the fanzine comes into its own.
Each of the potential dwellings comes with both history and plot, both of which a Player Character can become involved when not adventuring. Not only that, they pull the Player Character into the community around and they encourage the player to roleplay and they get the Player Character involved in story. For example, the ‘Small Home with Loft’ was previously home to a drug dealer named Shamus. No-one knows where he is now, but that does not stop the local gang from harassing the new tenant, the Player Character, to find out where he is, even Shamus himself, from turning up on the doorstep. The question is, what does he want, let alone where has he been and why did he leave? Some of the four possible dwellings get more plot than the others. For example, ‘Ground Level Flat’ was previously home to a cleric of Lathander, who used to provide healing to the injured and the sick. Not everyone is aware of this yet, so the local inhabitants will come knocking on the Player Character’s door at all hours with all sorts of illnesses and injuries. This in addition to the neighbours upstairs who are constantly arguing and always settle their biggest disagreements with bouts of lovemaking. How is the Player Character going to deal with his noisy neighbours, let alone the medical cases which come to his door?
In addition, stats are provided for each of the major NPCs associated with each of the four dwellings. These are clearly separate from the fanzine’s descriptive content and whilst written for use for with Pathfinder, First Edition, they are easily adapted or rewritten using the rules system of the Game Master’s choice. It does not even have to be retroclone. The contents of Loviatar No. 1 would work with Warhammer Fantasy Roleplay as much they would RuneQuest: Roleplaying in Glorantha or Symbaroum. It should be noted that the neighbourhood focus of ‘At the Corner of River Street and Craft Way’ feels similar to that of the ‘City League’ setting and series of articles for ‘Pelinore’, the fantasy setting developed by TSR UK in the pages of Imagine magazine.
Physically, Loviatar No. 1 is neat and tidy, and in general, well presented. Artwork is very light, but is fairly heavy in its style, as is the cartography, which reprints a map of Baldur’s Gate and shows the floor plans and neighbourhood of River Street and Craft Way. This does make the floor plans slightly difficult to read with any ease.
Despite containing just the one article, Loviatar No. 1 comes with plenty of plot and roleplaying opportunities, and despite it containing no new monsters, magical items, or spells, it is easy to add to the Game Master’s campaign. Refreshingly different, but still fantasy, suitable for one-on-one sessions with a player and downtime between adventures or urban focused campaigns, Loviatar No. 1 is simple, straightforward, and delightfully serviceable.

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.
Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. Another choice is the Dungeon Crawl Classics Role Playing Game.
Night Soil is a fanzine which takes the Dungeon Crawl Classics Role Playing Game as its direct inspiration. Specifically, it draws from the artwork of the fourth printing of the core rules to provide images that have in turn inspired the creation of monsters, magical items, spells, tables, and more that the Judge can bring to her game or campaign. It is a lovely idea, but the result—at least seen in Night Soil #Zero—was a bit of a mess, a hodgepodge of miscellaneous things and entries that unless you somehow know the artwork and its order in the fourth printing of the Dungeon Crawl Classics Role Playing Game, may have you leafing through the pages of the admittedly short Night Soil #Zero in order to find something.
Night Soil #1 picks up where Night Soil #Zero left off. Literally in the case of the page numbers! Published by Inner Ham—previously known for Fantastic Exciting Imaginative: The Holmes Art ’Zine—Night Soil #1 includes a similar mix of monsters, magic items, spells, and whatnot as the inaugural issue, but notably benefits from fewer entries. It is still a mishmash, but the ideas are developed and given time to breathe, and so consequently making them not only more interesting, but also easier for the Judge to add them to her game.
Night Soil #1 opens with the first of several monsters. This is the ‘Scare-pion’, an unpleasantly large scorpion-like creature which can bifurcate its body and then snap it shut much like a bear trap! This impedes a Player Character’s ability to fight back and the player either has the give up his character’s Action Die to retain full Armour Class or lose up to six points of Armour Class! In addition, the pinned Player Character is subject to all of the Scare-pion’s attacks, but at a bonus. This is a nasty creature and the choice between Armour Class and Action Die is delightfully cruel. In comparison, the ‘Haas Rat’ is a rat with brains equal to the Player Characters and a penchant for subterfuge and becoming the boss of gangs of normal rats, whilst the ‘Dwarves of the Brazen Shield’ is a small band available for hire and willing to take on all sorts of work—except for working against other Dwarves. They are protective of each other right up to working together defensively in combat. The ‘Bugorilla’ mixes insect and primate for a hulking beast, but one with claws and mandibles almost everywhere. Its claws can tear through the rock and its gaze is so disarming that the creature gains an extra Action Die to its attack.
The magical items begin with the ‘Polearm of Surprise’, which can suddenly extend to gain the wielder and extra attack at the beginning of a round and a bonus to attacks, whilst the ‘The Twin Daggers of Chyenar’ which deal double damage to undead and beings of umbral and shadow. They can be given as gifts by angels, but demons always pursue the wielder. The ‘Crystal of Far Magic’ is much prized by spellcasters as they can use it to both spy on others at a distance and cast magic on them. Primarily this is by Magic-Users, but Clerics can use it too. There are plenty of smaller devices too, like the ‘Dizzying Ward’, which Magic-User can cast on a scroll or book to place a disturbing effect upon anyone who attempts to read it without permission, whilst Rogues can infuse their maps with toxins to create ‘Poisoned Maps’. The inclusion of ‘Neutralising Shell’ is an oyster shell used as a scoop or spoon, but it has been enchanted to counter poisons.
Entries in Night Soil #1 get inventive and more detailed with the inclusion of ‘More uses of a Dead Giant’, which does exactly that. For example, eating the liver of a giant means that the consumer does not to have to eat or drink for two whole days and the underarm hair of a giant will keep a campsite safe from natural predators. Then the ‘Spectacles of Reading Magic’ grant the wearer the ability to read magic without actually casting it. This requires a Luck roll, so it can go disastrously wrong, cause the wearer to hallucinate, understand just one word, and so on. Whilst this provides a useful benefit, the chance of it going wrong is of course, entertaining.
The detail continues with ‘Five Ready-Made Demons’, which range from Type I to Type V demons. Rattling Men are Type I demons that grab their opponents and imprison them in their otherwise empty rib cages, and anyone imprisoned literally has to fight their skeletally demonic gaoler to escape. The Bugdog King is a Type III demon, short, always fashionably dressed cross between a praying mantis and a crossbreed dog, but with the magnificent mane of a lion, which likes to wander from realm to realm, establishing kingdoms and then destroying them. More demons are always welcome, and the chaotic nature of the demonic planes means that there is huge variety, so the Judge can always throw something different at her Player Characters. Which these options allow.
Spells in Night Soil #1 start with Energy Shaping, which enables the caster to shape and redirect any energy around him, whether it is directly affecting him or simply part of the environment around him. Ghostflames sets the undead alight, with the mindless undead having a saving throw at a penalty, whilst the intelligent undead having one with a bonus. Sound Bending enables the caster to manipulate and sculpt sound, whether that is to dampen to silence, distort it, or even sharpen it into physical shards that can be cast at targets.
Physically, Night Soil #1 is scrappy—intentionally scrappy. The artwork is likewise intentionally rough. Together with the use of the typewriter style font, the look of the fanzine is designed to match that of the fanzines and books of the seventies and even then their lack of professionalism. However, as there are fewer entries in the Night Soil #1, the issue feels far less bitty and far less scrappy.

Night Soil #1 continues from Night Soil #Zero in being a mostly entertaining medley of the miscellaneous and the muddled, organised only by reference to another book. (Which is its major problem.) The inspired sits alongside the indifferent and reading the slim volume is very much a matter of whether you are going to get the former or latter, from one page to the next—or even on the same page! Night Soil #1 is the equivalent of another blind box purchase for the Dungeon Crawl Classics Role Playing Game—there are definitely things in here that will inspire the Judge and there are definitely things which will leave her uninspired, but it is definitely a case of there being more of the former than the latter.

Going back to my box of Dragons this week to pull out a nice one from January 1988.  I say "nice" but the issue is in fairly bad shape with no cover and pages falling out.  The winter of 1988 was an odd one for me. I had a girlfriend leave me (quite literally, she never came back to school), and I was entering my second semester of college.  Though I did start hanging out with the girl I would eventually begin dating and then marry, but that was still years off.  INXS was the biggest music group on the radio. Robin Williams and "Good Morning Vietnam" was the king at the box office (whatever happened to "Good Morning, Chicago!"?) and on the shelves was #129 of This Old Dragon. 

We are solidly into the "theme" issues of Dragon now. The cover, a Dwarven cleric of Thor, reflects this.  There are a few articles coming up that I think helped set the stage for how demi-humans would later be dealt with AD&D 2nd ed. Certainly, it was beyond what you would have seen in the Golden Age of AD&D 1st Ed. These are the end of the Silver Age of AD&D 1. 

Letters has some Top Secret S.I. questions and some questions about cover art.

