RPGs

Module G3 – Hall of the Fire Giant King

D&D Chronologically -

What’s New?
  • First 16 page module (G1 & G2 are 8 pages)
  • First 3 panel/3 map cover (although the Australian version doesn’t have a 3rd panel)
  • First to have a new monster description at the end of the module
  • Drow!
  • Mind flayers!!
Art
  • Back to DCS III for the cover. I like how the armour of the middle fire giant (I assume King Snurre) puts me in mind of a fire salamander
  • The backs of G1 and G2 showed aerial shots of the top levels of their maps. That’s not really possible with this one because the dungeon is in a hill. So instead we get a picture of the front doors. Though the proportions don’t really make sense because the two dudes are, I suppose, meant to represent your party (arriving on hippogriffs from G2) and the doors are human size instead of giant size. Anyway, cool picture by Trampier.
  • Otherwise, there seems to be less art in this, but I think that’s because it’s 16 pages, many of which are just walls of text. There are some nicely appropriate ones, like the hell hounds and the evil priest. I count 7 art pieces, about half by DCS III and half by Tramp.
General
  • The Notes for the DM are a bit more extensive this time. There’s even a nice bit where Gygax describes some of what happened to the play-testing group and how he handled it
  • Note: spoilers from here
  • It’s interesting that the titular Fire Giant King Snurre is basically in the first room – area 3. So what’s in the rest of the module?!?
  • An interesting note for the headsman in the torture chamber – if he hits with a natural 20, he may sever an arm, leg or head – this goes against the general idea that hit points in D&D are an abstract thing. It makes sense, seeing as he’s a headsman but still, it’s a bit tricky to then have to play a character with only one leg or one arm!
  • What’s in the rest of the module? Wait a second – what the heck is this way-creepy temple on level 2? Don’t go touching that altar boys and girls! And who are these weird drow?
  • If you thought the treasure was good in G2, wait till you find the red dragon here and behold its treasure hoard – it’s immense!
  • Level 3 – lots of drow
  • Mind flayers!
  • Like G2, again, it’s very hacky slashy – there’s very little description about what any of the drow are doing – it’s a case of: here’s a room – it’s filled with x number of drow with these stats and equipment – and that’s it. Occasionally you get a name and a little bit of motive.
  • The monster description of the Drow is interesting – giving history and hints at more discoveries to come
Image Information
  • From left to right in all pictures, US 4th print, UK print, Australian print.
Date Information – July 1978

Jonstown Jottings #65: GLORANTHA: Rivers of Blood

Reviews from R'lyeh -

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 Glorantha13th 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.

—oOo—

What is it?
GLORANTHA: Rivers of Blood is a scenario for use with RuneQuest: Roleplaying in Glorantha.

It is a five page, full colour, 1.65 MB PDF.

The layout is clean and tidy. It is art free, but the cartography is decent.

Where is it set?
GLORANTHA: Rivers of Blood is set in the central hills of the Grazelands.

Who do you play?
Player Characters of all types could play this scenario, but any Chaos-hating character or character capable of fighting Chaos will be useful.

What do you need?
GLORANTHA: Rivers of Blood requires RuneQuest: Roleplaying in Glorantha and the Glorantha Bestiary.

What do you get?GLORANTHA: Rivers of Blood details an ancient Mostali cave where a Quicksilver dwarf has his alchemical laboratory. Madness and failure to restore the World Machine have led him to incorporate Lunar Chaos magic in his research and he has begun the source of a river in his cave. The Player Character, either members of the clan who live along the river or connected to the clan which does, are sent up river to determine why it has turned blood red and begun to kill cattle belonging to the clan.

The Game Master is provided with a short encounter table and details of the cave, plus stats for the Quicksilver Mostali. The cave complex consists of five rooms or caves, worked or unworked. The description of the cave along with its map takes up one page. The map is based a free-to-use map by Dyson Logos. (The blog is worth visiting as Dyson Logos provides a more interesting description of the cave than the author of GLORANTHA: Rivers of Blood does.)

The biggest problem with GLORANTHA: Rivers of Blood—outside of the fact that it is neither interesting nor good—is how the Player Characters get across a three-foot deep pool of contact poison. No advice or suggestions are offered to that end.
GLORANTHA: Rivers of Blood is at best a quick, mini-fixer-upper that a Game Master might be able to develop into something else. Probably not purchasing now that the scenario’s decidedly limp plot has been given away. It could be used as a quick combat encounter if the Game Master has absolutely nothing else planned. Otherwise it is nothing more than an uninspiring dungeon bash.

It is supposedly set in the Grazelands, but the scenario could be set almost anywhere else here there is a river. The fact that GLORANTHA: Rivers of Blood is said to be set in the Grazelands is irrelevant.

Cows with Chaos features is an amusing notion and utterly worth stealing from this review rather than the scenario being reviewed.

Is it worth your time?YesGLORANTHA: Rivers of Blood is the perfect showcase of how to write an uninspiring combat scenario for RuneQuest: Roleplaying in Glorantha.NoGLORANTHA: Rivers of Blood is a self-contained dungeon bash which the author kindly leaves all of the detail, stats, and flavour to the Game Master to develop herself. Cheap, cheerless, characterless, and charmless of which the author is highly skilled at churning out.MaybeGLORANTHA: Rivers of Blood is a perfect showcase of how to write an uninteresting dungeon bash for RuneQuest: Roleplaying in Glorantha, so if the Game Master wanted to know how not to do it, she should start here.

1982: Shadows of Yog-Sothoth

Reviews from R'lyeh -

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, released 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. 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.

—oOo—

In 1981, Call of Cthulhu would revolutionise the roleplaying hobby, introducing the works of the Lovecraft, if not to the industry, then to the wider hobby; creating horror as a genre; making Player Characters or Investigators mortal and fragile; introducing the concept of Sanity and suffering mental damage; and more. The first supplement for Call of Cthulhu, published the following year, was just as revolutionary. Shadows of Yog-Sothoth: A Global Campaign to Save Mankind was the first campaign for Lovecraftian investigative roleplaying. It introduced the concept of the onionskin campaign. This has the investigators stripping away layers of information like the skin of an onion as the players progress through the campaign, revealing more of the evil cult’s plans and coming closer to the heart of the adventure. There had been campaigns before, such as G1 Steading of the Hill Giant Chief, G2 Glacial Rift of the Frost Giant Jarl, G3 Hall of the Fire Giant King, D1 Descent into the Depths of the Earth, D3 Vault of the Drow, and Q1 Queen of the Demonweb Pits for Advanced Dungeons & Dragons, First Edition, which were connected and could be run as a campaign. However, each part was available separately and could readily be run independent of the others, whereas each and every chapter of Shadows of Yog-Sothoth was integral to the plot and thus awkward to dismantle and run on their own. It was the first campaign to be set in a historical period and the first campaign to be set in a modern historical period and the first campaign to take its Player Characters around the world. In this way, Shadows of Yog-Sothoth set the blueprint for many the Call of Cthulhu campaigns we have had since, many of which would go on to improve upon the format, but Shadows of Yog-Sothoth was there first.

Shadows of Yog-Sothoth: A Global Campaign to Save Mankind also introduced the first cult to Call of Cthulhu, the Lords of the Silver Twilight, whose members range from centuries old wizards to the undead. It is their aim to force the rise of the sunken city of R’lyeh under the Pacific where Dread Cthulhu has slumbered for aeons and so unleash the Great Old One upon the world and bring about the end of mankind’s dominion over the Earth. The stars though, are not yet right to bring about such a calamitous event and there is a chance that the Lords of the Silver Twilight will fail. When they discover the plans of the Lords of the Silver Twilight have for humanity and the Earth, a group of stalwart Investigators set out to thwart them, an effort which takes them to Boston to New York, then Scotland, California, Maine, and finally Easter Island and the South Pacific. In the process, they will discover dread histories and the darkest of secrets, place both their minds and their bodies in harm’s way again and again, learn things that man was always best not knowing, and ultimately, confront an alien being beyond their comprehension.

Shadows of Yog-Sothoth opens in Boston in 1928. In ‘The Hermetic Order of the Silver Twilight’, the Investigators are invited to join the eponymous and rich, well-to-do, misogynistic fraternity with a reputation for charitable works, not unlike the Freemasons. The order has several ranks though which the Investigators will quickly progress to the point when its reveals to them that in truth, its inner circle is dedicated to worshipping an unearthly god and is awaiting the time when the stars come right, and alien species can reclaim what once was theirs. The location and rituals for The Hermetic Order of the Silver Twilight are all sketched out in some detail and once they are initiated into the upper ranks, there is the constant nagging question of, “When is knowing too much just too much?” Yet as the Investigators are promoted through the ranks and exposed to unspeakable things and expected to commit increasingly despicable acts, they have the chance to learn both what the order knows and what its aims are. This includes sneaking into some of the more secret areas where they will find horrors indeed.

‘The Hermetic Order of the Silver Twilight’, the first chapter of the campaign, is detailed and rife with roleplaying possibilities combined with skulduggery and stealth. As written though it does not support that with any ease, there being no other members described other than the cultists and their acolytes, and similarly there is no real reason for the Investigators to join The Hermetic Order of the Silver Twilight except as a means to begin the plot. This despite the fact that Shadows of Yog-Sothoth is intended for fairly experienced Investigators. Shadows of Yog-Sothoth, Second Edition, published in 2004, addressed some of these issues, but not all. It is easy to be underwhelmed by ‘The Hermetic Order of the Silver Twilight’, but set-up and the plot definitely has possibilities. They just await the hand of a good Keeper to really fillet them out.

After the Investigators have learned all that they dare and fled the headquarters of The Hermetic Order of the Silver Twilight, they receive the first of several letters which will alert them to strange events around the world. This is a device that the campaign will use again and again, typically letters which draw their attention to something which turns out to be connected to the main plot, but does not look like it first. This is one of the major complaints about the campaign, that the use of letters as a narrative device is clumsy and clichéd. In hindsight this is undeniably true, but at the time of publication this was not the case. 

The second scenario, ‘Look to the Future’, is a radical departure from the rest of the campaign, a piece of weird Science Fiction which takes the Investigators to New York where they will infiltrate an odd self-help and self-actualisation organisation. The Investigators are easily able to attend a meeting which is held in an oddly bare bunker-like building. In return for ready donations of money and unaware donations of Power—at this point in Call of Cthulhu’s rules, magic is fuelled by raw Power rather than Magic Points—at regular ceremonies, attendees are rewarded with small items of advanced technology, such as disposable lighters, digital watches, and non-stick frying pans. In addition, there is strange technology in the basement if the Investigators can gain access. Meddle too much and there is the possibility that one or more of their number will be killed, to the point that there is the possibility of all of them being killed. Even if they do not, they should find further links to the activities of the Hermetic Order of the Silver Twilight and its masters, but the scenario leaves a lot for the Keeper to develop if the Investigators want to explore beyond the walls of Look to the Future’s bunker. Curiously, this scenario involves Nyarlathotep, here indicating for the first time the involvement of the Crawling Chaos in the numerous machinations of those involved in the Mythos and other scenarios and campaigns for Call of Cthulhu. This is despite the fact that the campaign is called Shadows of Yog-Sothoth and famously Yog-Sothoth appears nowhere in the campaign. 

More letters direct the Investigators to Scotland to check upon one Henry Hancock, renowned big game hunter and local amateur archaeologist. ‘The Coven of Cannich’ is a sprawling sandbox populated by numerous masters and mistresses of the Mythos as factions from the Lords of the Silver Twilight search for parts of an artefact believed to be buried in an ancient temple on the shores of Loch Mullardoch. These are not the only Mythos forces in the area, and there seems to be a medley of them, most far too powerful for the Investigators to face. The scenario is very much one of who the Investigators can trust from among the NPCs, and the difficulty is that because there are some twenty of them, the Keeper just has too many to handle and make them stand out from each other. There is potential to camp this up a bit a la Hammer Horror, what with the screeching ghost and the accents of the locals, but ‘The Coven of Cannich’ is a difficult scenario to run and prepare, and there is little in the way of advice for the Keeper.  

Back in the U.S.A., the Investigators are hired by a Hollywood movie mogul to investigate a supposedly ‘haunted’ film set out in the Mojave Desert after the film was shut down, the director committed suicide, and the lead actor, all but a vagrant. Again, as a scenario, ‘Devil’s Canyon’, feels unconnected to the campaign as a whole, but again the Investigators will find what also seem like coincidental links. Yet there is some fun investigation to conduct in Hollywood before the Investigators set out the eponymously named Devil’s Canyon. There they find the ruined set of what would have been an epic film. After the bucolic highlands of Scotland and the city streets of Boston and New York, there is a sense of space, sunlit and dry, in this scenario’s desert setting, but even with that feeling of openness the Investigators quickly find themselves trapped and stalked by invisible things. Their invisibility is balanced by their cowardice and if they can harness the technology available, the Investigators might be able to reveal what they are. Where the Mythos and the monsters are overdone in the other scenarios, here they are restrained and creepy, and the scenario really benefits from that. However, the scenario does not add much to the overall campaign, and it comes across as a diversion rather than essential to the plot.

The campaign then takes a turn for the worse for the Investigators in ‘The Worm that Walks’. They are offered further clues, even patronage and respite, by one Christopher Edwin, but in following them up, they face increasingly nasty dangers—a family of cannibalistic backwoodsmen, an attack by a shoggoth whilst they are aboard their new patron’s yacht, and then when one of them is poisoned, stalked by something in the hospital. By the time it gets to that point, the likelihood is that the Investigators do not trust him—even if they ever did given the typical player sense of paranoia—and they have every reason not to. Edwin is out to kill them as part of the Lords of the Silver Twilight’s revenge upon the Investigators, and whilst that is understandable, to come at a point so late in the campaign when there is the possibility again of all the Investigators being killed, in what is already a campaign a deadly campaign designed for experienced Investigators, is well, overkill. 