Forum has the (then) latest debates on whether or not Magic-Users can use weapons and/or armor.  Some good cases are made here to be honest. All largely moot these days. 

We get to the Featured Section, Demi-humans.

Len Carpenter is up first with Arcane Lore, Magic of the Dwarven Priests. It is a rather good one to be honest that gives tips and ideas on how to play the "newly permitted" Dwarven cleric PC.  I am not sure if this article had anything to do with it, but the Dwarven Cleric became something of an iconic figure in the 3.x days.  To that end this article still has some sound advice on not just what a Dwarven Cleric can and could do, but also what spells they are likely to have access too and which ones they would not.  There are also plenty of new spells just for dwarven clerics. If you play a dwarven cleric today then this is a good article to dig up regardless of the system you are using. 

Children of the Spider Goddess from Eric Oppen is next and gives us some insight on the Dark Elves. I went back to this article way back when I was running the D series for my family. I was running it all under 5e and there have been millions of words written about the Drow and Dark Elven between this publication and when I used it, but I still found it quite helpful for working out how the drow act and do what they do.  While I have always felt that Drow should be Lawful Evil this article made a good point about how Chaotic Evil would work better. 

John R. Prager hits us with a short article about altering the dice rolls for abilities in Give Demi-humans an Even Break! Essentially demi-humans get extra dice they can roll for determining their abilities.  For example, if you are going to play a Hill Dwarf you roll 7d6 for Strength and just take the highest three. This might run counter old school dice rollers where you roll first and then determine the race/class or new schoolers where getting a low score in something typically associated with a particular race is really no big deal.  Yes, there is even a column for Comeliness. 

Halfling get a new class of their own in Don't Sell Them Short by Peter Dosik. The Halfling Guardians are bit like Halfling Paladins. Perfectly playable archetype/class.  

C.E. Misso finishes us up with a bit on driders in Entering the Drider's Web.  Driders' status have changed over the years with them being either cursed (this article) or the chosen of Lolth.  I also took this and put it in my Drow (D1-2,3) folder. While maybe not the exact heralds of the age, they were certainly forerunners of the days when everyone wanted to play an edgy drow. 

The Role of Computers by Hartley, Patricia, and Kirk Lesser (and copyrighted 1988) covers the then state of the art in computer games.  Their featured game is Tower of Myraglen for the Apple IIgs. Make sure your Apple has been upgraded for stereo sound for this game! It is not the best game they have played, but it does take advantage of Apple's 640×200 resolution and sound capabilities.  They also have a bunch of smaller reviews for Acolade's Pinball Wizard, Beyond Zork, GBA Championship Basketball, California Games, and more. 

Nice full-page ad for Traveller 2300. 

Runequest fans get a treat in A Sorcerer's Supplement: New Sorcery Spells for RUNEQUEST by Michael DeWolfe.  I have the classic Runequest rules, so I should hold on to this.  I have still never played. 

Sage Advice covers all those new questions that come with new rule books.  This time for the D&D BECM (no I just yet) rules. 

Big four-page ad for Warhammer. The worlds of D&D and Warhammer have been drifting further and further part by this time. Might be one of the last ads I'll see for it.

Dean Shomshak gives us a nice treat. The Dragon's Bestiary this month covers monsters from the Para-Elemental planes of Ice. 

The Game Wizards from Jim Ward this month is A Volume of Oerthly Delights. He lets us know what could be part of the new Greyhawk Adventures hardcover (the last AD&D 1st edition hardcover). He gives us some ideas he is considering for the new book. They include: Greyhawk's Hall of Heroes, Greyhawk's Book of Creatures, Greyhawk's Book of Magic, Greyhawk's Book of Magical Devices, The Free City of Greyhawk, and Greyhawk's Clerics and Temples.  I can't recall how many of these made it to the hardcover, but I do recall their being some monsters.

Our fiction section is The Old Ways are Best by Larry Walker.   

"Who's in Charge Here?" by Bryan Caplan gives us guidelines on how many leaders in the form of higher-level fighters and/or cavaliers one should expect from a group of soldiers. 

Powered armor gets more details for Star Frontiers from David Dennis in Armored and Dangerous. I really should get a Star Frontiers game going again. It was a lot of fun. 

John C. Bunnell is back again with more book reviews in The Role of Books. He covers the likes of Sword and Sorceress IV, Tales of the Witch World, Agnes Day, and Murder at War. 

Role-playing Review by Ken Rolston gives us two soon-to-be classics; one for AD&D and one for D&D.  Up first we have GAZ 3 The Principalities of Glantri.  Long-time readers here know how much of a fan I am of Glantri, and Rolston concurs, saying it is the best city presentation for a TSR game world. He also says that the book is nicely presented and well-written.  His other is a little boxed set known as The Forgotten Realms Campaign Set. I don't suppose I need to go into detail on how this one was received here. 

Up next are small ads.  Lou Zocchi has some Deities & Demigods with Elric and Cthulhu in them. Send him 40 bucks.  Oh, and I never did get my characters drawn from Anvil Enterprises.

The Convention Calendar has the best cons for the Winter of 1988, including one I actually went to!

Lots of conventions listed here. Far more than we have now.

Dragonmirth has comics.

We end with some ads and just Snarf Quest. No Wormy, though. The last strip would show up in a couple more issues. Little did I know I was at the time living just a couple miles away from where Tramp was living. 

 So a fun issue. Great if you are into demi-humans. 

Mine has seen much better days, and I am unsure if it will survive the trip back to my box.

It's Tuesday, and that means a look at my latest mail call items.  This week has some pretty good stuff. 

Up first, a special Vampire Queen adventure from Bill Barsh and Pacesetter Games.

It is a Tournament style adventure for Pacesetter's BX RPG but it would work with OSE, B/X, or AD&D or any sort of clone.  Note: If you have not checked out the BX RPG lately the new revision fixes a lot of issues to first print had.

The package I got also came with 15 pre-gen characters to use. 

Long-time readers will know I am a big "Vampire Queen" fan, buying a lot of books on this theme.  This new purchase rounds out my "Pacesetter" collection.

And part of my larger Vampire Queen collection.

Pacesetter Games

• Website
• Facebook
• Twitter
• Instagram
• DriveThruRPG

I also got two RPG-adjacent Calendars for 2023.

First is the 2023 A Year with Djinn Calendar from my good friend Djinn in the Shade. 

And that is about the only month I can actually show.  Djinn is great, and I love the exploits of her sorceress Solaine. 

You can find Djinn (and Solaine) here:

• Linktree
• Pateron
• DeviantArt
• Twitter (sometimes NSFW)
• Instagram (Main)
• Instagram (sorta NSWF)
• Ko-fi
• Facebook

Secondly, I also got the GinnyDi 2023 Calendar.

I have spoken about Ginny Di before and I think she is great. Her calendar features many of her original characters including Morelia the Wood Witch.  I grabbed the now sold-out Deluxe Ginny Di 2023 Calendar so I got the character card and the Ginny Di Dice.

Ginny is a lot of fun and this will work great in my game room.

Ginny Di online

• YouTube (her main home)
• Website
• Twitter
• Instagram
• Patreon
• Her WorldAnvil site with some characters

We are almost at the Winter Solstice, and Christmas is less than a week away.  

My thoughts this month have been coming back to D&D 5e and what the future for that might be.  At least for the next year or so, 5e will be largely the same, so I will be getting some 5e content out here to enjoy it.  I also just finished reading the Finnish epic poem, the Kalevala. Really one of the foundational stories of D&D to be honest. You can see where so much of D&D came from; Gygax's interpretation of this tale, and Tolkien's use of it in the formation of Middle Earth and his Legendarium. 

So my thoughts on all of these are rummaging around and I was thinking I need more types of cold creatures, bards, and more magic.  Some of that I showed off last week with my Jötunn Troll. 

So here is some 5e content from the frozen lands of the far North.

Elf, Álfar Skald
Medium humanoid (elf), Chaotic Neutral

Armor Class 13 (Hide armor)

Hit Points 17 (3d8 +3)

Speed 30 ft

STR 12 (+1)
DEX 13 (+1)
CON 13 (+1)
INT 14 (+2)
WIS 11 (+0)
CHA 12 (+1)

Saving Throws Con +3, Cha +5

Skills Performance +5, Persuasion +5, Perception +3, Survival +3

Damage Resistances Cold

Condition Immunities Blinded

Senses darkvision 120 ft., passive perception 13

Languages Common, Elvish, Giant

Fey Ancestry. The Álfar has advantage on saving throws against being charmed and can't be put to sleep.

Innate Spellcasting. The Álfar’s innate spellcasting ability is Charisma (spell save DC 13). The Álfar can innately cast the following spells, requiring no material components:

At will: minor illusion
1/day each: animal friendship, healing word

Fleet of foot. Like all elves, the Álfar are fleet of foot and can travel over snow and ice with no restrictions.They are immune to difficult terrain caused by ice and snow.

Protected eyes. Álfar have a protective membrane over their eyes. They do not suffer disadvantage from blizzards or poor weather.

Actions

Shortsword. Melee Weapon Attack: +3 to hit, reach 5ft. one target. Hit: 6 (1d6 +3) piercing damage.

Sling. Ranged Weapon Attack. +3 to hit, range 30/120 ft., one target, Hit: 5 (1d4 +3) bludgeoning damage.

Description

Álfar are the elves of the coldest reaches. Also known as “snow elves” they are tall (6’ to 6½’), with long straight white or light blond hair. Some, though, have long black hair. Their skin is pale and their eyes are so pale that they appear nearly white or light bluish-white. This is due to a protective membrane over the eye that allows them to see even in the coldest of temperatures or the blowing of snow.

Álfar are typically encountered in roaming bands of hunters or in warmer climes, herders of goats and sheep. They will typically be armed with a shortsword and sling with up to 20 sling stones handy.

Like all elves, they produce beautiful works of art, though they lack the raw materials of their forest-born brothers and sisters. They are a nomadic species, often following large game in their frozen territories. For this reason, their chief artistic expressions are saga songs.  These tales of ancient times, gods, and heroes can last from a few minutes to several days to perform, often with other singers (Skalds) joining in and taking over for others. Álfar skalds are revered by their communities.

Álfar bards are known as skalds. Their role in the Álfar community is to memorize the saga songs of these nomadic elves, some which take days to completely sing. Skalds advance as bards.

Quick one today. Well, quick for me, but a bit of work for the original content creator.

I have not talked about my BlackStar game in a long time. I have not played any of it for a long time, to be honest. But I do have some new plans coming up, and my oldest has some ideas he wants to try out too.

Before I get back to all of that I found this great modeler on YouTube, Epyc Models. He builds an Ambassador Class Enterprise-C, which puts my meager attempts to utter shame. 

Have a watch.

Seriously cool, right? I need to check out his other videos after this for more ideas. 

Dungeon Crawl Classics #102: Dweller Between the Worlds is a scenario for the Dungeon Crawl Classics Role Playing Game, the Dungeons & Dragons-style retroclone inspired by ‘Appendix N’ of the Dungeon Master’s Guide for Advanced Dungeons & Dragons, First Edition. Published by Goodman Games, scenarios for Dungeon Crawl Classics tend be darker, gimmer, and even pulpier than traditional Dungeons & Dragons scenarios, even veering close to the Swords & Sorcery subgenre. One of the signature features of Dungeon Crawl Classics and its post-apocalyptic counterpart, Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, is the ‘Character Funnel’. This is a scenario specifically designed for Zero Level Player Characters in which initially, a player is expected to roll up three or four Level Zero characters and have them play through a generally nasty, deadly adventure, which surviving will prove a challenge. Those that do survive receive enough Experience Points to advance to First Level and gain all of the advantages of their Class. Dungeon Crawl Classics #102: Dweller Between the Worlds is not such a scenario, but is instead designed for use with First Level Player Characters, perhaps ones who have survived their own Character Funnel, such as Dungeon Crawl Classics #67: Sailors on the Starless Sea.

Dungeon Crawl Classics #102: Dweller Between the Worlds, however, begins with a problem. Or at least, the physical product does. The scenario lacks the map for the Judge of area where it is set, meaning that it cannot really be played from the book as presented. Fortunately, the PDF version—for which there is a code included in the physical book—does not have this issue, giving the Judge access to the necessary map. Get past his hurdle though, and the scenario is different to other scenarios for the Dungeon Crawl Classics Role Playing Game.

Dungeon Crawl Classics #102: Dweller Between the Worlds presents some big challenges and big set-pieces for First Level Player Characters. These include a battle against the forces of Chaos, a trek across the wilderness, and then an attack against the leaders of the attackers. It takes place in the valley of Dalur, home to various independent clans, where word has spread of strange raiders attacking out of the eastern forest over which strange lights have been seen and an early and servere winter has come. The Player Characters are in the service of Lord Jannssen, thane of a larger clan, who has come to the Fell, where as is traditional, the thanes attend councils to discuss issues which threaten them all. Nothing initially happens, but the Player Characters have the chance to gather rumours, ready themselves for what might come next, and so on. Suddenly, on the third day, giant chaos beasts descend out of the sky and attack the council! Here the Player Characters do not fight alone or together, but instead lead military units—spearmen, mounted knights, bowmen, and magicians—against the forces of Chaos. The scenario’s appendix provides ‘Alternate Rules for Large-Scale Combat’ which simplifies a unit’s combat effectiveness down to a single value or ‘Host value’ which represents their combat effectiveness. Attacks are made as normal, and if Player Character-led, can be modified by Class abilities, such as the Deed Die for the Warrior and the Dwarf Classes, Clerics can heal, Wizards and Elves lead magical units and add their spell check modifier to unit spell checks. The mechanics are simple enough, but they are different and the Judge should take the time to run a mock combat as part of her preparation to run the scenario. 
The battle is run on the primary handout for scenario, ‘The Fell’, which is reprinted instead of the map of the area for the Judge. That said, having it printed full size means that the battle at the Fell can be run as a mini wargame. For that though, the Judge will need to provide some counters or playing pieces to represent both the Player Characters and the attacking forces of Chaos. 
Once the battle at the Fell is over, the Player Characters have the opportunity to rest and recuperate before being sent by Lord Jannssen to the other half of the valley, and there persuade the Eastern clans to join the Western clans in investigating and defeating the forces of Chaos. Options are suggested if the Player Characters decide to go elsewhere, but it is expected that they will follow the thane’s command. The Player Characters have several choices in terms of routes, over the mountains, through the swamps, and so on, and the landscape of the ‘Eastern Valley of Dalur’ feels dark and dreary, often blighted by dark acts of the past that are highlighted in the various encounters which can be had in the region. Making for the hillfort village of Graenn, the Player Characters have the opportunity to rescue the villagers from the encroaching influence of Chaos.
The scenario’s finale takes place in the ‘Reft’, a portal to the edge of existence through which the wormspawn of Chaos that is Talaat can reach out and feed upon, sending his hosts to render the world into a barren wasteland. In order to stop Talaat’s assault on their world, the Player Character must enter the ‘Reft’, navigate its changing landscape—hopping across a series of islands moving in random directions and at random speeds—to confront the wormspawn’s regent. Getting across to him is challenging enough in itself and the Judge may want to adjust the process accordingly lest the players’ attention wanes. Suggestions are provided on concluding the adventure and beyond, including what happens if the Player Characters decide to stay on the other side of the ‘Reft’.
Physically, Dungeon Crawl Classics #102: Dweller Between the Worlds is decently presented barring the issue with the unprinted map. It is a pity that the image on the front cover does not match the description given of Talaat’s regent. Otherwise, the illustrations are decent and the maps nicely done. Rounding out the scenario is afterword by the author explaining the scenario’s influences which gives it a personal touch.
Dungeon Crawl Classics #102: Dweller Between the Worlds is an entertaining and challenging scenario, offering the players and their characters a surprising variety of situations to deal with and overcome. These situations—the battle and the island hopping in the void—do mean that scenario is not quite as easy to run and thus needs more preparation than other scenarios for the Dungeon Crawl Classics Role Playing Game, but get those right and they will be what Dungeon Crawl Classics #102: Dweller Between the Worlds will be remembered for.

Almost like films on the Hallmark channel, Christmas brings with it festively-themed scenarios for Dungeons & Dragons. Typically, they involve Santa Claus getting kidnapped or Santa’s grotto or toy workshop at the North Pole being invaded, and the Player Characters having either to rescue him or deliver presents down all of the chimneys in the world and into children’s stockings everywhere. And the whole affair is wrapped in a kitsch swathe of red, green, and white, whether that is wrapping paper, bows, candy cane sweets, baubles, and whatnot, all of which is being invaded by someone who is monstrously grey and wants to spread misery rather than joy, but who only needs to be shown some love and the error of their ways so that they once again enjoy the bonhomie of Christmas. It is both a well-worn cliché and extremely American. Claus for Concern: A Holiday One-Shot for Christmas is no different. Published on the Dungeon Masters Guild, it is a scenario for Dungeons & Dragons, Fifth Edition.

Claus for Concern: A Holiday One-Shot for Christmas is designed to be played by Player Characters of between First and Fifth Level. However, it will require some scaling up and down to be suitable for the extremes of that range, whereas as written it is designed for Player Characters of Third to Fifth Level. It is intended to be completed in one session, but depending on the players could last as long as two. Although there are maps—drawn by Dyson Logos—for both the players and the Dungeon Master, it is a pity that there are no ready-to-play pre-generated as that would have supported the scenario as a one-shot and would have made it easier to set up and run.