Penultimately, the campaign switches from reactive mode to proactive mode as it nears its climax. Up until now the Investigators have been reacting to letters received, but now they have the chance to begin moving against the cult, in ‘The Watchers of Easter Island’ and then in ‘Rise of R’lyeh’, the last two parts of the campaign. In the first, ‘The Watchers of Easter Island’, they travel to Easter Island, which during the period when Shadows of Yog-Sothoth is set, is a colony of Chile and under military rule. If the Investigators can make contact with the indigenous islanders and the survivors of an archaeological team, all of whom have suffered attacks and disappearances. There is something strange going on and the island is under martial law, the local commandant curious as to the reason for the Investigators’ visit and wanting to be kept aware of their activities. The indigenous islanders will guide the Investigators to a local, elderly priest who can advise and suggest the cause, and even equip them to fight the fearsome figure responsible for the disappearances. Getting to both priest and threat is physically gruelling and the end confrontation is challenging. ‘The Watchers of Easter Island’ does feel superfluous to the campaign itself. If they fail, the Investigators will be attacked on their voyage to R’lyeh at the beginning of the next chapter, but otherwise, the Investigators’ success or failure in preventing the final preparations being conducted by a Lord of the Silver Twilight have little effect on the campaign’s climax.

At last, in ‘The Rise of R’lyeh’, the efforts of the Lords of the Silver Twilight and their acolytes come to fruition and the island of R’lyeh rises out of the south Pacific, and they attempt to call Dread Cthulhu from his slumber. By this time, the Investigators should be armed with the artefacts they found during their investigations in the previous scenarios, and have the means to reverse the ritual that the Lords of the Silver Twilight want to perform, and so sink the island. It is a very short scenario, but a fitting one, as the Investigators race across the island to find a non-Euclidean vantage point from which to perform their reverse ritual. There is that moment of course, when they will have to witness Great Cthulhu easing himself out of his tomb and wading through the flotilla of boats carrying his worshippers, a moment worthy of legend that will tear at the Investigators’ sanity, after which the survivors must flee back across the island to their boat, and hopefully get away in safety. As momentous as this actually is, it does feel as if the Investigators are doing everything from the wings of the stage and so slightly anti-climactic. 

In addition, Shadows of Yog-Sothoth includes two extra scenarios. The first, ‘People of the Monolith’ is based on the short story, ‘The Black Stone’ by Robert E. Howard and reads more like a short story than a scenario. The Investigators are hired by a publisher to travel to Hungary to look into the circumstances behind a piece of poetry and the poet’s subsequent suicide. The scenario is short and very little actually happens, although it is not without its strangeness. Written as a beginning scenario, it is suited to less action-orientated Investigators, and it works with fewer Investigators rather than more. 

The second scenario is ‘The Warren’. This takes place in Boston and focuses upon the Boucher estate, long abandoned and now purchased for demolition and redevelopment. When the demolition expert goes missing the Investigators are hired to look into what has happened at the estate. What they discover inside the house is that the Boucher family never died out, but rather degenerated and became inbred, worshipping the Great Old Ones. Despite there being a decent bit of research to do beforehand, ‘The Warren’ all too soon descends into a location-based, dungeon style adventure. Nowhere near as bad as scenarios which would appear in the pages of the anthologies, The Asylum & Other Tales and Curse of the Chthonians: Four Odysseys Into Deadly Intrigue, but not something that would be done today or indeed since they were published. Despite the investigative efforts made before exploring the Boucher estate, the Investigators are unlikely to full prepared for the true threat at the heart of the scenario and the choice of the Great Old One feels ill-suited to the role here just as much as this type of scenario, whilst Lovecraftian, feels ill-suited to Lovecraftian investigative roleplaying. 

Physically, Shadows of Yog-Sothoth is well presented and actually decently written for a campaign published in 1982. The organisation of the material leaves a lot to be desired and a lot for the potential Keeper to work through and prepare. The cover is a glorious depiction of R’lyeh and the pen and ink illustrations, all by Tom Sullivan, are all suitably dark and oppressive, and the maps have a certain charm. By the modern standards, the handouts are plain, but they are serviceable. 

—oOo— 

Following its publication in 1982, Shadows of Yog-Sothoth was reviewed in Space Gamer Number 60 (February 1983) in the ‘Capsule Reviews’ section by William A. Barton, the designer of Cthulhu by Gaslight. He identified that several of the scenarios are “almost too deadly”, but concluded that, “Overall, though, SHADOWS OF YOG-SOTHOTH should provide some exciting CoC play for even the most experienced investigators (despite the odd fact that Yog-Sothoth never makes an appearance, title or not), and I recommend it to all Lovecraftians.” 

Shadows of Yog-Sothoth was reviewed not once, but twice in Dragon magazine. First, in Dragon #81 (Vol. VIII, No. 7, January 1984) in ‘Gaming without heroes: Horror role-playing gets its vigor from victims’ by Ken Rolston. From the start he highlighted issues with the campaign: “In design, each of the seven linked scenarios is a mystery, complete with clues, NPCs, and settings. However, for smooth presentation, considerable study and preparation by the GM will be necessary. The scenarios lack strict linear narratives. Though this avoids arbitrary limits on player freedom, it forces the GM to structure the adventures in response to the actions of the players — a difficult job even for experienced gamemasters. The-tactics of the antagonists are not adequately detailed, and will need to be improvised or planned ahead.” Ultimately, he was far more positive in his conclusion, saying that, “Yog-Sothoth requires much labor and study on the part of the GM; it is not usable after a single reading. The GM will have to provide most of the narrative structure for the campaign, since the players have much freedom to choose their own approach to solving problems. The writing and editing are generally superior. Player materials are provided in ample quantity and the text is adequately organized for GM reference. The adventures are unusual and the atmosphere exotic and terrifying. Yog-Sothoth is a classic example of role-playing horror, with awesome monsters, desperate victims, and an atmosphere of mystery and menace. Since it provides enough material for a campaign of several months’ duration, it is an excellent value for the $10 purchase.” 

The campaign was then reviewed six years later in Dragon #81 (Vol. XV, No. 1, June 1990) in ‘Role-playing Reviews: A losing war against the forces of darkness’ by Jim Bambra. This was as part of the Cthulhu Classics anthology, which reprinted Shadows of Yog-Sothoth along with ‘The Warren’, but not ‘People of the Monolith’, alongside ‘The Pits of Bendal-Dolum’ and ‘The Temple of the Moon’ from Terror from the Stars; ‘Dark Carnival’ from Curse of the Chthonians; and ‘The Secret of Castrenegro’ from Cthulhu Companion. Bambra was positive in his summation, stating, “The horror elements are well presented, and the adventures span a wide variety of locations and investigative approaches. Opportunities for role-playing, investigation, and combat abound with nameless horrors and the depraved cultists who worship the creatures of darkness.”

Ian Bailey reviewed Shadows of Yog-Sothoth in ‘Open Box’ in White Dwarf #44 (August, 1983). Before awarding it ten out of ten, he said, “All in all the Shadows of Yog-Sothoth is an excellent and masterly campaign that demands a high standard of play throughout. It is well presented (one feature is five pages of player-information which can be photocopied or pulled out to save the Keeper time) and carefully managed throughout, and it provides, I believe, the most exciting and satisfying adventure available on the market to date. It might seem expensive but it is worth every penny.” 

Anders Swenson reviewed the campaign in ‘Game Reviews’ in Different Worlds Issue 34 (May/June 1984). He highlighted the deadliness of the campaign saying that, “…[M]any  of the scenarios would seem to work better with relatively well-equipped adventurers who have gotten access to heavy military weapons…” as well its organisation, complaining that, “Then there is the organization. Each scenario does contain the material needed to run the adventure, but finding it and having it handy is another question. Many of the scenarios have a lot of nonplayer characters, situations, maps, etc., and the tendency of the layout people was to string them together without enough introductory, transitional, and connective next to make everything findable.” As with other reviewers, he ended on a positive note with, “Overall, though, this is an excellent collection of first-rate Call Of Cthulhu scenarios. All keepers (gamemasters) should get Shadows of Yog-Sothoth.” 

—oOo— 

When it was first published in 1982, Shadows of Yog-Sothoth was like nothing that had come before. It was a whole campaign, consisting of several linked parts, each integral to the whole and the flow of the campaign’s story. It was set in a modern age and it was a first horror campaign, and it pitted the Investigators against H.P. Lovecraft’s signature creature, the Great Old One, Cthulhu himself. That is one thing that no campaign has done since. It is this version that would be reprinted as part of the Call of Cthulhu Classic Kickstarter campaign to celebrate the fortieth anniversary of Call of Cthulhu. It is also this version which would be reprinted as part of Cthulhu Classics in 1989.

Yet for all its scope and grandeur, Shadows of Yog-Sothoth suffers, by modern standards, numerous flaws—and those flaws are well known. They include an underwhelming set-up which challenges the Keeper to involve her players and their Investigators in the campaign. The links between the chapters are flimsy, awkward, and repetitive, and the constant use of the letter as a plot device is wearisome. ‘The Worm that Walks’, the fifth scenario, has a well-deserved reputation as a killer, an intentional method of murdering one Investigator after another at a point in the campaign when their knowledge and experience are needed for the last two scenarios. The campaign also lacks advice for the Keeper and having been written by different hands, it has a rough, incohesive feel. 

It is possible that some or all of these issues could have been addressed by the planned development of a longer, more extensive, and greater world-spanning version of the campaign which would have been edited by Scott David Aniolowski. This would have included far more of locations visited in Lovecraft’s ‘The Call of Cthulhu’, the story which directly inspired Shadows of Yog-Sothoth, including Greenland, China, Germany, New Orleans, Kingsport, Saudi Arabia, Irem, San Francisco, and Xoth. Unfortunately, due to time constraints, this expanded version of the campaign was cancelled and Shadows of Yog-Sothoth, Second Edition was published instead. It should be noted that some of content of ‘The Call of Cthulhu’ has been presented for Call of Cthulhu, Seventh Edition in Cults of Cthulhu.

Some of these problems were addressed in Shadows of Yog-Sothoth, Second Edition, published in 2004. They included reasons and motivations for the Investigators to join the Hermetic Order of the Silver Twilight in ‘The Hermetic Order of the Silver Twilight’, as well as NPCs beyond the Cultists which they could interact with. The links between the chapters were listed and made more obvious and some advice was provided for the Keeper, although all too often, not enough. Whether the version from 1982 or 2004, Shadows of Yog-Sothoth cannot fail to show its age and whilst as it should, it presents a huge challenge to the players and their Investigators, it also presents an enormous challenge to the Keeper who wants to run the campaign. There is so much to prepare in the campaign and Shadows of Yog-Sothoth never makes it easy. Certainly, within two years, there would be campaigns from Chaosium, Inc, beginning with The Fungi from Yuggoth and Masks of Nyarlathotep, the latter often regarded as the greatest roleplaying campaign ever published, which made incredible strides in campaign design and presentation. There is no denying that Shadows of Yog-Sothoth needs a rewrite and even a redesign and hopefully its third edition will be the rewrite and the redesign it needs and addresses its issues.

Shadows of Yog-Sothoth: A Global Campaign to Save Mankind broke new ground in so many ways, but it is no masterpiece. It is flawed and often incoherent, and it remains a daunting prospect for any Keeper who sets out to run it for her players. Yet it has many fine moments of horror and creepiness, and above all, it has ambition, and it has a grandeur and it does something no other campaign has done since, which is have the Investigators face Cthulhu himself.

Grim & Perilous Lite

Reviews from R'lyeh -

In the Long Sixteenth Century all that stands between chaos and disorder is the Empire. The Empire is the bastion of law and order, but it is a law for those who can afford it and an order which keeps the citizenry in its place. Chaos comes in the form of all that would disrupt this law and order. Plague wends its way back and forth across the land. Feudalism has been displaced by the rise of the burghers and the wealthy middle class and the role of mercenaries on the battlefield, which have made the role of the knight irrelevant. Religion has become more than a matter of just faith with the schism the church. Adhering to one faith and not the other can get you butchered, letting getting caught up on the battlefield, whether as conscript or mercenary. The poor, the labouring classes, and the craftsmen all look to the Empire for stability and their safety, but yearn for something better knowing they are unlikely ever to truly gain it and so change their lot in life. The Empire wants them kept in their place, their labour making the rich even richer, their taxes filling the crown’s coffers, and their bodies, willing or unwilling, ready to be thrown into the quagmire of war against the enemy which threatens from without… Yet there is no great Chaos. Instead, there are the men and women who stand up and decide that theirs is not a life as dictated by the Empire. They seek lives of adventure and change, wanting to make difference in their lives first, but perhaps the lives of others too. As much as their agency can lead to their being employed by the wealthy, they can become a threat to the natural order. This is the setting for Kriegsmesser, a roleplaying game best described as Troika! meets Warhammer Fantasy Roleplay.
Kriegsmesser is written and published by Gregor Vuga following a successful Kickstarter campaign as part of ZineQuest #3. It offers a range of character types with a light set of mechanics predicated on degrees of failure, solid advice on running the game, and a very much implied setting. That setting is one akin to Mittel Europe, roughly at the time of the Thirty Years War, so akin to that of the Empire and the Old World of Warhammer Fantasy Roleplay. Although there is no specific setting, where Kriegsmesser differs from the original roleplaying game of ‘grim and perilous adventure’ is that it is humanocentric—there are no rules for playing anything other than Humans, there is no such thing as Corruption or supernatural Chaos, and so no bestiary of supernatural creatures. This is because the Player Characters are the chaos, though if the Game Master wants to include it, there are rules for Corruption which have a corrosive effect upon a Player Character, all too likely driving him into the clutches of Chaos.

A Player Character in Kriegsmesser is defined by a Career, four or five skills and some possessions. He also has ten points of Toughness and six points of Luck. To create a character, a player rolls ‘d66’ and notes the details of the character down. He then chooses a name. The options include the Street Rat, the Starving Artist, the Labourer, the Charlatan, the Revolting Peasant, the Vermin Snatcher, the Clueless Noble, and more. Each one of the Careers given in Kriegsmesser is accompanied by a short, but engaging piece of flavour text.

Helena Perun
Career: Slayer
Skills: Read Signs (Demonic) 3, Notice 3, Fight (Monsters) 2, Gossip 1, Track 1
Toughness: 10
Luck: 6
Possessions: Kickass Hat, Holy Water, Silver Knife

Mechanically, Kriegsmesser uses its own dice pool mechanics rather than those of Troika! Whenever a player wants his character to do something and the character has the relevant skill, he rolls a number of six-sided dice equal to the skill and looks for the highest result. If the highest result is a six, then the character succeeds without incurring any trouble. If the result is a five or four, then the character succeeds, but incurs some trouble. A roll of three or less is a failure. What form the trouble takes when a player rolls a four or five, can be anything from a weaker or partial result to bowing out gracefully or a complication. The Game Master is encouraged to present the player with a couple of options and essentially bargain with him as the possible trouble his character suffers. If a character does not have an appropriate skill, then his player can spend points of Luck to have dice to make the skill test. Luck can be recovered through rest, through prayer, or through some festive or merrymaking activities. Luck then forms an important resource and something that a player needs to expand with a care. Of course, every roll in Kriegsmesser should be important, but when or where, Luck is even more important.

Combat in Kriegsmesser is intended to be nasty and brutal, favouring characters—Player Characters and NPCs—who are combat trained. Otherwise, a Player Character has to rely upon his Luck and an NPC, a single die. Often, it is enough to draw a sword to persuade an NPC or possibly a Player Character to back down in the face of potential violence. Kriegsmesser does give more optional rules if the Game Master and her players want a less narrative influenced combat system. These cover initiative, armour (which reduces damage), various weapon types (from warhammer to pistol), mighty blows (bonuses to the base damage if sixes are rolled in an attack), and vantage (having a higher vantage grants a bonus die). Once a Player Character loses all of his Toughness, the next blow will probably kill him, but another option allows for Terrible Injuries, like losing multiple toes to one foot, a blow to the fleshy soft bits which forces the Player Character to double over in pain and vomit, or a strike which smashes the skull and damaging the brain, leaving him to collapse to the floor, dead. (No head flying off several feet in a random direction, sadly.)

For the Game Master, there is advice on the running the game, in particular, making the world real and the lives of the Player Characters exciting, being generous with information, and imagining and conveying a darkly humorously dark tone. There is advice too on how to interpret rolls, in particular, various forms of trouble if a Player Character does not roll a complete success. There are quick and dirty rules too to create and run NPCs, as well establishing relationships between them, as well as creating scenarios around towns. These tables are fairly short and are likely to be used up quickly. Six sample NPCs are included as potential encounters, which are nicely done. Rounding out Kriegsmesser is a discussion of the period in which it is set and ideas as to where it be set outside of a Holy Roman Empire-like setting. The latter is perhaps the least interesting or useful section in Kriegsmesser, but the inclusion of a decent bibliography makes up for it.

Physically, Kriegsmesser is decently presented, making good use of period woodcut artwork. The fanzine is general well written, but could have done with a slightly better organisation in places.

Kriegsmesser is Troika! meets Warhammer Fantasy Roleplay, in terms of its simplicity and stripped-down style of play. Yet whilst it is by design set in a world similar to that of Warhammer Fantasy Roleplay, it shifts its window upon that world. Traditionally, the Player Characters are caught between being in society of the Empire and not, but by not having an ‘other’—typically Chaos in one form or another—Kriegsmesser pushes them into being that ‘other’ and as a consequence the roleplaying game echoes the politics of Warhammer Fantasy Roleplay, First Edition (if not its setting and history). If there is an issue with this, it is that without a setting of its own, Kriegsmesser never gets to show this off properly.

If the Game Master can provide a setting, then there is plenty of scope in Kriegsmesser to provide an engagingly light and simple option for grim and perilous adventure.

Cannibal Cults in the Clouds

Reviews from R'lyeh -

Eat the Rich takes place one hundred-and-fifty years from now in a horrible future in which the Earth has been overrun by flesh-eating humans who have fallen victim to ‘The Hunger’, an unknown apocalyptic-plague of unknown origins. Amongst the Ravenous, there are a few survivors who have proven to have an immunity to the virus and a few who have managed to get by without being bitten or infected. There are others who have managed to escape it all, the genetically and cybernetically-enhanced ruling class, who reside in a majestic cloud-piercing levitating spire from where they can look down upon the survivors grubbing away in the mud below. Many when they look up, they see the home of the Gods and wonder what life might be like above their squalid existence. Now a Cult wants someone to ascend to the Godspire and capture a God. The Assembly, the leader of the Cult, knows that survivors of ‘The Hunger’ assume the properties and memories of anyone they eat—dead or alive. If they can consume the flesh of a God, what glorious memories and abilities will they gain? Will they include the  knowledge they will help humanity restore the Ravaged Earth of this terrible future?

In Eat the Rich, the Player Characters will put aboard a lift-spacecraft which will take them to the Godspire. There they will explore its heights and its secrets, discover what has come of the Gods, and ultimately, find themselves threatened by something which will prove to be a danger to the whole of the world below. It is designed to be played by a small group of players. Four pre-generated Player Characters are provided, but there are guidelines too for generating them. This includes starting equipment, background, talents, and motivations. What will the Player Characters make of this strange, new, and vertical world? What will they discover and what secrets will they reveal? How will the Gods react to intruders from the Earth below?

As with other scenarios from Games OmnivorousEat the Rich is a system agnostic scenario, but it does not fit the genres of the previous entries in the line. Both The Feast on Titanhead, and The Seed are fantasy scenarios, but Cabin Risotto Fever and Mouth Brood are modern-set affairs, although they call all be easily adapted to other time periods. Mouth Brood though, can be shifted into the Science Fiction genre, whereas Eat the Rich sits firmly in that genre as well as the Post Apocalypse genre. Which means that it could be run using the rules for Metamorphosis Alpha: Fantastic Role-Playing Game of Science Fiction Adventures on a Lost StarshipGamma World, or Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, for example. Similarly, it is easy to adapt to any number of modern or Science Fiction roleplaying games. These include Call of Cthulhu, Seventh Edition or Chill, third Edition, as well as Alien: The Roleplaying GameTraveller, and MOTHERSHIP Sci-Fi Horror Roleplaying Game. It would also really work well with Numenera. Of course, if Eat the Rich is run using any of the systems suggested, the scenario need not be set on Earth. Its set-up is simple, flexible, and easy for the Game Master to adjust as necessary. However, just like The Feast on TitanheadThe SeedCabin Risotto Fever, and Mouth Brood before it, Eat the Rich adheres to the ‘Manifestus Omnivorous’, the ten points of which are:

  1. All books are adventures.
  2. The adventures must be system agnostic.
  3. The adventures must take place on Earth.
  4. The adventures can only have one location.
  5. The adventures can only have one monster.
  6. The adventures must include saprophagy or osteophagy.
  7. The adventures must include a voracious eater.
  8. The adventures must have less than 6,666 words.
  9. The adventures can only be in two colours.
  10. The adventures cannot have good taste. (This is the lost rule.)

As we have come to expect for scenarios from Games Omnivorous, Eat the Rich adheres to all ten rules. It is an adventure, it is system agnostic, it takes place on Earth (although technically, it takes place above the Earth), it has one location, it has the one monster, it includes both Saprophagy—the obtaining of nutrients through the consumption of decomposing dead plant or animal biomass—and Osteophagy—the practice of animals, usually herbivores, consuming bones, it involves a voracious eater, the word count is not high—the scenario only runs to twenty-four pages, and it is presented in two colours—in this case, a dark red and silver on white. Lastly, where previous entries in the series have exhibited Rule #10, it is debatable whether or or not Eat the Rich fails to exhibit good taste—though perhaps that may ultimately be up to how the players and their characters react to it.

The scenario is self-contained, the location amounting to just eight locations and six out of the twenty-four pages that make up Eat the Rich. The Godspire is an odd mix of aesthetic and the technical, a luxury enclave beyond the comprehension of the Player Characters where the line between sufficiently advanced technology blends into magic. Some of the technology is described along with the handful of locations aboard the Godspire, as is the main threat aboard the floating spindle.

Eat the Rich is primarily a setting, a small environment awaiting the intrusion of the Player Characters, the inhabitants—the the ‘Gods’ of legend, the Technology Priests, and the scenario’s ‘monster’—reacting to their invasive presence. It requires a fair deal of preparation upon the part of the Game Master, primarily in terms of creating the stats for the various NPCs, monsters, and more. She is though supported by a pair of tables of random encounters and random inhabitants aboard the Godspire. She will also need to provide guidance for her players if they want to create characters of their own, or adapt the four pre-generated Player Characters to the system of her choice.

Physically, as with the other titles in the ‘Manifestus Omnivorous’ series, Eat the Rich is very nicely presented. The cover is of sturdy card, whilst the pages are of a thick paper stock, giving the book a lovely feel in the hand. The scenario is decently written and quite detailed in terms of its locations. The artwork has an odd feel to it, a strangeness which reflects the weirdness of the setting.

A combination of the television series, The Walking Dead and the films, Zardoz and Elysium, Eat the Rich is a strange mix of fragility and the unknown with the Player Characters being hunted up and down the Godspire. The setting and its strangeness do make Eat the Rich the most difficult of the ‘Manifestus Omnivorous’ series to add to a campaign, but easy to run as a one-shot.

Bearfaced Horror II

Reviews from R'lyeh -

For fans of Vaesen – Nordic Horror Roleplaying, the roleplaying game of investigative folklore horror set in nineteenth century Scandinavia, based on Vaesen: Spirits and Monsters of Scandinavian Folklore as collected and illustrated by Johan Egerkrans, there is just the one supplement supporting it—for the moment. However, for Vaesen and other titles from Free League Publishing, there is the Free League Workshop. Much like the DM’s Guild for Dungeons & Dragons, this is a platform for creators to publish and distribute their own original content, which means that they also have a space to showcase their creativity and their inventiveness, to do something different, but ultimately provide something which the Game Master can bring to the table and engage her players with. Such is the case with Midnight Hunt.

Midnight Hunt is written by one half of the hosts of the podcast, What Would Smart Party Do?—the other half designed King of Dungeons and presents an engaging and entertaining mystery with a dilemma or two. It could easily be played in a single session, perhaps two at most, and would make a good option for a convention scenario just as it would for the Game Master’s own campaign. It is the author’s second scenario for Vaesen after Unbearable.

In Vasen, the Player Characters are members of the Society, which is based in Castle Gyllencreutz in the city of Upsala and which is dedicated to the study and understanding of the vaesen. Thus its members look for opportunities to investigate signs of Vaesen activity, but in Midnight Hunt, that sign comes to the Player Characters in the form of a message delivered by carrier pigeon. It comes from Ingvar Kransvik, the village elder of Snorum, who is concerned that members of a local family as well as the village priest have gone missing, as the beasts in the nearby forest are acting oddly, and the other villagers are thinking turning back to the Old Ways, the faiths their ancestors followed before Christianity was adopted.

Midnight Hunt is—like Unbearable before it—a classic ‘village in peril’ scenario, one which again involves bears, but unlike Unbearable, there is less of the cliché to it. Snorum is a quiet place (which leaves you wonder if the name itself is meant to be a sleepy joke), its inhabitants mostly friendly, if a little wary, and for the most part, co-operative. The place appears to be mouldering, even rotting in places, and there is a sense of impending degeneration to this settlement in eastern Sweden. This is present not just in the buildings, but also in a number of NPCs, most notably Ingvar Kransvik. The Player Characters’ efforts are hampered by the presence of the also elderly Algot Lindberg, a renowned hunter determined to take as trophies from the supernatural creatures he believes to be the cause of the problems in the village. Since their enquiries are likely to cross over, Algot Lindberg will seem to be hunting the Investigators as much as he is the Vaesen. The Investigators must also contend with Birgitta Blomqvist, a recently arrived spiritualist who is holding ceremonies dedicated to the Old Ways and tempting many of the villagers to attend.

The scenario details just seven locations, complete with clues and challenges. The former are all open to interpretation and there is no one real solution. This is played out against not one, but three countdowns and potential catastrophes. These are nicely detailed, as are the three potential confrontations. There are several parts of a puzzle that the Game Master will need to seed the scenario with, which can be done as part of her preparation or placed as necessary through play.

Ultimately, the Player Characters will have a showdown with the supernatural cause of the problems and deaths in Snorum, hopefully with their having acquired clues and puzzle pieces sufficient to deal with the Vaesen, as well as the more human issues. Various solutions are offered and discussed with combat not necessarily being the obvious one. There is plenty of investigation to be done in the early part of the scenario, but there are opportunities to use other skills as well.