The scenario begins with the Player Characters being approached by several Kringle Elves looking shell-shocked. They implore the Player Characters for help—they have escaped from Santa’s Workshop after it has been invaded by Frost Goblins, Ice Sprites, and Snowy Bugbears, and both Santa Claus and his wife Myra Claus are missing. They implore the Player Characters to come to their aid, return with them to the North Pole, investigate what has happened, and save the Workshop—and in the process, Christmas! What follows is a linear affair. The Player Characters arrive at the North Pole, make their way through the gingerbread and candy-styled North Pole Village, its byways scattered with various gift-wrapped presents (which the Player Characters are free to open), and into the Santa’s Workshop. It is not until they begin to descend into the workshop below the Player Characters encounter any opposition. Technically, what the Player Characters are doing is descending an inverted tower, so the stairs are actually backwards on the map, but everything they find is festively themed, but smashed to bits. Someone definitely does not like Christmas.

Ultimately, the Player Characters will encounter the villain of the piece—a very icy ‘Christmas Witch’. She is a fairly tough opponent and the scenario does warn the Dungeon Master that there is the danger of a ‘Total Party Kill’ if she is not careful. She has a very frosty feel and that follows through on her choice of spells. In addition, the scenario follows through on the ice theme in terms of its monsters. These include Mimics as both presents and Christmas trees, Snowy Bugbears armed with Frosty Morningstars and Icicle Throws, Ice Sprites, Frosty Winged Kobolds with Icicle Spears and Chill Wind from their buffeting wings, and others. Stats are also included for Santa Claws and Myra Claws. The invention also a stocking full of magical items, all themed, such as Rudolph’s Nose of Everlasting Light, Fruitcake of Greater Healing, Red Fur-lined Coat, and Santa’s Holiday Bag of Holding, the latter which might just be a Bag of Holding.

Physically, Claus for Concern: A Holiday One-Shot for Christmas is a neat and tidy affair. Bar the cover it is not illustrated, but as you would expect, the maps are excellent. The scenario is well written, but as a consequence of being linear, there is one moment where if the Player Characters cannot get through a door—which they need to in order to reach the climax, the monsters break it down from the other side. Which undermines player and character agency.

To be clear, Claus for Concern: A Holiday One-Shot for Christmas is Christmas cliché from start to finish. It is a turducken stuffed with mince pies, studded with bow-tied candy canes, slathered with bread sauce, soaked in egg nog, and covered in brandy and set alight whilst pulling two Christmas crackers with an equally festively anointed turducken Dungeons & Dragons Christmas cliché. However, it is a decently done cliché and perfectly playable, and there is even some invention involved that makes it stand out from the traditional Dungeons & Dragons Christmas fare, not least of which is the almost pun of a title. So if a Dungeon Master and her group want to play a Dungeons & Dragons Christmas-themed scenario, then Claus for Concern: A Holiday One-Shot for Christmas is definitely what they want for Christmas.

A Yuletide Snowball Massacre: A Ridiculously Festive Battle Royale for 5E is an adventure for Dungeons & Dragons, Fifth Edition. Published by Critical Kit, it is designed for a party of six Player Characters of Third to Fifth Level and is intended to be played in a single session, either as a one-shot or as part of an ongoing campaign. As the title suggests, this is a very different type of scenario, a Player versus Player battle in a snowbound arena for the entertainment for others, last one standing wins the battle and a prize! Although nominally set in the same campaign world of the Western Lands as the publisher’s other scenarios for Dungeon & Dragons, Fifth Edition, the scenario is really setting agnostic. All it needs is a winter with plenty of ice and snow and some kind of midwinter festival—it need not be Christmas, and the setting have a court of winter fey. Other than that, the scenario does require some set-up. The only given background is that Queen Mab of the Winter Court desires some entertainment and this time it is the Player Characters’ turn to fight each to death in the Perpetual Winter Arena. So the Player Characters may have come to the attention of Queen Mab before and be selected because of that or they may simply be selected at random. In whatever way it is set up, the scenario is easy to slot into a campaign, whether between adventures or an interlude or even dream sequence during an adventure. The scenario can even start en media res with the Player Characters suddenly waking up in the arena and having to fight.

The scenario does begin with some advice about player expectations. This revolves around things—Player Character death and Player Character interaction. For the former, it suggests that the players be made aware that death in the arena is not necessarily final—although if run as a one-shot, that may not be the case, since the players will not be as attached to their characters. For the latter, it suggests that the players embrace the fun. There are guidelines too, for the Dungeon Master on handling certain spells, but these are kept short, and for the most part, the Dungeon Master will need to make rulings at the table as normal.

A Yuletide Snowball Massacre takes place in the Perpetual Winter Arena. This is a snowbound forest glade and marked with spawn points, an icesheet where everyone can lose their footing, and present boxes that the Player Characters can open Present Boxes to find potions of healing, Candy Cane Wands, and the dread Snowbody! The latter is an evil snowman which is stealthy in snow, has sharpened twigs to attack with, and frost breath. They can also be summoned when a Player Character activates the one-shot Candy Cane Wands, which can also fling snowballs, an Ice Mephit at a target, turns the caster’s nose into a carrot or forces him to make snow angels for a round, or covers the caster in glitter and makes them look fabulous and thus, difficult to attack. There is a table of effects which the player can roll whenever his character uses a Candy Cane Wand. As a bonus action, the Player Characters can also throw snowballs at each other.

As an arena scenario, A Yuletide Snowball Massacre comes with a twenty-four by sixteen-inch poster map on sturdy paper and in full colour. This is a scenario which definitely requires counters or miniatures. There are also stats for the Snowbody monster, plus details of the Candy Cane Wand, Boompowder Baubles, and the Snowbody Stone, the latter the ultimate prize for the winner standing at the end of the battle royale.

Physically,  A Yuletide Snowball Massacre is decently presented, everything is easy to grasp, and the map is rather nice. It is an easy scenario to use, but it would have been useful if there had been stronger advice on the set-up or the ways in which the scenario could be used.

A Yuletide Snowball Massacre is not going to be suitable for every gaming group or campaign, at worst being a frivolous diversion, at best a frivolous and festive diversion, some light-hearted Player Character versus Player Character action. However, as more than a one-shot, the inventive Dungeon Master could doubtless find a reason to work A Yuletide Snowball Massacre: A Ridiculously Festive Battle Royale for 5E into her campaign.

A few newer products for HYPERBOREA I have picked up recently. Some came with the Kickstarter, others I picked up.

Atlas of Hyperborea

PDF and softcover. 36 pages.

This covers the whole HYPERBOREA world. There is an overview map and then broken up into detailed segments.  The softcover book is great, and the PDF does allow you to zoom in for more detail.

It is a good map, but you need the HYPERBOREA RPG to get the full use out of it.

Hyperborea Annual Calendar

PDF. 14 pages.

This is a great product. It is the 13 month, 28-day per month HYPERBOREAN calendar. It has the moon phases of the two moons, Phobos and Celene, and plenty of room to add your own details.  While you need the RPG to use this for Hyperborea, it would work out well for a homebrew world if you liked.

Forgotten Fane of the Coiled Goddess

PDF. Color cover, black & white interior art.

This is an old-school adventure for 4 to 6 characters of 5th to 7th level.  

Lemuria. Ancient cults. Dinosaurs and demon apes. This adventure has everything. I kinda wish it could have been done for lower levels because it is a great introduction to sorts of adventures that HYPERBOREA should be the best at. While I originally grabbed this as a supplement to some other related adventures (and still might use it as such) it really, really feels at home in Hyperborea the most.

On that note it can be easily used in whatever OSR/Old-School system feels the most as home to your groups.

Plus it has a Dimetrodon in it. So I am already sold on it. 

Yesterday I covered the Player's book. Today let's go with the Referee's Manual.

HYPERBOREA Referee's Manual

PDF and Hardcover. 308 pages. Color cover, black & white art with full-color art pages.

Chapter 10: Introduction Again, this is our introduction this time for the Game Master or Referee's point of view. What the Referee does for the game and more. 

Chapter 11: Refereeing This get's into the Game Mastering process in detail. This covers grant experience for the characters and setting up the campaign. 

Chapter 12: Bestiary Our monster section and truthfully one of my favorites. The expected ones are here, but there are also plenty of new ones.  This covers roughly 130 pages.  There are interesting new takes on some classic "D&D" monsters, plus many new ones like a bunch of new "lesser" and "sublunary" demons. The format is most similar to Basic or Labyrinth Lord, and it is full of the usual suspects with some Lovecraftian Horrors, and even remnants of alien and bygone ages. "Demons" are here, but no devils. 

Chapter 13: Treasure Covers treasure types and magical treasure. Among the magic items are things like Radium Pistols and other sc-fi artifacts. Very pulpy. It also includes some rules on scribing spell and protection scrolls. There is even a small section on Alchemy in Hyperborea. Very useful to have really.

Chapter 14: Gazetteer.  The lands are a pastiche of Howard, Vance, Lovecraft, and Smith.  If these names mean anything to you, then you know or have an idea, of what you are going to get here.  This section has been greatly expanded from the previous editions. Included here are the gods again and a little more on religion.  Basically, you get the idea that gods are either something you swear by (or to) or get sacrificed to by crazy cultists.  So yeah, you know I am a fan.