Physically, Midnight Hunt is decently presented. The artwork, which includes some nicely done thumbnail portraits of the NPCs, is decent and the maps clear and simple. It would have been useful though, if the map of the village had been included in the main body of the scenario along with the other maps. The scenario is not as well written as it could be, and a much stronger and much needed edit could have solved that issue.

Midnight Hunt is a nicely presented,  accessible, and self-contained scenario with a decent nature versus man plot and plenty of NPCs to interact with and clues to find. It is also easy to move to another location—though that location should have bears!—and easy to add to an ongoing campaign. The latter is probably easier than running it as a one-shot as it does feel busy in places. Overall, Midnight Hunt is a solid scenario for Vaesen which delivers some potentially savage horror in a moldering bucolic backwater.

Friday Filler: The Fighting Fantasy Science Fiction Co-op IV

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Escape the Dark Sector: The Game of Deep Space Adventure brought the brutality of the Fighting Fantasy solo adventure books of the eighties to both Science Fiction and co-operative game play for up to four players in which their characters begin incarcerated in the detention block of a vast space station and must work together to ensure their escape. Published by Themeborne, with its multiple encounters, traps, aliens, robots, objects, and more as well as a different end of game Boss every time, Escape the Dark Sector offered a high replay value, especially as a game never lasted longer than thirty minutes. Now, like its predecessor, Escape the Dark Castle: The Game of Atmospheric Adventure, the game has not one, but three expansions! Funded via a Kickstarter campaign, each of the three expansions—Escape the Dark Sector – Mission Pack 1: Twisted TechEscape the Dark Sector – Mission Pack 2: Mutant Syndrome, and Escape the Dark Sector – Mission Pack 3: Quantum Rift—adds a new Boss, new Chapters, new Items, and more, taking the path of the escapees off in a new direction to face new encounters and new dangers. Each expansion can be played on its own with the base game, or mixed and matched to add one, two, or three mission packs that increase the replay value of the core game.
Escape the Dark Sector – Mission Pack 3: Quantum Rift differs from the previous two Mission Packs that it does not expose the escapees to the further secrets of the Dark Sector, but rather to secrets beyond its limits in terms of both time and space. The ‘quantum rift’ of the title is a strange anomaly which opens up a gateway in the fabric of time-space through which can pass inadvertent travellers caught in its field and malevolent forces taking advantage of the opening. As with Escape the Dark Sector – Mission Pack 1: Twisted Tech and Escape the Dark Sector – Mission Pack 2: Mutant Syndrome before it, Escape the Dark Sector – Mission Pack 3: Quantum Rift includes twelve new Chapter cards which represent the encounters the escapees will have as they flee. Some of the new Chapter cards have black backgrounds. These are Rift Chapters and indicate that the escapees have been caught up in the Rift and thrown into the past where they might run into a pair of Roman legionnaires barking commands at them in a language they do not understand, a drunken guard in a castle wondering who they are, a gunslinger at the end of a dusty street ready to draw and shoot you, a treasure chest on a sandy shore under the watchful gaze of the crew of a pirate ship. Surviving each Rift Chapters though, is not the only danger as every time the escapees find themselves cast into the Rift, the players must roll the Rift die. Although they might pass through the Rift safely, the other possibilities are they lose Hit Points, lose Hit Points and an item, or even suffer Rift Disruption! When this happens, all of the players must swap their items!
More than half of the new Chapter cards are Rift encounters and add a fun mix of time periods which the escapees must survive, including a pleasing crossover with Escape the Dark Castle. The other Chapter cards do not throw the escapes through the time and space, but they are no less weird. For example, they might run into an old woman who visits prisoners scheduled for execution, but might read the escapees’ last rites, or find themselves under the gaze of some incomprehensible being which casts it judgement upon them... Lastly, of course, there is the end-of-game Boss card, the ‘Araknochron’, the arachnid-like alien being whose ability to control time can temporarily prevent the escapees from acting, completely replace their weapons and gear, and of course, inflict deadly damage!

Other mission packs added new Items, but not Escape the Dark Sector – Mission Pack 3: Quantum Rift. Instead it gives Artefacts to be found. For example, it might be a Roman shield or javelin, a bundle of dynamite or bottle of grog, or a ration tin or a samurai sword. These enforce the sense of times and places that the escapees can visit with the various Rift chapters.

Escape the Dark Sector – Mission Pack 3: Quantum Rift also adds three new escapees. Lieutenants Gorn, Voki, and Taloch all have ‘split doubles’ as new symbols on their dice. These have two different symbols, and when rolled, generate doubles of both. However, a player can only use one set of these. Otherwise, the double symbol works as normal.
Physically, Escape the Dark Sector – Mission Pack 3: Quantum Rift is as well produced as the core game. The new Chapter card and Boss card are large and in general easy to read and understand. Each one is illustrated in Black and White, in a style which echoes that of the Fighting Fantasy series and Warhammer 40K last seen in the nineteen eighties. The Artefact cards are also easy to use and the dice are clear and simple. The rule book requires a careful read, if only to grasp how the different new mechanics work.

Escape the Dark Sector – Mission Pack 3: Quantum Rift does not so much add new subsystems, as add an even greater degree of randomness to fit the randomness of its theme. It is a fun theme and one that easily expandable with yet more Rift cards which will take the escapees across time and space. As with the other Mission Packs for Escape the Dark Sector, this third one easily mixes with the others, perhaps even more so given its random nature. Escape the Dark Sector – Mission Pack 3: Quantum Rift is an entertaining addition to Escape the Dark Sector: The Game of Deep Space Adventure, pushing its Sci-Fi theme to an even more random height.

Miskatonic Monday #125: Overdue

Reviews from R'lyeh -

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 InvictusThe PastoresPrimal StateRipples from Carcosa, and Halloween Horror, there was Five Go Mad in EgyptReturn of the RipperRise of the DeadRise 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: OverduePublisher: Chaosium, Inc.
Author: Nathan Pidde

Setting: Modern Day MassachusettsProduct: Scenario
What You Get: Fifteen page, 1.29 MB Full Colour PDF
Elevator Pitch: Hell hath no fury like a librarian scornedPlot Hook: A missing boy leads to a missing book leads to a...
Plot Support: Staging advice, five handouts, four pre-generated teenage Investigators, three NPCs, and one Mythos monster. Production Values: Decent.
Pros# One night one-shot# Enclosed space, focused scenario# Decently detailed handouts# Rats in the Library# Entertaining NPC for the Keeper to portray# Potential for an NPC to become an ‘Investigator’# Inspired by H.P. Lovecraft’s ‘The Dreams in the Witch House’
Cons# Needs a slight edit# NPC switch could have been better developed# Primary NPC has to be very persuasive# Artwork not always appropriate# Slightly clichéd pre-generated Investigators# No floorplans
Conclusion# Short, focused booked-based investigation inspired by H.P. Lovecraft’s ‘The Dreams in the Witch House’ which delivers an entertaining single session of horror.

Over the Edge Again. Again.

Reviews from R'lyeh -

Ever hear of Al Amarja? Yes, that Al Amarja. The island in the middle of the Mediterranean that everyone denies exists, ruled by president-for-life, Her Exaltedness Monique D’Aubainne, Historic Liberator and Current Shepherdess of Al Amarja? There is no way you would go there. After all, the state health care is mandatory, especially under Doctor Nusbaum’s experimental treatment programme, as is voting. Plus it is a brutal place with state control and overwatch, whether it is the seemingly ever-present members of Peace Force and their guard baboons (and if the baboons are not in Peace Force, they are everywhere), the nationalised state Total Taxis, and more. Sure, it is unrelentingly violent. There are fights on the streets and even organised in the middle of Roller Derby League matches, but nobody is allowed guns, and you really, really do not want to see what goes on in the ice skating—or maybe you do! (Since it is a full contact sport, baby, do I mean contact...) Then there are the public hangings as well as the Festival of Fate, the highlight of which is prisoners submitting themselves to Sister Cheryl’s Wheel of Fate at Temple of Divine Experience, the result of which possibly leads to the commuting of their sentence, but more likely death or torture and death. Of course, it is a commercial, trade, and scientific free-for-all, unfettered by all the regulation we have to suffer. So go to Broken Wings District for the best parties—whether to be seen amongst the elites or disrupt the event; Flowers District to party on the streets or experience that latest in Avant Garde artwork; spend time away from the island’s weirdness in the Sunken District with a fellow exile; and so much more… And there are supposed to be sorcerers and psychics on the island, Organ Grinders harvesting for their dead god, aliens, oh so many aliens, secret world bettering technologies which the corporations are hiding because they can and the same goes for cancer treatments, and more. Yes, that Al Amarja, which does not exist and never did because it is all some damned roleplaying game, Over the Edge: the Role-playing Game of Surreal Danger from back in the nineties, put out by some weirdly progressive little gaming company in Minnesota, Atlas Games. So, none of it is real.

Except it is.

Al Amarja is real. You can get there if you know how. Plus, if you are American, the state language is English and everyone takes dollars. They will take every other currency too, because it gets exchanged into the state currency, zlotys. So if it is real, where is it? Well, not where it was in the nineties. Now it is in the Mediterranean, but rather in the Atlantic. Freedom is still valued above all, but the government monitors everything—for your safety of course. Weapons are outlawed—especially firearms, but everyone carries something. Medical care is free at the point of delivery, but so is medical malpractice and there are no laws against that. Drugs are totally illegal, but the barista will add a shot of something to your coffee. In the teensies and the twenties, you will need look harder though, as Al Amarja slipped down a parallel time stream where Donald Trump got elected president and he let Nazis walk the streets of America again. Which means that it is different from back in the nineties, but the same, right? So if you have been before, you still need to get ready for the heady rush of unreality, because this is a whole other unreality even if bits still look familiar. And the reason for Over the Edge: the Role-playing Game of Surreal Danger? Call it the ultimate in disinformation sponsored by the government of the Ultimate Democratic Republic of Al Amarja. And if a piece of propaganda worked the first time, why not do it again? After all you are never going there, you were never going there, and you never will go there—and Al Amarja was and is fake, is it really there?

Over the Edge Third Edition: the Role-playing Game of Surreal Danger is real though. Funded via a Kickstarter campaignis no mere update. Instead, this is a re-envisioning of Over the Edge with everything old, but new. It is still a roleplaying game of counter-culture conspiracy, weird science, and urban danger combining conspiratorial factions, strange fringe abilities, cutting-edge technology, and cross-reality incursions all under the watchful eye of an all-powerful anarchic State. The revision also includes the rules and the mechanics, which forgoes the complexities of the original WaRP system, in favour of a more luck-based system designed to drive the story with extra twists—good and bad. There is nothing to stop a Game Master from running Over the Edge Third Edition: the Role-playing Game of Surreal Danger using the original WaRP system, but it is not designed with that in mind. It should be noted that Over the Edge has always been cited as one of the progenitors of the storytelling movement in roleplaying and this latest edition very much draws from that movement. The result makes demands of both the Game Master and her players. It uses simple character creation that calls for strong conceptualisation and scope for storytelling over the course of one or more story arcs. It asks the players to be ready for said characters to encounter and accept random twists—both for good or ill—to the outcomes of their actions, whilst the Game Master has to be on her toes ready to create and suggest those twists. Lastly, the players are required to commit their dice to Over the Edge and no other campaign roleplaying game. (Fortunately, Over the Edge only uses a pair of six-sided dice each.)

A Player Character in Over the Edge can almost be anything, which includes paranormal and magical gifts. This excludes plot wrecking powers such as invincibility, invisibility, flying, phasing, mind reading, shape-changing, and others. So an ex-MMA fighter turned vigilante, a doctor searching for the cure to cancer, a burned out ex-FSB agent, a conspiracy theory seeking the truth, an extreme tourist, a would-be sorcerer with an intelligent rat sidekick, and more. A Player Character though, is always human, adheres to ‘Hollywood’ reality and tenacity of the everyman, described in broad details, fits in and interacts with the setting, and is new to the island. He is described in four features—a Main Trait, a Side Trait, a Trouble, and a Question Mark. The Main Trait is what the Player Character is or does, whilst the Side Trait is something that he can do in addition to the Main Trait. The Trouble is whatever will draw or force the Player Character to act in ways that are probably unsafe, if not dangerous, to him, but will always be interesting. The Question Mark is an aspect of the Player Character about which he is uncertain or he will break or he will transgress. For example, ‘Hard-Hearted-?’, ‘Friendly-?’, or ‘Fearless-?’. He also has a name, but this is chosen last and the other players can suggest ideas for it too.

Cheyanne Lovecraft
An ex-stripper turned sorcerer’s apprentice [Main Trait] who is Intuitive-? [Question Mark] and has a talking rat mentor [Side Trait].
Trouble: Cannot resist a sob story

In addition, a Player Character has a Level. In fact, everything in Over the Edge Third Edition has a Level, ranging from first to seventh. So this is not just a Player Character’s capabilities, but also locations, backgrounds, opponents, and story arcs. What the Level does is set the degree of challenge that a Player Character will face in comparison to his own capabilities, and a Player character will typically match that. So a First Level Story Arc is about ordinary people in over their heads, a Third Level Story Arc is about notable experts in their fields, even powerful, who can get into trouble as much as they can out, whilst a Fifth Level Story Arc is about characters beyond human. Sixth and Seventh Levels are godlike and out of reach of a Player Character. Typically, the default in Over the Edge Third Edition lies at the lower end of the scale. Opponents, or Game Master Characters, are on a similar scale as Player Characters, whilst locations and backgrounds get progressively weirder the higher up they are on the scale. Where a Player Character sits on that scale with regard to the world of Al Amarja around him has an influence on the mechanics of Over the Edge Third Edition.

Mechanically, in Over the Edge Third Edition, a player does not so much roll dice as ‘cast lots’, and lots are cast only when the outcome matters and then really to encompass everything in what the Player Character is attempting to do. Thus, sneak into a warehouse to obtain a sample of Voo, the drug that makes temporarily forget everything or get away from the Charters, the independent band of pirates that predates the United States and only men can join (so technically women are men in the Charters), that is one roll. If the roll is a success, then fine. If a failure, then maybe other rolls are called for. What a player needs to do in either situation is cast his lots and aim to get seven or eight, or more. That is a success.

If a Player Character is of a higher Level than the Game Master Character, location, or background, his player gets rerolls and he rerolls one or more dice, but must keep the result. If a Player Character is of a lower Level than the Game Master Character, location, or background, the Game Master gets rerolls that the player must make and keep the result. If the Levels are equal, then there are no rerolls. Casting lots also generates twists. Each three rolled when casting lots, generates a bad twist, whilst each four generates a good twist. So it is possible to roll one good twist or one bad twist; a ‘Lightning Bolt’ or two threes, which can a two bad twists or a double-bad twist; a ‘Twist Tie’, meaning a good twist and a bad twist’; or a ‘Crazy Eight’ and two good twists or a double-good twist. It is also possible to fail a casting of the lots and still have a good twist or succeed and cast lost with a bad twist. Whatever the nature of the twist, the Game Master brings something new and interesting into play, this perhaps being the capacity that the Game Master can have when running Over the Edge Third Edition: the Role-playing Game of Surreal Danger. In addition, the players can have access to Karma which is shared between them and also allows a reroll. Together they can only share one use of Karama, but since it can be regained whenever doubles are rolled, it is always better to use it than not.

Combat uses the same casting lots mechanic. The primary outcome of a bad twist in combat is damage. Three strikes and a Player Character is possibly dying, and unless it comes from a strange, alien, or paranormal source, healing is slow. Depending upon their status and potency, Game Master characters can have one or more Saves, Game Master fiats which enables them to shrug off damage.

A good third of Over the Edge Third Edition: the Role-playing Game of Surreal Danger is dedicated to Al Amarja. This covers Al Amarja and the outside world, the presence and role of the state, culture media and media, and more. Every district is detailed, including why somebody might go there and what can be seen there, before the book details the gangs, groups, organisations, and more. Each one comes with an expanded explanation and advice for the Game Master as to how they can be used because ultimately, the Game Master is free to use them as she chooses, to pick and discard them as needed, and in the process, make Al Amarja hers and thus different to that of another Game Master. On the downside, this does mean that the island and its weirdness is densely presented, but on the plus side, the Game Master can in part tailor the island, its conspiracies, and its weirdness to the Player Characters and what is driving them.

For the Game Master there is further advice on running the new edition of Over the Edge, this in addition to the advice that appears throughout the book, as well as on engaging the Player Characters, creating Game Master Characters, to what degree she should be preparing her game, and advice in general. Like much of the rest of the book, it is accompanied by commentaries from both of the authors and there is also a full scenario, ‘The Sun Queen Must Die’. It is designed as an introductory one-shot, in which the players should create characters coming to Al Amarja in search of a reclusive guru. Their chance to meet him takes place at Sad Mary’s Bar & Grill, known for its girl fights and radical arts performances, at the height of an unsurprisingly adult Passover celebration. Events outpace them though and potentially take a darkly weird turn…

Physically, Over the Edge Third Edition: the Role-playing Game of Surreal Danger brightly and colourfully presented. The artwork is excellent, the layout a little busy in places, and the index is great. However, it takes a while for the roleplaying game as written to click. The issue is that the first fifth of the book is devoted to rules which feel out of context and difficult to quite grasp until you get to the selling point of Over the Edge Third Edition: the Role-playing Game of Surreal Danger and that is Al Amarja, its setting and its weirdness.

Over the Edge Third Edition: the Role-playing Game of Surreal Danger is weird and weird. It is weird because of what the setting is and what it is made up of, but it is weird because its resolution mechanic, which is designed as much to throw something else, a good twist or a bad twist, into the mix as much as can resolve any one situation. It forces players to fall back upon roleplaying and their character’s story and motivation rather than whatever stats or numbers a Player Character would normally have to rely upon. The lack of stats and numbers do make character creation incredibly simple, but incredibly challenging in making a player create a character with story potential. There are examples, all of them fully worked out, but a page or two of ready-to-play Player Characters would have been a useful inclusion. Further the designers push the weirdness further than might be found in another roleplaying game by having the Game Master reveal interior elements of that weirdness to the players which their characters would not be aware of. Thus, the play of the game takes on extra-narrative elements, an artifice that enforces the sense of unreality on Al Marja.

Over the Edge Third Edition: the Role-playing Game of Surreal Danger is a darker, faster-playing, even more improbable random return to the unreality of Al Amarja. Its even more storytelling-focus and ultra-light mechanics make demands of both the Game Master and her players and consequently the degree of buy-in, whether because of those rules or the unreality of the setting, is greater than might be expected. Still, what it comes down to is that just like Over the Edge: the Role-playing Game of Surreal Danger back in 1992, what stands out in Over the Edge Third Edition: the Role-playing Game of Surreal Danger is Al Amarja, and that is worth overcoming whatever reservations you might have about the mechanics.

Escape from Cleveland

Reviews from R'lyeh -

If you want to get some idea of what Extraction From Demon-Fucked Cleveland 1996 is like, take the soundtracks to two John Carpenter films—Escape from New York and Prince of Darkness—and crush them together, and you pretty much have the whole thing in a nutshell. Since nineteen seventy-four, the Ohio-state city has been under quarantine. Inside the closed off walls, the city environs have been a literal hell hole which has been the personal fiefdom of a demon queen. There is even a ceasefire declared between the United States of America and what is now enemy occupied territory. That was twenty-two and three hours ago. Three hours ago, the plane carrying the President of the United States of America was shot down over Cleveland airspace. The President is implanted with a biometric scanner which shows his life signs as well as approximate location. The Player Characters’ team is to enter the Cleveland Demonic Zone via Lake Erie to the northwest, make its way to the Demon Queen’s Moon Citadel. There they are to secure the President and escort him to the extraction point on the eastern of edge of the zone. There is no possibility of failure. If the team cannot extract the President, it is not getting out either… There will be no extraction for the team without the President.

The set-up for Extraction From Demon-Fucked Cleveland 1996 is simple and obvious. Replace gangs with demons and what you have is the plot to John Carpenter’s Escape from New York in this adventure from MegaCorp Games, nominated for the 2022 Ennie Award for Best Adventure. The sense of urgency is built into its plot, each area within the zone taking thirty minutes to cross and each encounter, combat or otherwise, takes fifteen minutes to complete. The environment is literally on fire and the ambient temperature is incredibly hot. Plus there are demons, none of which are going to be happy with an incursion by humans. Fortunately, maximum firepower is authorised in order to execute the mission.
The Player Characters are free to explore the Cleveland Demonic Zone as they want and very much if they have the time. Although not immediately obvious, there are advantages to doing so. Perhaps there will be opportunities to find out more about the Demon Queen’s activities in the zone or finding an easier way out of the Cleveland Demonic Zone. The Game Master is given a countdown clock to track the progress of the Player Character across the zone, descriptions of the various areas in the zone, details of the hostiles that they will probably face, and a table of possible encounters. And that pretty much is it. There are some redacted details in the scenario and everything for Extraction From Demon-Fucked Cleveland 1996 fits on two sides of a single sheet of paper. That is because it is a pamphlet adventure. It is also systemless.

Extraction From Demon-Fucked Cleveland 1996 can be played with any ruleset which can do an alternate nineties in which demons roam the earth—or at least Cleveland—and have done so since nineteen seventy-four. Savage Worlds would work, as would Modern AGE or the Cypher System. Depending upon the choice of system and the tone that the Game Master is aiming for the scenario can run as a grim and gritty mission or it can be run in a more Pulp style. All the Game Master has to do is create the demons following the descriptions given and perhaps some pre-generated Player Characters. These can be as clichéd as the Game Master wants depending on the type of game she wants to run. Once done, the Game Master has everything necessary to run a horror-tinged action-packed thriller.

Physically, Extraction From Demon-Fucked Cleveland 1996 is tidily presented. It needs an edit in place for clarity as the format means the author is being a little too concise in his writing.
However, is it any good? Is it good value for money? Is it even original? The answers to all those questions is a yes and a no. Yes, it is original because it presents a fun twist upon a familiar plot, but definitely no because that plot is lifted wholesale from a film. Yes, it is good value for money because it supplies a set-up and plot to which all the Game Master has to do is provide the necessary stats, but no because of the lack of originality. Yes, it is good because its tone is fun and the players are likely to enjoy the action and stealth affair to which this lends itself, but no, because of the lack of originality. Ultimately, it comes down to whether or not the players can overcome the lack of originality in Extraction From Demon-Fucked Cleveland 1996. If they can put it aside and buy into the action and tone of Extraction From Demon-Fucked Cleveland 1996, then the players are going to have a blast with this popcorn-powered, cheese covered horror thriller cover of John Carpenter’s Escape from New York.

Befouled & Bamboozled

Reviews from R'lyeh -

Unless the Keeper wants a scenario set in the United Kingdom early in World War II for Call of Cthulhu, Seventh Edition, there is simply no other reason for her to purchase or even want to run The Foulness Island Vanishings: A Corrupting Infiltration in a Time of War. The scenario has the potential to be adequate and provide an evening or two’s worth of reasonable horror roleplaying, nothing more, nothing less. However, such pretensions to adequacy are completely betrayed by the complete lack of editing, wayward development, and fixation upon high production values. High production values which are not always achieved. Yet if the Keeper is running a campaign set during World War II and is willing to overlook the scenario’s annoyingly silly failings and do the development necessary to get its to fit her campaign, then there is potential in The Foulness Island Vanishings: A Corrupting Infiltration in a Time of War. Until then, she should go and find a better scenario. There are plenty of those to find.

The Foulness Island Vanishings: A Corrupting Infiltration ina Time of War does not start well. Published by Stygian Fox, it cannot decide where Foulness Island actually is—is it on the northeast, east, or southeast coast of England? Its set-up is a relative gone missing, so beloved of Call of Cthulhuscenarios—and that is fine, but it adds another missing person’s case, as well as other set-up options, but never really develops these other options. It adds map after map to the point where you really can say that there are too many maps. Whilst the floorplans are all fine, there is not a single good map of the island itself. There are maps of one village, but not the other, and the map of the one village does not quite match the description given in the text, and arguably neither the numbered map for the Keeper or the unnumbered one for the players need to be as large. Then again, does the scenario really warrant a global map of the territories held by the Axis and Allied powers in 1941, let alone two copies of it? There are period photographs included of one the missing persons, but arguably they do nothing to add to the scenario. Then almost immediately as the scenario starts, it refers to an NPC that the Keeper is not told about and does not appear until a fifth of the way into the scenario. The writing all too often descends into travelogue as if describing where the Investigators are going, rather than providing simple descriptions of places that they can explore, and the Keeper can easily relate to her players. Further, for a scenario set in England in World War II, there are elements missing which would have added to its verisimilitude, in particular rationing and the presence of the army or the Home Guard. The scenario is set on an island and there is an image of a pill box included in the scenario, even if only one a mile away on the mainland. So why no army or Home Guard? Surely, they would have been stationed on the island in case of invasion. Lastly, there is a swastika used on the inside front cover, but the Nazis play absolutely no role in the scenario, so why is it there?

The Foulness Island Vanishings: A Corrupting Infiltration in a Time of War is set on Foulness Island, off the coast of Essex during 1941. Conscription has been imposed for the first time and it is suggested that the Investigators be above the age limit. One of the Investigators receives a letter from his aunt Lidia, who is staying on Foulness Island, but then hears no more. So he makes the journey out to the island to find out if she is okay. Other options include a private detective hired to locate one Harold Frazier-Snipe, who is also missing, or a holidaymaker or an ornithologist or an archaeologist. These options are relatively undeveloped, but potentially could be developed into pre-generated Investigators complete with motivations to be visiting the island. Foulness Island itself is flat, exposed to the sea, with marsh along the coast. It is notable for the Broomway, a low-lying path that connects the island to the mainland, but parallels the island for much of its length and is submerged at high tide. The inhabitants are in the main friendly and helpful where possible, and there is plenty of scope for the Investigators to explore the island. Perhaps following up on other disappearances, a dark legend, or visiting the standing stones at Foulness Point on the north end of the island. An appearance by a strange pig—along with other clues—points to the other end of the island and here the Investigators will encounter even stranger things going on. Ultimately, the Investigators will have a showdown with the antagonists behind it all, which can lead to their being captured, dealing with another very helpful if alien fellow prisoner, or an out and out free-for-all.

Physically, The Foulness Island Vanishings is very much hit and miss. The hits are some good handouts and reasonable artwork, as well as some decent floor plans. The misses include some poorly handled artwork and the plethora of unnecessary maps. Then of course, there is the writing and the layout… The former shows no indication of having seen sign of an editor, whilst the latter suffers from a lack of attention.