Appendix A: Weather in Hyperborea. Likely more important here than, say, other game worlds. Weather in Hyperborea is dangerous. 

Appendix B: Hazards of Hyperborea. There are horrible things waiting for you in Hyperborea and they are not all monsters or the weather. 

Appendix C: Waterborne Expeditions. Covers waterborne adventures and combat. 

Appendix D: Warefare and Siege. Your characters have built their strongholds. Now someone wants to know it down.  Here are the rules.

Appendix E: OGL Statement. The OGL statement for this book.

Nearly every aspect of this game has seen expansion since the 2nd Edition; some sections more than others, but it is a great upgrade.

I started my Hyperborea 3e week yesterday with a new monster; let's start it off properly with a review of the new 3e HYPERBOREA Player's Manual.

With the new 3rd Edition, we have some changes. First, the game is now simply called "HYPERBOREA" and not "Astonishing Swordsmen & Sorcerers of Hyperborea 3rd Edition."  Secondly, the Player's Manual and the Referee's Manual are now separate books. Much like the 1st Edition was. Only this time, they are full hardcover books.

HYPERBOREA Player's Manual

PDF and Hardcover. 324 pages. Color cover, black & white art with full color art pages.

For my review, I am going to be considering the hardcover from the Kickstarter and the PDFs from DriveThruRPG.

The book starts with the credits, acknowledgments, and dedication to John Eric Holmes, the author/editor of the "Holmes" Basic edition. 

Chapter 1: Introduction this covers what this game is and what RPGs in general are. This is important and worth a read since it sets the stage for what sort of sub-genre this game covers, "swords, sorcery, and weird science-fantasy."  The classics of Swords and Sorcery are covered here briefly and how they add to the feeling of this game. This is pure Howard, Lovecraft, and Smith.

Chapter 2: Character Generation covers character creation. This chapter is brief covering of what you can do with the five chapters.  This also has a listing of the common "facts" known to every character. There is a section on leveling up. 

Chapter 3: Statistics or the "rolling up characters" chapter. The six recognizable methods are presented here. The most common of course is Method III; roll 4d6 drop the lowest.  We also have the same six attributes we have always had.

Each class has a "Fighting Ability" (FA) and a "Casting Ability" (CA) which relates to attacks. So yes, even magicians can get a little better in combat as they go up in level.  It's a great little shorthand and works great.  So a 4th level Fighter has a fighting ability of 4. A 4th level magician still only has a fighting ability of 1 and a cleric 3 and thief 3.  Subclasses can and do vary.

AC is descending (like old school games), BUT with the Fighting Ability stat it could be converted to an ascending AC easily.

Chapter 4: Classes We still have our Basic Four; Fighter, Magician, Cleric, and Theif.  Each also gets a number of subclasses.  Fighters get Barbarian, Berserker, Cataphract, Huntsman, Paladin, Ranger, and Warlock.  The Magician has Cryomancer, Illusionist, Necromancer, Pyromancer, and Witch. The Cleric has the Druid, Monk, Priest, Runegraver, and Shaman.  Finally, the Thief has the Assassin, Bard, Legerdemainist, Purloiner, and Scout.  

Each subclass is very much like its parent classes with some changes.  The classes look pretty well balanced.

Chapter 5: Background This covers all the things about the character that "happened" before they were characters.

Races are dealt with first. They include Amazons, Atlanteans, Esquimaux, Hyperboreans, Ixians, Kelts, Kimmerians, Lemurians, Picts, and Vikings along with the catch-all "Common" race of man.  No elves or dwarves here. Physique is also covered. 

Alignment is a simpler affair of Lawful Good, Lawful Evil, Chaotic Good, Chaotic Evil, and Neutral.

Along with race, there are various languages the characters can learn/know.  There are also gods here, an interesting mix of Greek, Lovecraftian, Norse, and Smith gods. 

There are background skills and weapon skills. Though I misread "charcoaler" as "chocolatier," and now I want a character with this background. 

Chapter 6: Equipment Or the "let's go shopping" chapter.  If you missed the "to hit modifiers vs. armor types/AC" in AD&D then I have a treat for you. Weapons here are more detailed than they were in previous editions of HYPERBOREA; or at least more detailed than my memory of the older editions.  Just checked, this one is much more detailed. 

Chapter 7: Sorcery This is our spell chapter but it also covers alchemy. Spells are split up by character class. Spells are limit to 6th level since classes are all limited to 12 levels. Spell descriptions are all alphabetical. This covers about 75 pages.  

Chapter 8: Adventure. This chapter improves over the previous editions. It covers all sorts of adventure topics like hirelings and henchmen, climbing, doors, nonstandard actions, time and movement.

Chapter 9: Combat. All sorts of combat topics are covered. Critical hits, unarmed combat, mounted combat and more. Damage and madness are also covered. The madness section is small and not really designed to mimic the real world. 

Appendix A: Name Generator. Pretty useful, really, to get the right feel of the game. Afterall "Bob the Barbarian" isn't going to cut it here. 

Appendix B: Lordship and Strongholds. What each class and subclass gains as a Lord or Lady of their chosen strongholds.  There is a great section on creating strongholds as well.

Appendix C: Cooperative Gaming. This covers how well to play in a group.

Appendix D: OGL Statement. This is our OGL statement.

These appendices (with the exception of D) are all new. 

There is also a great index.

So I will admit I was unsure about backing the 3rd Edition of HYPERBOREA.  I have the 1st and 2nd Editions and they have served me well over the last few years.  This edition brings enough new material to the table that it really is the definitive version of the game. 

The leatherette covers are really nice and I am happy I waited for it. Since the Player's and Ref's books are now separate, I could, if I wanted, pick up another Player's book.

The art is great. There are some reused pieces and still plenty of new ones. It uses the art well and helps set the tone of the game.

Between October 2003 and October 2013, Chaosium, Inc. published a series of books for Call of Cthulhu under the Miskatonic University Library Association brand. Whether a sourcebook, scenario, anthology, or campaign, each was a showcase for their authors—amateur rather than professional, but fans of Call of Cthulhu nonetheless—to put forward their ideas and share with others. The programme was notable for having launched the writing careers of several authors, but for every Cthulhu Invictus, The Pastores, Primal State, Ripples from Carcosa, and Halloween Horror, there was Five Go Mad in Egypt, Return of the Ripper, Rise of the Dead, Rise of the Dead II: The Raid, and more...

The Miskatonic University Library Association brand is no more, alas, but what we have in its stead is the Miskatonic Repository, based on the same format as the DM’s Guild for Dungeons & Dragons. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

—oOo—
Name: Good Vibes OnlyPublisher: Chaosium, Inc.
Author: Phaedra Florou & Stars Are Right

Setting: Modern day England
Product: ScenarioWhat You Get: Forty-six page, 38.86 MB Full Colour PDF
Elevator Pitch: “Why can’t the Mythos make you happy?”Plot Hook: A spiritual retreat is the place to find a newer, better you.
Plot Support: Three NPCs, six handouts, two maps, one Mythos tome, six Mythos spells, and one Mythos monster.Production Values: Decent.
Pros# Shot modern one-shot# Can be adapted to other periods and places# Creepy, culty sense of otherness# Surprisingly benign scenario # Horribly in-game handouts# Neophobia# Cherophobia# Anthrophobia
Cons# NPC led in places# Short
Conclusion# New Age horror involving the loss of self and becoming the new you at a definitely well-intentioned spiritual retreat# Well-intentioned happiness is sure to get all the players’ backs up, but remember, “Breathe deeply, calm yourself… everything will be alright.”

Between October 2003 and October 2013, Chaosium, Inc. published a series of books for Call of Cthulhu under the Miskatonic University Library Association brand. Whether a sourcebook, scenario, anthology, or campaign, each was a showcase for their authors—amateur rather than professional, but fans of Call of Cthulhu nonetheless—to put forward their ideas and share with others. The programme was notable for having launched the writing careers of several authors, but for every Cthulhu Invictus, The Pastores, Primal State, Ripples from Carcosa, and Halloween Horror, there was Five Go Mad in Egypt, Return of the Ripper, Rise of the Dead, Rise of the Dead II: The Raid, and more...

The Miskatonic University Library Association brand is no more, alas, but what we have in its stead is the Miskatonic Repository, based on the same format as the DM’s Guild for Dungeons & Dragons. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

—oOo—
Name: Tears of a ClownPublisher: Chaosium, Inc.
Author: Paul Mazumdar

Setting: 1890s Cambridge University
Product: ScenarioWhat You Get: Sixteen page, 3.88 MB Full Colour PDF
Elevator Pitch: “Dare to wear the foolish clown face.” – Frank SinatraPlot Hook: A missing friend might just have run away with the circus.
Plot Support: Five NPCs, five pre-generated Investigators, five  handouts and maps, one Mythos tome, and two Mythos monsters.Production Values: Decent.
Pros# Cthulhu by Gaslight scenario# Short, one session scenario# Makes use of Operate Heavy Machinery# Creepy, crawly, repugnant investigation# Nice addition of the historical detail# Entomophobia# Seplophobia# Festumtoyphobia# Coulrophobia# Scoleciphobia# Autophobia
Cons# Needs a slight edit# Makes use of Operate Heavy Machinery# Underwritten in places# Maps are small
Conclusion# Creepy, crawly, repugnant investigation which combines a lot of  horrifying elements and things people are afraid of.# Short and direct scenario which is underwritten in places, but supported with excellent illustrations

It is getting cold here in Chicago, and that makes me want to pull out some Hyperborea. So I am going to be spending some time with the new Hyperborea this week. It is also Monstrous Monday, so let get a monster ready for that.  