The Foulness Island Vanishings is a relatively short scenario, one which can be played in one or two sessions. There is pleasing sense of bucolic isolation and fear of invasion during time of war, and the scenario does add a local legend into the mix fairly easily. With the base plot in hand, once she has taken the time to understand what is going on—it is simple, but the book does not make that easy—the Keeper can easily do the development to turn into something more interesting. As a one-shot, develop the possible set-ups for the Investigators from those suggested, add some details about life under wartime, draw a better map of the island, and so on. Then again, why should she? Surely, this should have been done for her.

A recent review of a scenario from the Miskatonic Repository was criticised because it used the word ‘bamboozled’ to describe how the reviewer felt in discovering what was under its very fine cover. It is hard not to feel exactly the same way with The Foulness Island Vanishings: A Corrupting Infiltration in a Time of War. The outwardly high production values of the scenario will bamboozle the potential purchaser and Keeper, only for her to find it befouled by its lack of editing and development. It would not have taken much effort to develop into a reasonable scenario, but as presented, The Foulness Island Vanishings: A Corrupting Infiltration in a Time of War is inexcusably inadequate.

Unrefined Fear

Reviews from R'lyeh -

The Earth Above is a scenario for the MOTHERSHIP Sci-Fi Horror Roleplaying Game, the roleplaying game of blue collar Science Fiction Horror inspired by films such as Outland, Dark Star, Silent Running, and Event Horizon, as well as Alien and Aliens. Published by Fey Light, it is a short, two or three at most session scenario for a crew of Player Characters who either have their own starship or are travelling aboard one. It comes with a set-up, a setting, a threat (and possibly more), half-a dozen NPCs, two location maps, and of course, several tables to help the Warden run the scenario. It also comes with numerous reasons why the Player Characters might get involved. The primary reason is the ship that they are aboard is low on fuel and the nearest source is the world of Cormeia-9 or ‘Cor-9’. However, the world is under lockdown and there are emergency procedures in effect, so getting to refuel their takes on an extra challenge. Other reasons for their getting involved might be that they are colonists under lockdown; a team sent by a corporation to extract samples of the reason for the lockdown, an invasive alien species known as the Pestilence; a team of troubleshooters sent by the colony’s operating corporation in order to get it up and running again; and others. The result is an easy scenario to set up and drop into a campaign or run as a one shot.

The Earth Above runs to sixteen pages and is very neatly organised. So one double spread covers the background and reasons for the Player Characters getting involved, whilst the next describes the world and gives an overview of the facilities on world. This includes a note pointing out that the planet’s rotation is so short it disrupts a sleeper’s circadian rhythms, so adding to his stress, which is nice environmental effect of increasing a Player Character’s Stress. The next two describe the facilities and the mine in detail, the latter accorded a fully three-dimensional map, which adds a lot of detail and feel, but is still quite simple. Between them, the scenario’s six principal NPCs are given, including where they might be found, what they want, and what they have. Since the scenario is mainly set-up, these six can play a role no matter how the Player Characters get involved, whether it is simply to get fuel, get the mines up and running, or survive as colonists themselves. The last couple of pages are devoted to stats for various NPCs and creatures. Of the creatures, there are four types given and together they all have a very Xenomorph-like feel, a la Alien, Aliens, or even Alien 3. However, they are not exactly that, and in a one-shot, it is perfectly fine to have a creature not dissimilar appear as the threat. And anyway, those films are part of the inspiration for the MOTHERSHIP Sci-Fi Horror Roleplaying Game anyway. Rounding out the scenario are tables of things to be found in the hablocks, supplies, mercenary loadoats, and so on. All useful, as is the advice, which is kept to the point given lack of space, for the Warden to help her run the scenario.

Physically, The Earth Above is well presented, the artwork good, and the layout clean and tidy. All of which is packaged into a slim, but sturdy little booklet.

The Earth Above is a small, but smartly packaged scenario. In truth, its plot and set-up are draw from familiar inspirations, but they are adroitly handled with multiple different set-ups that work with the scenario and the familiarity should lend itself to some classic Sci-Fi horror moments. Easy to prepare and easy to run, The Earth Above is there for when the MOTHERSHIP Sci-Fi Horror Roleplaying Game, the roleplaying game of blue collar Science Fiction Horror Warden wants to serve up some unfussy, unpretentious Sci-Fi horror that is easy to buy into because everyone knows the tropes.

Micro RPG IIIa: Blades & Spells II

Reviews from R'lyeh -

Lâminas & Feitiços or Blades & Spells is a minimalist fantasy roleplaying game from South America. In fact, Blades & Spells is another Bronze Age, Swords & Sorcery minimalist fantasy roleplaying game done in pamphlet form from Brazil. In actuality, Blades & Spells is a series of pamphlets, building from the core rules pamphlet to add optional rules, character archetypes, spells, a setting and its gods, and more, giving it the feel of a ‘plug and play’ toolkit. The Storyteller and her players can play using just the core rules, but beyond that, they are free to choose the pamphlets they want to use and just game with those, ignoring the others. So what is Blades & Spells? It describes itself as “…[A] simple, objective and dynamic minimalist RPG game where the Storyteller challenges the Player and not the character sheet.” It is written to pay homage to the classic Sword & Sorcery literature, uses the Basic Universal System—or ‘B.U.S.’—a simple set of mechanics using two six-sided dice, and in play is intended to challenge the player and his decisions rather than have the player rely upon what is written upon his character sheet. Which, being a minimalist roleplaying game, is not much. So although it eschews what the designer describes as the ‘classic restrictions’ of Class, Race, and Level, and it is very much not a Retroclone, there is no denying that Blades & Spells leans into the Old School Renaissance sensibilities.

Blades & Spells: An agile, objective and dynamic minimalist RPG provides the core rules to the roleplaying game. They are a simple, straightforward set of mechanics, emphasising a deadly world of adventure in which the heroes wield both weapons and magic. Beyond the core rules, Blades & Spells is fully supported with a series of optional pamphlets which expand upon its basics and turn it into a fully rounded roleplaying game. All together these might be seen as  the equivalent of a ‘Blades & Spells Companion’, although they just as easily could be combined into the one publication.

Blades & Spells: Beasts & Monsters follows the pamphlet format of the core rules and presents a set of twenty-one potential threats and hazards that the Player Characters might face. All have a name, a Challenge Rating, some Hit Points, details of its main characteristics, the latter amounting to no more than a sentence of two, thus giving no more than a thumbnail description of the monster. They include Shedu and Lamassu; the Akhazu, an evil creature which spreads plagues and can only be destroyed when whomever summoned it is killed; the Nommos, the humanoid amphibious ‘fishmen’, complete with tails, scales, and gills who hate the light and who indirectly built and rule the city-state of Nippur; and the Aqrabu, fiercely territorial, cave-dwelling humanoid scorpions created to fight a war between two gods in the distant past. Non-monsters are not ignored and Bandits, Cultists, Pirates, and Sorcerers are included as well. As with Blades & Spells itself, the entries in this pamphlet are inspired by Mesopotamian myths and other Bronze Age mythologies.
Blades & Spells: Characters Archetypes/Compendium of Magic does two things. First, it expands upon each Player Character’s Focus. This is his occupation or something that he is good at, either Fighter, Mystic, Intellectual, Support, or Specialist. The supplement divides some twenty-nine archetypes into these five categories with a simple thumbnail description. So for the Fighter, there is the Brute, the Exotic, and the Spearman; for the Mystic, the Warlock and the Beastmaster; for the Intellectual, the Actor and the Merchant; for the Support, the Artisan and the Musician; and the Specialist, the Deceived and the Pirate. These are again kept short and simple, but suggest some ideas as to what a Player Character is and what he can do, each one, just like the Focus, providing Advantage or Disadvantage, depending on the situation.
The second thing that Blades & Spells: Characters Archetypes/Compendium of Magic does is provide spells for the roleplaying game. Although every Player Character in Blades & Spells is capable of casting spells, the mechanics are objective orientated, but kept freeform. This supplement details some twenty-nine new spells which the Player Characters or NPCs can cast, whether they are doing so as arcane magic or divine magic. Some of these are nicely inventive, such as ‘Viper Venom’, which fills the caster’s mouth with water and after concentrating for a few moments, he can spit it out as a corrosive liquid or a toxic gas; ‘Dead Memory’ allows the caster to see through the eyes of the dead and so learn their secrets they kept in life and the fate that befell them; and ‘Thirty Coins’, an area spell which forces anyone who lies within its effects to vomit thirty pieces of silver that then disappear…

Blades & Spells: Optional Rules expands upon the rules presented in the core Blades & Spells: An agile, objective and dynamic minimalist RPG. They are all optional. They add in turn, rules to create non-Human characters, perhaps pushing Blades & Spells away from its Swords & Sorcery roots, but they give the species two positive physical traits and one negative physical trait. In addition, a Player Character of that species must still have a defect as per usual in addition to the species’ negative physical trait. Tables for ‘Wild Terrain’ cover the weather and ground types, plus random events, whilst the rules for poison are brutally nasty (options are given for less lethal effects as alternatives.) These are followed by rules for drunkenness too, and then insanity. Here a Player Character has ten Sanity Points, which are lost in moments of stress and terror. Once they are reduced to zero, a roll is made on the Insanity table. These rules and their effects are underwritten as not all of the results have a time length and there is no guidance as to what happens afterwards, such as how Sanity Points might be recovered. For the main part, the new rules in Blades & Spells: Optional Rules do what they suggest and cover aspects of play without adding too much in the way of extra complications. The disappointing element here are the rules for insanity, but the Storyteller can adjust as necessary to make them work and fit her setting.

Blades & Spells: An agile, objective and dynamic minimalist RPG is a simple, straightforward set of mechanics, but whilst that means that it is easy to play, it also means that it is easy to expand and add optional rules and extras to. Which is what these three supplements do. Not always effectively in places, but others, such as the Blades & Spells: Characters Archetypes/Compendium of Magic and Blades & Spells: Beasts & Monsters add a lot in terms of flavour and feel, but without without adding a lot of complications. Consequently, they are worth adding to have the options for both play and whatever setting the Storyteller wants to create.
So that really is it to . Or at least the core rules. It fits on two sides of a single sheet of paper. It is cleanly laid out, although it does need an edit in places to account for the translation from Portuguese to English. It has a decent piece of artwork on the front. It is also perfectly playable barring a couple of issues. One is that it does leave the Storyteller to wonder what sort of complications a failure of a dice roll might add to the plot and it does not state what the difficulty number is for hitting a Player Character in combat.

Blades & Spells but there are numerous optional pamphlets which expand upon its core rules and turn Blades & Spells into a fully rounded roleplaying game rather than just a core set of mechanics. Nevertheless, Blades & Spells: An agile, objective and dynamic minimalist RPG is a solid, serviceable, easy to learn and play, minimalist roleplaying game.

Blue Rose: Who is Admiral Celeste Vorcolio?

The Other Side -

Admiral Celeste VorcolioOften, very often, the NPCs I will put into a game or adventure will be drawn from either someone I know or a previous character of mine.  St. Johan Werper in the Guidebook to the Duchy of Valnwall Special Edition is/was my first ever D&D character. Nearly every non-player character in my Night Worlds "Generation HEX" and "Ordinary World" in NIGHT SHIFT were characters in my long-running Chill/Buffy/Ghosts of Albion games.  The Editor in "Weirdly World News" in the Night Companion was based on the director for the play "The Front Page" I was in several lifetimes ago. 

But who is  Admiral Celeste Vorcolio of Six of Cups?

The folk hero of Garnet in Aldis, in the World of Aldea, is not based on any real person nor character of my past.

Since I was modeling the City of Garnet after my childhood memories of Alton, Illinois I took it a step further and thought about the stories I was reading then. While the Tall Tales of Paul Bunyan or Pecos Bill wouldn't really be appropriate for what I wanted, there was another one.  I remembered reading, the stories of a giant sailor named Stormalong

After reading mythology, I followed up with the American equivalent, the Tall Tale. While I liked the tales of Pecos Bill and Paul Bunyan it was A. B. Stormalong that would actually feel like an adventure.  Pecos Bill was essentially a drunk cowboy soon to be upstaged in his antics by his younger, dumb brother "Florida Man." Paul Bunyan was a giant, but all he ever did was cut down trees. Stormalong, well he fought the Kraken! The idea that he boarded a ship and signed his name "Stormalong, A.B.," which would go on to mean "able-bodied sailor," stuck with me decades later.

I knew I wanted an admiral in the Aldean Navy.  I knew I wanted Garnet to be the heart of that Navy. So someone from Garnet needed to be the one that made the Navy into what it is today. 

I started with the idea of Stormalong, someone young and ready for adventure, jumping onto a ship and doing whatever they needed to do to be on that ship and rise up through the ranks.  The idea jelled for me when I thought about Star Trek The Next Generation.  Gene Rodenberry had described the characters of Picard, Riker, and Wesley Crusher as all being different parts of Horatio Hornblower.  Though originally "Wesley Crusher" was going to be "Leslie Crusher." Which gave me the idea of instead of Horatio Hornblower, why not Honor Harrington

If her adult form was Honor, then who was she as a (very) precocious child?  I mean, like annoyingly precocious. I saw her jumping on the ship and announcing to the crew that she was "Vorcolio, A.B. the greatest sailor in the world! And you will all be taking orders from me soon!"  Who from my readings would fit this mold? Easy. Pipi Longstalking.  Very soon a picture began to emerge.