My wife and I watched the new Netflix movie "Troll" recently. It was fun. It will not win any awards for originality, but it was fun. Reminded me a bit of the "Troll Hunter" movie from a bit back. We also watched the original "Willow" movie from 1988. It also had some trolls in it, though very different.  She had never seen the movie, and it had been decades since I had. It reminded me once again how much I don't care for the standard AD&D-inspired troll and prefer something closer to myth and legend.

So. Let's put this all together with something new-ish.  So here is a troll I am reworking and presented in Hyperborea format.

Troll, Jötunn

Jötunn Troll: #E 1 | AL CE | SZ L (30') | MV 40 | DX 9 | AC 2
HD 14 | #A 3/1 (claw/claw/bite) | D 1d6+5/1d6+5/2d6+5
SV 10 | ML 8 | XP 2,300 | TC D | Special: See Below

This immense rock-skinned brute wields a tree branch for a club. Their mouths are filled with jutting teeth and tusks.

Jötunn trolls are gigantic horrors. Prowling in frigid wastes, these rapacious creatures have the same insatiable appetites of common trolls but require much more sustenance because of their excessive size. Jötunn trolls stand 30 feet tall and weigh roughly 25,000 pounds. They can live for up to 1,000 years. Their most curious feature is many will have multiple heads, sometimes even sprouting a new head after several years.  It is generally believed that the older the troll, the more heads it will have.

Jötunn trolls spawn with either their own kind or with other trolls. In the latter case, there is only a 5% chance the offspring will be a jötunn troll. Apart from brief mating periods, jötunn trolls are solitary, although some cull together bands of other giants into devastating war parties that can lay waste to entire regions. Like all trolls, the Jötunn Troll can regenerate. This begins the round after taking damage, and they regenerate at a rate of 4 hp per round in temperatures near freezing.  If the temperatures are warmer, then this slows to 3 hp per round. At temperatures of 100 degrees or more, their regeneration stops altogether. They cannot regenerate from fire or acid-based attacks.

Once every 1d4 rounds as a regular attack action, a jötunn troll can emit a cacophonous roar. All creatures within a 60-foot spread of the troll must make a save vs. paralysis or become confused for 1d4 rounds. This is a mind-affecting effect. 

A jötunn troll with multiple heads has a +4 bonus on all saving throws against mind-affecting effects. In addition, whenever a jötunn troll must make a save vs. these effects, it can roll the saving throw twice and take the better of the two results.

Jötunn Trolls have highly advanced senses. So highly tuned, in fact, they can "smell" the difference between "good" and "evil" alignments, preferring to attack, and hopefully eat, those of good or lawful alignments over evil or chaos. These senses allow them to small prey as far away as 300 ft and "smell alignment" as far away as 30 ft.

Based on the "Jotund Troll" from Pathfinder

Section 15

Troll, Jotund. Pathfinder Roleplaying Game Bestiary 3, © 2011, Paizo Publishing, LLC; Authors Jesse Benner, Jason Bulmahn, Adam Daigle, James Jacobs, Michael Kenway, Rob McCreary, Patrick Renie, Chris Sims, F. Wesley Schneider, James L. Sutter, and Russ Taylor, based on material by Jonathan Tweet, Monte Cook, and Skip Williams.

Between October 2003 and October 2013, Chaosium, Inc. published a series of books for Call of Cthulhu under the Miskatonic University Library Association brand. Whether a sourcebook, scenario, anthology, or campaign, each was a showcase for their authors—amateur rather than professional, but fans of Call of Cthulhu nonetheless—to put forward their ideas and share with others. The programme was notable for having launched the writing careers of several authors, but for every Cthulhu Invictus, The Pastores, Primal State, Ripples from Carcosa, and Halloween Horror, there was Five Go Mad in Egypt, Return of the Ripper, Rise of the Dead, Rise of the Dead II: The Raid, and more...

The Miskatonic University Library Association brand is no more, alas, but what we have in its stead is the Miskatonic Repository, based on the same format as the DM’s Guild for Dungeons & Dragons. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

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Name: The FuneralPublisher: Chaosium, Inc.
Author: Michał Pietrzak

Setting: Jazz Age Lovecraft Country
Product: ScenarioWhat You Get: Sixteen page, 847.69 KB Full Colour PDF
Elevator Pitch: Some imaginary friends are the stuff of nightmares.Plot Hook: A family funeral unleashes forgotten fears.
Plot Support: Eleven NPCs, two handouts, three occult tomes, one Mythos tome, one Mythos spell, and three (Mythos) monsters.Production Values: Simple.
Pros# Lovecraft Country scenario# Dreamlands adjacent?# Adaptable to Cthulhu by Gaslight or the modern day# Eerie sense of unreality# Somniphobia# Oneirophobia
Cons# Needs a strong edit# No manor floor plan
Conclusion# Short, one session low-key investigation with an unsettling sense of Gothic unreality by night and grey normality by day# Suitable for a small group of Investigators, who should all be related

Between October 2003 and October 2013, Chaosium, Inc. published a series of books for Call of Cthulhu under the Miskatonic University Library Association brand. Whether a sourcebook, scenario, anthology, or campaign, each was a showcase for their authors—amateur rather than professional, but fans of Call of Cthulhu nonetheless—to put forward their ideas and share with others. The programme was notable for having launched the writing careers of several authors, but for every Cthulhu Invictus, The Pastores, Primal State, Ripples from Carcosa, and Halloween Horror, there was Five Go Mad in Egypt, Return of the Ripper, Rise of the Dead, Rise of the Dead II: The Raid, and more...

The Miskatonic University Library Association brand is no more, alas, but what we have in its stead is the Miskatonic Repository, based on the same format as the DM’s Guild for Dungeons & Dragons. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

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Name: A Chill in Abashiri – A 1920s Taisho-Era Japan ScenarioPublisher: Chaosium, Inc.
Author: Michael Reid

Setting: 1920s Japan
Product: One-shotWhat You Get: Thirty-nine page, 9.57 MB Full Colour PDF
Elevator Pitch: Sometimes the cost of isolation leaves you out in the cold.Plot Hook: A dead guard at Japan’s prison lures the Investigators into a deadly plot to protect the nation.
Plot Support: Four pre-generated Investigators, nine NPCs, eight handouts/maps, one Mythos tome, two Mythos spells, and one Mythos god.Production Values: Decent.
Pros# Very different historical setting# Period politics# Excellent handouts# Refreshingly different and detailed mystery# Entertaining “I predict a riot” set-piece# Frigophobia# Agoraphobia
Cons# Needs an edit# Period politics# Not Ithaqua?# Needs an extra list of NPC names and crimes
Conclusion# Excellent, focused investigation with a suitably frigid feel throughout reflecting the politics of the period# Strange Aeons-style scenario in which the Investigators confront the Mythos in a different time and place

Between October 2003 and October 2013, Chaosium, Inc. published a series of books for Call of Cthulhu under the Miskatonic University Library Association brand. Whether a sourcebook, scenario, anthology, or campaign, each was a showcase for their authors—amateur rather than professional, but fans of Call of Cthulhu nonetheless—to put forward their ideas and share with others. The programme was notable for having launched the writing careers of several authors, but for every Cthulhu Invictus, The Pastores, Primal State, Ripples from Carcosa, and Halloween Horror, there was Five Go Mad in Egypt, Return of the Ripper, Rise of the Dead, Rise of the Dead II: The Raid, and more...

The Miskatonic University Library Association brand is no more, alas, but what we have in its stead is the Miskatonic Repository, based on the same format as the DM’s Guild for Dungeons & Dragons. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

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Name: The Wolf in the LabyrinthPublisher: Chaosium, Inc.
Author: Malcolm Harbrow

Setting: Jazz Age Arkham
Product: ScenarioWhat You Get: Twenty-two page, 1.31 MB Full Colour PDF
Elevator Pitch: What are you prepared to sacrifice to save someone?Plot Hook: A missing author of macabre stories might just get the Investigators lost.
Plot Support: Eleven NPCs, seven handouts, one map, one Mythos artefact, and no Mythos monsters.Production Values: Simple.
Pros# Lovecraft Country scenario# Solid investigation# Can be tied into Miskatonic University# Refreshingly different mystery# The Mythos can only be managed, never defeated...# Adaptable to Cthulhu by Gaslight or the modern day# Suitable for one, two, or three Investigators# All investigation, no action# Would suit an Investigator with the Artist Occupation# Mazeophobia# Artophobia# Diokophobia
Cons# Needs a slight edit# No stats for the NPCs# The Mythos can only be managed, never defeated...# All investigation, no action
Conclusion# Excellent low-key investigation with a claustrophobic feel involving a variation upon a classic Mythos artefact whose effects can only be managed, never defeated.# Suitable for a small group of Investigators, but lacks stats for the various NPCs

1974 is an important year for the gaming hobby. It is the year that Dungeons & Dragons was introduced, the original RPG from which all other RPGs would ultimately be derived and the original RPG from which so many computer games would draw for their inspiration. It is fitting that the current owner of the game, Wizards of the Coast, will releasing the new version, Dungeons & Dragons, Fifth Edition, in the year of the game’s fortieth anniversary. To celebrate this, Reviews from R’lyeh will be running a series of reviews from the hobby’s anniversary years, thus there will be reviews from 1974, from 1984, from 1994, and from 2004—the thirtieth, twentieth, and tenth anniversaries of the titles to be reviewed. These will be retrospectives, in each case an opportunity to re-appraise interesting titles and true classics decades on from the year of their original release.

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Buffy the Vampire Slayer Roleplaying Game was published in 2002. Published by Eden Studios, Inc., best known for the definitive roleplaying game of zombie action and survival, All Flesh Must be Eaten, it is an adaptation of the cult television series which ran between 1997 and 2003. Set in the California town of Sunnydale, it depicts the lives, loves, and conflicts of a group of friends who fight vampires. Or rather a group of friends who help out Buffy Summers, a girl in high school who becomes the ‘Slayer’, or Vampire Slayer, chosen and empowered fate to battle against vampires, demons and other forces of darkness. Despite wanting to live a normal life, Buffy is constantly stalked and attacked by vampires, whilst other powers—known in the series as ‘Big Bads’—plot against her, all attracted to Sunnydale because it sits atop a Hellmouth. As a Slayer, Buffy is aided by a Watcher, who guides, teaches and trains her, and helped by her friends, who are collectively known as the ‘Scooby Gang’ in reference to the long running cartoon. As much as the term ‘Scooby Gang’ is appropriate, Buffy the Vampire Slayer is very much a more modern approach to the idea of monster hunting, reflected in the look and tone of the series, dealing up three parts action-horror, irony, and feeling combined with strong positive roles and depictions of its characters, especially the female ones.
The Buffy the Vampire Slayer Roleplaying Game is designed to be played in two ways. First, it can be played using the cast from the television series, and to that end, character sheets are provided for the series’ protagonists up until season five. This is perfect for one shots or convention games, and like many licensed roleplaying games is an attractive means to introduce fans of a particular intellectual property to the concept of roleplaying. However, the second way is playing using characters of the players’ own creation, as is standard in most roleplaying games. That comes up against an issue. Which is, who plays the Slayer? There is only meant to be one Slayer, although as the Buffyverse expands, this is not the case. This ranges from the initially canonical there can only be the one Slayer or one and a replacement Slayer to a handful of Slayers and male or canine Slayers! It all depends on how far the gaming group wants to diverge from the television series. In part, who gets to roleplay the Slayer is important because just as in the television series, the Slayer in the Buffy the Vampire Slayer Roleplaying Game is very powerful, the other roles less so (although over time they can grow into their own).
A character in the Buffy the Vampire Slayer Roleplaying Game is defined by Attributes, Qualities and Drawback, and Skills, as well as Drama Points. The six attributes are Strength, Dexterity, Constitution, Intelligence, Perception, and Willpower. Qualities are advantages and Drawbacks are disadvantages. Attributes typically range between one and five, but can be higher depending on character type and Qualities selected. Skills range between zero and ten in value. Character creation begins with selecting a Character Type, each of which defines the number of points which can be assigned to Attributes, Qualities and Drawback, and Skills. Three are given—White Hat, Hero, and Experienced Hero. White Hats are ordinary folk, like Xander Harris or Willow Rosenberg, specialised in particular skills, such as magic, knowledge, or the occult, and who on their own, have difficulty facing a vampire. Heroes are stronger and faster, able to face a vampire one-on-one and destroy it, such as Buffy or Riley of the Initiative. Experienced Heroes are even stronger and represent Buffy later in the television series, but are not recommended for starting play. Although there is no Character Type for it, some of the Scooby Gang from the series are designed as Experienced White Hats. Once a Character Type is chosen, it is a matter of assigning the points and designing the character, often building out from a Quality based on the player’s concept, for example, a Watcher character requires the Watcher Quality or a warlock or wizard would need the Sorcery Quality. The character creation is not difficult and is clearly explained, plus the book includes not only twelve starting Player Characters or archetypes as examples, including New Slayer, Watcher, Former Vampire Groupie, Psychic, Beginner Witch, and more, but also character sheets for all of the major cast and members of the Scooby Gang, including Spike and Angel, with adjustments season by season, from seasons one to five.
Theodore Buckner is from Philadelphia, but has been sent to Sunnydale to live with his grandmother, whilst his parents are working abroad. He has learned to be self-sufficient and strong willed because he has been bullied at school ever since he can remember, whilst at home, he has learned to keep an eye on his grandmother and her medications, as she is often housebound. He loves reading and playing Dungeons & Dragons, and was fascinated by some books he found in his grandmother’s library which revealed that magic is real. Now he can play his favourite character Class, a Warlock!
NAME: Theodore BucknerCHARACTER TYPE: White HatCHARACTER CONCEPT: Gamer turned WarlockLife Points: 28Drama Points: 20ATTRIBUTESStrength 1 Dexterity 2 Constitution 2 Intelligence 4* Perception 3 Willpower 5*(1 Level from Nerd Quality)
QUALITIES (+8 from Drawbacks)Good Luck-2 (+2), Hard to Kill-2 (+2), Nerd (+3), Occult Library (+1), Sorcery-2 (+10)
DRAWBACKSUnattractive (-1), Clown (-1), Misfit (-2), Dependent (Grandmother) (-2), Teenager (-2)
SKILLSAcrobatics 0 Art 0 Computers 2 Crime 0 Doctor 1 Driving 0 Getting Medieval 0 Gun Fu 0 Influence 1 Knowledge 4 Kung Fu 1 Languages 1 Mr. Fix-It 0 Notice 0 Occultism 1 Science 3 Sports 0 Wild Card (Dungeons & Dragons) 2Manoeuvres / Bonus / Base / Damage NotesDodge / 2 / — / Defense actionMagic / 8 / Varies By spellStake / 2 / 0 / Slash/stab (Through the Heart) 0 2 ×5 vs. vampiresTelekinesis / 7 / 2 × Success Levels Bash or Slash/stab
Mechanically, the Buffy the Vampire Slayer Roleplaying Game uses the Unisystem mechanics first seen in All Flesh Must Be Eaten. Or rather, it uses a stripped-down version called Cinematic Unisystem designed for faster, more dynamic play, which would go on to be used in several of Eden Studios, Inc.’s  other roleplaying games, including the Angel Roleplaying Game, Army of Darkness Roleplaying Game, and Ghosts of Albion Roleplaying Game. To have his character undertake an action, a player rolls a ten-sided die, and adds either the appropriate attribute and skill or double the attribute if no skill is involved, plus any bonuses from appropriate Qualities. The roll itself can be modified for difficulty and other factors, but the aim is always to roll nine or more. A typical White Hat will be adding five or six to this roll at most, whilst a Slayer, even a starting Slayer, will be adding twelve in combat. The aim here is not just to succeed, but to roll multiple Success Levels, one for every two points above nine. This determines how well the Player Character performed or how much of a task he completed, or how much extra damage he inflicted in combat. Besides standard actions, the rules cover research, fear checks or ‘getting the wiggins’, but the main focus is upon combat.
Buffy the Vampire Slayer is an action-horror television series and the Buffy the Vampire Slayer Roleplaying Game is an action action-horror roleplaying game, and both cinematic in style. In fact, it is also a martial arts action-horror roleplaying game, because the Slayer in particular, will be engaging in jump kicks and spin kicks and sweep kicks, slam tackles, and more as well as decapitations, feints, dodges, wrestling holds, and so on, not forgetting of course, Through the Heart stake action. Gun combat is covered in the rules, but Buffy the Vampire Slayer is all about the cinematic, martial arts action rather than shooting things—which would attract the police—and so all of those martial arts manoeuvres are built into the roleplaying game, and whilst the players should be noting them down on their character sheet, there is very handy list and their effects in the back of the book. Success Levels count for a lot in the game as the greater the number of Success Levels a Player Character can generate, the more damage he can inflict, and in some cases, the greater the multiplier to determine the damage inflicted. Most notably, the damage done when attempting to stake a vampire through the heart. This is not instant in the game, it is possible to miss the heart, but if the damage exceeds the target vampire’s Life points, then he is done and dusted. This modelled by applying a multiplier of five to the Success Levels to determine the damage done.
With Qualities such as Slayer and Hard to Kill, as well as high physical attributes and combat skills, the Slayer will find herself rolling with the punches, spin kicking vamps, and dusting them to death (again) with alacrity. Not so, the White Hats. Even the weakest, newest of vampires represents a severe challenge for them, and unless they get lucky, they are toast. Fortunately, they have two means of withstanding vampire attacks. First is teamwork, hopefully work together until the Slayer can land the final stake. The second is Drama Points. Drama Points are a balancing factor in the game. White Hats have double the number that Heroes have—and they need them.
There are five uses of Drama Points—‘Heroic Feat’, ‘I Think I’m Okay’, ‘Righteous Fury’, ‘Plot Twists’, and ‘Back from the Dead’. ‘Heroic Feat’ grants a +10 bonus to a single roll, in and out of combat; ‘I Think I’m Okay’ halves all of the damage that the Player Character has suffered so far; ‘Righteous Fury’  gives +5 to all combat rolls for a whole fight; ‘Plot Twists’ enables the player to add or change an aspect the game; and ‘Back from the Dead’ does exactly that for characters who are dead. However, once spent, Drama Points are used and cannot be regenerated. Instead, they have to be earned or purchased. The latter uses Experience Points and costs more for a Hero than a White Hat—again enforcing the one advantage that the White Hat has over a Hero. They are earned for coming up with funny, quotable lines in game, for committing heroic acts, and for when something bad happens to a character.
Magic, as per the television series is primarily used as a narrative device, requiring research to determine if a spell is available in the Player Character’s Occult Library, which only contains a limited number of spells until more volumes are found. The rules allow for some magic spells to be cast in combat, but emphasises rituals rather than quickly unleashed bolts of fire. A handful of spells is listed, but the likelihood is that the Player Character Witch or Warlock will be building spells from scratch, which the rules do focus on. To cast a spell, the Witch or Warlock’s player adds the character’s Willpower, Occultism, and Sorcery to a roll of the die. It is not enough to succeed, but the Success Levels rolled must equal the Power Level of the spell, for example, the Power Level of seven for Amy’s ‘Rat-Ification’ Spell. If the number of Success Levels is lower than the Power Level, then there are side effects, and there is a table to determine what they are, which allows for plenty of input from the Director. Lastly, magic using characters can use telekinesis for various things, including attacks. The magic system is fairly short, and would be greatly expanded upon with The Magic Box supplement. For the Player Character Witch or Warlock this supplement is a must, since the core rules really only explore the subject so far… Consequently, this is perhaps where the BBuffy the Vampire Slayer Roleplaying Game is at its weakest.
For the Director—as the Game Master is known in the Buffy the Vampire Slayer Roleplaying Game—there background on Sunnydale and stats and backgrounds for all of its important NPCs. Monsters and vampires have their own chapter too, primarily focusing on vampires and demons, and as well as the means for the Director to create her own, there are stats for just every monster, vampire, Big Bad, and more included in the book. For the most part, the NPC and monster stats are kept simple, with just three attributes— Muscle, Combat, and Brains, along with simplified abilities intended to make them easier to use in play. In addition, there is advice for the Director on setting up and running a series, in particular, how to start with the Big Bad and work out from there, defining his aims and resources, when he will appear in episodes, working out the plot and adding subplots, and then doing the same with episodes. Particular attention is paid to special episodes—season premieres and season finales, all of which should help the Director build a season which emulates the format and structure of the Buffy the Vampire Slayer Roleplaying Game. It is a very well-done piece of analysis rewritten as advice for the Director.
Then the Buffy the Vampire Slayer Roleplaying Game puts all of that advice into practice with the scenario, ‘Sweeps Week’. Set in Sunnydale with the Player Characters in Sunnydale, it presents an intriguing pop culture mystery with more than a few red herrings and plenty of action. It is a great starting adventure which comes with plenty of tips for the Director, gets the tone of the television series rights, and showcases how beginning adventures in rulebooks do not have to be an afterthought. A good adventure in the core showcases the types of adventures it is intended to handle and what the Player Characters should be doing in play, and ‘Sweeps Night’ does that very well.
Physically, the Buffy the Vampire Slayer Roleplaying Game is incredibly well presented. It is liberally illustrated with photographs from the series, and where artwork is used, such as in the sample archetypes, that too is very nicely done. The book uses the Buffy the Vampire Slayer trade dress very well and similarly, the book is incredibly well written, designed for both the Buffy the Vampire Slayer fan new to roleplaying and the roleplayer new to Buffy the Vampire Slayer. The opening fiction sets the scene, as does the overviews of the first five seasons of the television series, with explanations of what the book is in between. Whilst there is no example of character generation, there are numerous examples of Player Characters, both members of the cast and starting archetype characters. The latter are accompanied by backgrounds and roleplaying notes as well, all ready to hand out to the players. Interspersed throughout are quote after quote from the series, further enforcing the feel of the series in the roleplaying game, backed up by the glossary of ‘Buffy Speak’ at the back of the book. This is followed by glossary of gaming terms, reference tables, and an index, and there plenty of examples of the rules in play throughout too, including an extended example of combat, something that modern roleplaying games all too often omit.
Buffy the Vampire Slayer was a very geeky television series, a combination of action, horror, comedy, and drama, all served up with a very knowing sense of irony. The the Buffy the Vampire Slayer Roleplaying Game captures that and not only puts it on the page, but makes it playable. The Lord of the Rings Roleplaying Game, published by Decipher, Inc. also in 2002, would go on to win the Origins Award for Best Roleplaying Game 2002. As a licensed adaptation of its source material, the Buffy the Vampire Slayer Roleplaying Game is undeniably the superior design and implementation, showing a wonderfully enjoyable and insightful understanding of the source material. Under any circumstances, the Buffy the Vampire Slayer Roleplaying Game is one of the outstanding roleplaying adaptations, which if there was a list of top licensed roleplaying games, deserves to go in the top five, if not the top three.