Celeste, at age 12 runs away from home and jumps onto a ship to be a sailor. The laws at the time said she had to be 16 to join up, but she lied (her first lesson) to get on board.  She quickly proved that while she was a lot of talk, she was also willing to work hard. She took any and every job on the ship no matter how menial or difficult. She would whistle to herself and tell the crew that she wanted to know how to do everything on a ship so she could be a good captain.  When it was discovered that she lied about her age they were already too far out at sea.  The punishment for this was 10 lashes (it was a while back) she admitted she had lied and submitted herself to her punishment. All her other crewmates moved by her work and her willingness to stick to the rules, offered themselves up instead. In the end, the Captian agreed to not give her the lashes until a later date, but she had to learn the job of every crewman on the ship and be able to do it as good as they could.  She remained on that ship for years and when the time came to give her her punishment the Captain instead made her his first officer claiming that would be punishment enough.

She would later go on to have adventures of her own, find her Rhy-fen companion Jarry the Dolphin,  enroll in the Naval Academy where she would butt heads against other officers, fight giant sea monsters and pirates, battle with other Navies, and generally lived her life on the deck of on ship or another.

I don't know how she died.  I don't know when she started a family. I am inclined to say that in her later years she adopted a child and raised them as her own. I think that like many sailors, before and after, her only true love was the sea. 

There are no character stats for Celeste. When you get to Garnet she will have been dead a hundred years, unless you believe the talk of old sailors and they say she is still on the deck of her ship, The Stormalong, sailing the clouds of the storms.  If you listen close you can hear her shouting orders to her crew and laughing at the thunder and lightning.

Welcome to Garnet

Green Ronin currently is taking pre-orders for print of Six of Cups.  Order now and get $5 off AND for just $5 more (so retail price) you also get the PDF right now!  That is a hell of a deal.

https://greenroninstore.com/collections/blue-rose/products/blue-rose-six-of-cups

New Release Tuesday: Blue Rose Six of Cups

The Other Side -

I have been waiting a bit to share this one with you all.  I have an adventure in the newest Blue Rose RPG book, Six of Cups!

 Six of Cups

Yes, that is my name at the bottom. 

I am quite excited about this really. There are a lot of great adventures here from a lot of great authors/designers.  Working with Green Ronin was a joy really. I am honored to have been able to contribute even just a small part to the World of Aldea.

My adventure, appropriately named "Witching Weather" deals with the birth of five children all of who have some sort of magical power and the forces of darkness that are closing in around them.

In addition to the adventure, I was given the privilege to add a bit more detail to the City of Garnet. 

I have seen the world of Blue Rose described as "fantasy Seatle" which may or may not be true, but Garnet as I have written it is "Fantasy Alton, IL."  Alton is a blue-collar riverside town with some great history, some unexpectedly good restaurants, and the shadow of the Piasa Bird everywhere you go.  Vyon Bloodwing, one of the adversaries of the adventure, is my homage to the Piasa Bird.  

So grab this book. It has my adventure in it and a bunch of other great adventures and guides to lesser-traveled places in Aldea.  When you are walking along the "Riverwalk" or "Restaurant Row" in Garnet please don't forget to raise your drink, be it a hearty stout or an equally strong tea, to both the Sovereign and the famous Admiral Celeste Vorcolio. Both the pride and joy of Garnet.  

Monstrous Mondays: Basic Bestiary Movement (& updates)

The Other Side -

Basic BestiaryIt has not only been a while (nearly a year) since I last talked about the Basic Bestiary, it has been a while since I have actually worked on it.  That is too bad really because while I have been sitting on my thumbs and doing whatever the hell else I have been doing others (at least three I can think of) have gotten their monster books out or into Kickstarter. And there is a lot of overlap in monsters here.  

Frankly, I could not be happier!

I love monster books. I have said this here a thousand times. And more monster books are always welcome. I'll spend some time with these other books later this week.

But I still want to get my own book out.

I am NOT going to do a Kickstarter for it. Nothing against it, but I don't want want to go there yet. So that means the art will be what I can buy when I can buy it with money from my other books. So that means it will be a bit longer.

I also believe that my monster book will be a value add to all the other monster books out there.  There are a lot of great monsters and monster books out there. Mine will be influenced by what I have read and played over the last decades. 

Also, instead of saying mine is "Labyrinth Lord" or "Swords & Wizardry" compatible or even the very popular "Old-School Essentials" compatible, I am sticking with my own "Basic-Era Compatible."  That might end up costing me some sales or promotions, but my stat block here is not something that is pure for any one system. In truth, I could very well put "Advanced-Era Compatible" on these books as well since I am designing the stat block to cover both systems, even if the style esthetic is going to be Basic-era.  I talked a bit about this in my "Detailing a 'Universal' Stat-block" post and that is where I want to go today.  All based on the question "how many miles per hour is that?"

Movement

One of the things that always tripped me up moving from Holmes Basic to Moldvay Basic and then to AD&D was movement rates.  Let's go back to my universal stat block breakdown and look at the movement rates for the Orc.

Holmes: 90 feet
Moldvay: 120' (40')
Mentzer/BECMI/RC: 120' (40')
AD&D 1st ed: 9"
AD&D 2nd ed: 9 (12)
D&D 3: 30 feet (6 squares)
D&D 4: 6 (8 while charging)
D&D 5: 30 feet

These speeds all are "per round" though what a round is can differ.  Holmes' speed is more in line with AD&D. D&D 3 to 5 are all the same despite different notation.

In my Basic Bestiary I note it like this:

Movement: 120' (40') [12"]  

With "AD&D" notation in the brackets. Note that my orcs then look faster. Rounds in Basic are 10 seconds and rounds in AD&D/D&D3-5 are all 6 seconds.  This means that my 120' movement rate orc in Basic has a different "Real-time" speed in AD&D.  My converted orc moves at 12" and not the 9" listed.  Is this a problem?  Actually, no. I don't feel that it is.

According to the Labyrinth Lord RPG book, 120' is the exploring speed per turn and 40' is the combat speed per round and 120' is the full running speed per round. So my question. How fast is this in MPH?

120' per round is 120 feet per 10 seconds or 720 per minute or 43,200 per hour or 8.18 repeating.  I opt to make the miles an easier 5400* feet to get 8 miles per hour.  So an orc can run full-on at 8 miles per hour. 
(*5400 is divisible by 2 and 3 so it gives me better numbers to work with.)

This brings up an interesting notion.  How fast can a particular monster move?

I looked at my entry for Archangel and see they fly at 360', which translates into 24 MPH. Not very fast from our point of view, but fast when compared to a mundane horse.  Maybe they have a Haste at-will spell and can fly at 48 MPH?  If it is a "Greater Haste" say at x3 then 72 MPH feels a little more respectable. Fantasy creatures don't always translate well into the real world.

Ideas like this have been helping drive my design philosophy.  When working on a monster I often ask "how do they relate to the PCs?" or "what sort of situations will this monster be in with the PCs?" since the Player Characters are the focus of all adventures.  Now I do also ask "How does this monster relate to Normal Humans?" and this has shifted my view on many creatures, in particular the undead.  There are consequences to both of these.

On the PC-centric side, we get the Succubus/Whispering Demon issue I mentioned a while back when I covered the BECMI Immortal Rules.  To quote:

A Succubus in AD&D is a 6+6 HD creature (average hp 33), her physical attacks are not great, but her kiss drains 2 life energy levels. In BECMI a Whispering Demon has 15* HD and 70 hp! Oh and her AC is -6.

A 6 HD creature is more than enough of a challenge for normal humans, it is also a pretty good (and scary) challenge for low-level characters. But a 15 HD succubus? That is a challenge for many!  But I do notice that in nearly every movie or tale about a succubus the demon is defeated in the end.

6 HD is what you get when you aim for Normal Humans.  15 HD is what you get when you aim for PCs.

The Basic Bestiaries will take on the point of view of Normal Humans for the most part. So my succubi (I have a couple) will be more along the lines of 6 HD.  My Archangels however will likely be flying at 72 MPH.

Miskatonic Monday #124: Dream House

Reviews from R'lyeh -

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 InvictusThe PastoresPrimal StateRipples from Carcosa, and Halloween Horror, there was Five Go Mad in EgyptReturn of the RipperRise of the DeadRise 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: Dream HousePublisher: Chaosium, Inc.
Author: Evan Perlman

Setting: Jazz Age BostonProduct: Scenario
What You Get: Thirty-one page, 4.30 MB Full Colour PDF
Elevator Pitch: A spiritual successor to The HauntingPlot Hook: Helping an old friend reveals horrible secrets
Plot Support: Staging advice, two floor plans, three handouts, six pre-generated Investigators, eight NPCs, one Mythos monster, and one Mythos tome. Production Values: Decent.
Pros# One night one-shot# Enclosed space, focused scenario# Creepy sense of déjà vu# Fun for the Keeper to run# Literally a spiritual sequel to The Haunting# Potential sequel down another trouser leg of time# Potential to play around with multiple protagonists# Can be run with player-created or pre-generated Investigators# Good with two Investigators as its is with five
# Failure is not the end...
Cons# Another sequel to The Haunting?# Failure is not the end...# The déjà vu requires careful handling
Conclusion# Literally a spiritual sequel to The Haunting with a creepy and claustrophobic sense of déjà vu that is cleverly designed and thought out.

An Expansive AGE

Reviews from R'lyeh -

Several hundred years from now, mankind has spread far out into the Solar System. Tensions between the Martian Congressional Republic, based on the greatly terraformed planet of Mars, and the United Nations of an Earth restored through the use of the same terraforming technology, have almost driven the Solar System to war. Ultimately what prevented conflict was the Martian government sharing details of the Epstein Drive, a new technology which would open up the frontier in the asteroid belt and the outer planets beyond. Like every frontier before it, prospectors raced out in search of new resources—metals to support industries across the Solar System and water to support the new and growing habitats and settlements—with colonists behind them. A growing sense of resentment at their exploitation would see the Belters set up the Outer Planets Alliance protect their interests, though the Earth-Mars Coalition would brand them terrorists. The discovery of a strange molecular technology on Phoebe, a moon of Saturn, would lead to radical changes across the Solar System. The Protogen Corporation, the corporation assigned by the Martian Congressional Republic to study it, branded it the Protomolecule and conducted experiments which would kill millions and ultimately threaten the Earth. Fortunately, there were some who could direct the threat away from the Earth and towards Venus, where it would radically transform the planet beyond all understanding.

This is the setting for The Expanse, the series of Science Fiction novels by James S.A. Corey, and the television series of the same name. It is also the setting for The Expanse Roleplaying Game, published by Green Ronin Publishing. The novels and the television series run to nine books and six seasons respectively, so The Expanse Roleplaying Game is set between the events of Leviathan Wakes and Caliban’s War, the first and second novels. The Player Characters can explore the setting of The Expanse, perhaps with their own spaceship, get involved with the conspiracies and politics of the setting between governments and corporations, and more.

The Expanse Roleplaying Game uses what has become known as the ‘AGE’ or ‘Adventure Game Engine’ was first seen 2010 in Dragon Age – Dark Fantasy Roleplaying Set 1: For Characters Level 1 to 5, the adaptation of Dragon Age: Origins, the computer game from Bioware. It has since been developed into the Dragon Age Roleplaying Game as well as the more generic Fantasy AGE Basic Rulebook and a more contemporary and futuristic setting with Modern AGE Basic Rulebook. This is the basis for The Expanse Roleplaying Game. It comes with rules for creating Player Characters, including enough focuses, talents, and specialisations to take the Player Characters from First to Twentieth Level, handling fast-paced action built around action, combat, exploration, and social stunts, spaceships and spaceship combat, background setting, advice for the Game Master, plus more... That more includes a new short story, ‘The Last Flight of the Cassandra’, by James S. A. Corey, stats for the cast of the novels, a beginning scenario, and advice when to set a campaign.

A Player Character in The Expanse Roleplaying Game is defined by his Abilities, Focuses, and Talents. There are nine Abilities—Accuracy, Communication, Constitution, Dexterity, Fighting, Intelligence, Perception, Strength, and Willpower. Each attribute is rated between -2 and 4, with 1 being the average, and each can have a Focus, an area of expertise such as Accuracy (Gunnery), Communication (Leadership), Intelligence (Technology), or Willpower (Courage). A Focus provides a bonus to associated skill rolls and, in some cases, access to a particular area of knowledge. A Talent represents an area of natural aptitude or special training, and is rated either Novice, Expert, or Master. For example, at Novice level, the Pilot Talent, the Player Character is quick to start a vehicle and make appropriate tests as minor actions; at Expert level, he gains a bonus to all rolls involving speed; and at Master level, the character’s player can reroll failed rolls, bit must keep the second roll, plus as long as the vehicle is moving, it receives a bonus to its defence. As a Player Character goes up in Level, he can acquire Specialisations, such as Ace or Executive, which grant further bonuses and benefits. A character also has a Background, Social Class, and Profession, plus a Drive, Resources and Equipment, Health, Defence, Toughness, and Speed, and Goals, Ties, and Relationships.