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, 13th Age Glorantha, and HeroQuest Glorantha (Questworlds). This can include original scenarios, background material, cults, mythology, details of NPCs and monsters, and so on, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Glorantha Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Glorantha-set campaigns.

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What is it?The Lottery is a scenario for use with RuneQuest: Roleplaying in Glorantha.

It is a thirty-one page, full colour, 11.4 MB PDF.

The layout is clean and tidy, and the artwork and cartography excellent. It needs an edit in places.

Where is it set?
The Lottery is set in the river valley of The Deep Cut, just inside the Glowline in Lunar Tarsh.

Who do you play?A set of six pre-generated Player Characters are provided, all members of the same trade party from Esrolia.
What do you need?
The Indagos Bull requires RuneQuest: Roleplaying in Glorantha and the Glorantha Bestiary.
What do you get?The Lottery is a one-shot scenario based on Shirly Jackson’s short story, ‘The Lottery’. It begins with an Esrolian trade caravan arriving at a village just inside the Glowline in Lunar Tarsh. Here its members get caught up in a macabre ritual—the voluntary sacrifice to the dread Crimson Bat of villagers, decided by lottery, in order to keep the rest of the village safe. With two members of the caravan taken, it is up to the Player Characters to persuade the villagers to stop this ghastly ritual and rescue their family members being taken away to be eaten!
The Lottery does start with a problem. It has to start with the ritual and get to the point where the cultists of the Crimson Bat take those selected by the lottery before the Player Characters can act. Which involves a fair degree of exposition. However, once the scenario proper does start and they can act, the Player Characters will find themselves racing up and down the valley to reach the other villages and try and persuade their inhabitants that the covenant between them and the Lunar Empire is based on a lie. Fortunately, the Player Characters do have proof, although exactly how is handled in game is underwritten.
Once past the set-up, the players and their characters are free to approach the situation however they want. The scenario focuses on the primary routes across the valley, the Player Characters having the advantage in terms of speed over the Crimson Bat cultists’ wagon, and the NPCs they will have to deal with in the various villages. For the players, there is a pre-generated character each, complete with illustration, whilst for the Game Master, there are stats for the abducted NPCs, the villagers and the local wyter, and the Crimson Bat cultists. There are several handouts and maps. There is also advice on the possible outcomes depending upon the actions of the Player Characters.
The Lottery is a short scenario, intended to be played in a single session. It could easily be run as a convention scenario. It is more difficult to run as a campaign scenario, primarily because the Player Characters are likely to have the Passion of antipathy towards the Lunar Empire and this will influence their initial reactions. None of the provided pre-generated Player Characters have such a Passion.
Is it worth your time?Yes—The Lottery is a clever adaptation of a classic short story to Glorantha, which although requires a degree of exposition, leads to an exciting player driven situation.No—The Lottery is of little use if the Game Master’s campaign is not set in Lunar Tarsh, or near there, or involves Player Characters who right from the start hate the Lunar Empire.Maybe—The Lottery is a difficult scenario to use in an ongoing campaign, primarily due to geography and likely antipathy towards the Lunar Empire, and would be easier to run as a convention scenario.