To create a character, a player rolls three six-sided dice for each Ability—assigning them in order, but can swap two. He then rolls his origins and native gravity, which is either a Belter, an Earther, or a Martian. After that, he rolls for Social Class and an associated Background and Profession. A Background provides an Ability bonus, a choice of a Focus, and a choice of a Talent, plus randomly determined Focus or Talent, whilst a Profession provides a pair of Focuses and a pair Talents to choose from, plus a resources score and starting Fortune. The player selects a Drive, such as Achiever or Networker, which grants another pair of Talents to choose from as well as an improvement to a Relationship, a Reputation, or Resources. The process itself is fairly quick and results in a reasonably detailed character. Alternatively, and with the permission of the Game Master, a player can pick these options rather than roll for them. This is a good choice if the players need to decide what their characters are and what they do as a team or a crew, for example, that of a spaceship as in the novels.
One stats missing from a Player Character is that of health or Hit Points. Instead he has Fortune Points. These serve two primary functions. First, they can be expended to alter the value of a die (which costs more for the Drama die), and second, they work as the equivalent of Hit Points. In effect, their use sort of reflects the Player Character’s luck being used up or running out.
Our sample Player Character is Jadamantha Holland, who grew up in a klade of indentured labourers and crafters out in the belt. Renowned for her outspoken attitude she was elected its negotiator after she complained at the poor deals being bargained for their labour with the corporation they were indentured to. She stuck to her guns and got a better deal, year on year, and then for other klades as she fomented a drive for them to unionise. She was successful, but the corporations would ultimately rig the elections and ensure she did not win. Consequently she hates the corporations and supports the Outer Planets Alliance, often moving from location to location, negotiating workers’ rights. When that does not work out she is an invertebrate gambler and often she can turn her hand to most things. Her often obstinate views on authority get her into trouble. 
Jadamantha Holland
Background: Belter
Social Class: Lower Class (Labourer)
Occupation: Negotiator
Level: 1

Accuracy 0
Communication 3 (Bargaining, Gambling)
Constitution 1
Dexterity 2 (Crafting, Free-fall)
Fighting 0
Intelligence 2
Perception 2
Strength 1
Willpower 3

Defence 12 Toughness 11 Speed 12 Fortune 15
Talents: Carousing (Novice) Improvisation (Novice), Oratory (Novice)Drive: Rebel
Resources: 2

Mechanically, the AGE System and thus The Expanse Roleplaying Game, is simple enough. If a Player Character wants to undertake an action, his player rolls three six-sided dice and totals the result to beat the difficulty of the test, ranging from eleven or Average to twenty-one or Nigh Impossible. To this total, the player can add an appropriate Ability, and if it applies, an appropriate Focus, which adds two to the roll. For example, a group of Outer Planets Alliance terrorists have been tracked to a belter station in the belt and the Earth-Mars Coalition is preparing a Marine Corps strike team. The Player Characters could sneak onto the station to find out what is happening there or they could negotiate with the Marine Corps strike team commander to wait before she sends her team in. The former would involve a player rolling the three six-sided dice, applying the Player Character’s Dexterity Ability, and if the Player Character has it, the Stealth Focus. The other option would be to roll the three six-sided dice, apply the Player Character’s Communication Ability, and if the Player Character has it, the Bargaining Focus.
However, where the AGE System gets fun and where the Player Characters have a chance to shine, is in the rolling of the Drama die and the generation of Stunt Points. When a player rolls the three six-sided dice for an action, one of the dice is of a different colour. This is the Drama die. Whenever doubles are rolled on any of the dice—including the Drama die—and the result of the test is successful, the roll generates Stunt Points. The number of Stunt Points is determined by the result of the Drama die. For example, if a player rolls five, six, and five on the Drama die, then five Stunt Points are generated on the Drama die. What a player gets to spend these Stunt Points on depends on the action being undertaken. In 2010, with the release of 2010 in Dragon Age – Dark Fantasy Roleplaying Set 1: For Characters Level 1 to 5, the only options were for combat actions and the casting of spells, but subsequent releases for Dragon Age – Dark Fantasy Roleplaying expanded the range of options on which Stunt Points can be spent to include movement, exploration, and social situations. This has been carried over into Modern AGE and The Expanse Roleplaying Game and expanded and expanded.
So, what can stunts do? For example, for one Stunt Point, a player might select ‘Whatever’s Handy’ and grab the nearest improvised weapon, which though clumsy and possibly fragile, it will do; for five Stunt Points, select ‘Spray and Pray’, which applies an attack to everyone in a five metre radius, though they all get a Defence bonus; and for each three Stunt Points spent, ‘Hull Breach’ reduces the target vehicle’s Hull rating by a point. In an Investigation, ‘Flashback’ costs a single Stunt Point and reminds the Player Character of something he forgot, whilst in a social situation, ‘From the Heart’ costs four Stunt Points and enables the Player Character to express wholeheartedly a belief such that it temporarily grants a Willpower Focus and a bonus to the roll to use it.For example, Jadamantha Holland gets herself captured by the Marine Corps strike team readying itself to attack the belter station where the commander suspects there are some Outer Planets Alliance terrorists. Her loud mouth easily persuades the sergeant to take her before the commander by claiming that she has information about what is on the station. Jadamantha wants to persuade the commander to wait and let her colleagues find out what is happening on the station before the marines go in all guns blazing. Brought before the commander, Jadmantha tells her that she should not go in yet and that if she does, she sill have another Fred Johnson situation on her hands and there’s her career gone. The Game Master sets the base Test Difficulty at Hard or fifteen because the marine commander is determined to send her team in. Jadamantha’s Reputation as an Outer Planets Alliance sympathiser counts against her and so increases the Test Difficulty to seventeen or Formidable. Her player will roll the dice, add Jadmantha’s Communication Ability and +2 for the Bargaining Focus. In addition, Jadamantha’s player gives an impassioned speech warning about the danger of another Fred Johnson affair. This grants another +2 bonus. So altogether, the player is adding a total of seven to the roll. Jadmantha’s player rolls five, three, and then five on the Drama die. This means that she has succeeded and her player has five Stunt points to spend. Her player first chooses ‘Let’s make deal’, which enables Jadmantha’s words to benefit another person present, who now owes her a favour, if only begrudgingly. This is the marine sergeant, who is now concerned that his commander is going in hot. This costs three Stunt points and Jadmantha has successfully persuaded the commander to stay her hand.
Another use for the Drama die is to determine how well a Player Character does, so the higher the roll on the Drama die in a test, the less time a task takes or the better the quality of the task achieved. The main use though, is as a means of generating Stunt Points, and whilst Stunt Points and Stunts are the heart of the action in The Expanse Roleplaying Game, there are a lot of them to choose from. Now they are broken down into categories, and that does limit what a player can choose from. However, upon initial play, a player is not only going to be faced with an abundance of choice, but in making that choice can slow play down. In combat that is a real problem because it is meant to be exciting and dynamic. Ultimately, this should lessen as players get used to the system and find out what Stunts work best with their characters, and as they get used to these choices, which is when they will find that the array of Stunts available do reflect aspects of the setting and story of The Expanse.
In addition to covering action, combat, exploration, and social scenes, The Expanse Roleplaying Game covers rules for handling resources (money), reputation, technology and equipment, and more. There is a solid guide to the latter and what is clear is that beyond the Epstein Drive for spaceships, technology is not overly advanced. Beyond that, the highest piece of technology listed is power armour, which is rarely to be found in possession of the Player Characters. In covering lifestyle, communications, food, and more, The Expanse Roleplaying Game begins to impart a feel of the future it depicts. Some players may be disappointed by the treatment of the technology in terms of weaponry, the differences of which are determined by various Qualities and Flaws. Mechanically this is effective, but it does feel flavourless in terms of the setting.
In comparison, The Expanse Roleplaying Game goes into some details about how space travel and spaceships work in its future. This includes a discussion of motion, mass, spin, and velocity, all of it surprisingly technical. This is not built into the rules though, which means that a calculator and an understanding of mathematics is not required to play the roleplaying game or handle a spaceship. Instead, it supports the roleplaying game and setting as a hard Science Fiction setting, rather one of just pushing the button and the ship goes., and should instead be used to flavour and inform the narrative in play. Various types of spaceships are detailed from a lowly shuttle all the way up to large freighters and battleships. These are all relatively simply defined with Hull points, crew size and competence, sensors, weapons, and Qualities and Flaws, if any. They are illustrated, but no deck plans, at least for the types of spaceships the Player Characters would have access to, which again is disappointing as that again would have imparted a stronger feel for the setting. (That said, Ships of the Expanse does include those deck plans as well as other information.) In general, whether or not the Player Characters own or have a spaceship will be down to the type of campaign being played or the narrative.
Spaceship combat builds on the core mechanics and has a fluid feel to it. Primarily, it adds another table of Command Stunts for the captain to choose from if he rolls well at the beginning of each round. This can flavour and influence the course of the action from round to round, so that ‘Guidance’, which costs one or more Stunt Points, gives bonus points to assign to combat tests throughout the round, or ‘Set-up’, which costs four Stunt Points and is used to maneuver an opposing ship into a hazard, whether that is into the range of a weapon with a shorter range, a debris field, or even an asteroid. Reflecting the harder feel of its Science Fiction, the spaceships do not have shields, damage being done directly to the hull, and weapons are all kinetic, whether that is Point Defence Cannons, rail guns, or torpedoes. The rules for spaceship combat are supported by a good example of play—the best in the book.

The guide to the future depicted by The Expanse, essentially the background to the setting, does not appear until over halfway through the book. This covers the history of setting all the way up to the first two novels, as well as background on Earth, Mars, the Belt, and the Outers beyond that. It also includes full details and stats of the main members of the cast—Chrisjen Avasarala, James Holden, and more. This would allow the players to take them as characters if they wanted to. Perhaps fans of the television series and the novels may be underwhelmed by the lack of background, but The Expanse Roleplaying Game is not intended to be the  definitive sourcebook for either. Overall, it is a good solid introduction to, and overview of, the setting.
The Game Master is really only given one more mechanic. To aid her handle and increase tension, she is given Churn. Reset at the beginning of each adventure, this ticks up and is tracked whenever a player rolls a six on the Drama die, spends more than four Stunt Points, a player spends Fortune, or the Player Characters overcome an encounter or hazard. When the thresholds are exceeded at ten, twenty, and then thirty points, the Game Master checks for a ‘Churn Over’ which can result in a minor, major, or epic setback or turn of events which in some way impedes the Player Characters. Other than this, the section for the Game Master is dedicated to solid, well written advice on running the game and adjudicating the rules, plus creating adventures, GM styles, and knowing your players—the latter particularly well done. It also includes adversaries, both mundane and outré, potential rewards for the Player Characters, and a discussion of the themes to be found in The Expanse and how to use them in the game. It suggests several campaign or series frameworks, including freelancers, military, political, rebellions, Protomolecule, and other series. It even discusses how to run Parallel series with two or more groups and a series exploring the setting of The Expanse beyond the story depicted in the fiction. All come with plot hooks and there are some concepts for taking beyond the canon too. It even plots out Leviathan Wakes, the first novel, as a plot arc.
Lastly, ‘To Sleep, Perchance To Dream’ is an introductory scenario which a Game Master can run as a one-shot or beginning of a campaign. In the Player Characters are hired by the Mormons on Tycho Station to investigate the disappearance of two scientists. The plot of the scenario is not connected to that of the novels, so it has the feel of there being other things going on other than the threat posed by the Protomolecule. The scenario will bring them into contact with one of the major characters of the setting, but only tangentially, which is a nice touch for fans of the series. Plus as written it should all end with a cinematic climax.
Physically, The Expanse Roleplaying Game is cleanly presented, illustrated throughout in full colour, the artwork nicely depicting the future of The Expanse, as well as its various characters. In places, it is perhaps slightly too busy in terms of its layout, sometimes making it less than an easy read. However, it is well written and an engaging read, especially the background and the advice for the Game Master on running a game and choosing a series framework.
From its inception in 2009 with Dragon Age – Dark Fantasy Roleplaying Set 1: For Characters Level 1 to 5 to the publication of The Expanse Roleplaying Game in 2019, the AGE System has evolved from an elegant and easy way to handle cinematic fantasy into something which is both complex and comprehensive. It still retains its core elegance, but it is no longer as easy, having more choices and more crunch. This is unavoidable though, given the hard Science Fiction of The Expanse setting, and to be fair, The Expanse Roleplaying Game explains and handles it very well. The core elegance of the AGE System means that the Player Characters can get to do exciting, even cinematic action and interaction, in what is a hard Science Fiction setting, and so have a chance to shine. The Expanse Roleplaying Game is an impressive adaptation of the start of The Expanse setting, one which fans of hard Science Fiction roleplaying will enjoy as much as fans of The Expanse.

Colouring Cthulhu IV

Reviews from R'lyeh -

Okay. Remember back in 2017 and that weird thing when colouring books were popular once again. Not just for children, but for adults. Walk into any bookshop and you could find a colouring book on any subject or for any intellectual property you care to name, from the Harry Potter Colouring Book, the Vogue Colouring Book, and The Kew Gardens Exotic Plants Colouring Book to the Lonely Planet Ultimate Travelist Colouring Book, the Day of the Dead Colouring Book, and the Escape to Shakespeare’s World: A Colouring Book Adventure. I gave them as presents, but in all honesty, I had and have no interest in colouring books. Except that Chaosium, Inc. published a colouring book, one inspired by the works of H.P. Lovecraft. It being from Chaosium, Inc. and it being inspired by the works of H.P. Lovecraft piqued my interest enough to want to review it, but the main reason to do so was to see if I could review an actual colouring book. Well, I could, and the result was a review of Call of Cthulhu – The Coloring Book: 28 Eldritch Scenes of Lovecraftian for you to Color. However, it turns out it was not the only Lovecraft-inspired colouring book.

The latest is Color the Cthulhu Mythos of H. P. Lovecraft. Published by Mythos Monsters, it is the second colouring book by artist Jacob Walker, following on from the earlier The Colouring Book Out of Space: A Lovecraft inspired adult coloring book. It collects some twenty-five illustrations, in turn portraying some of the classics of Lovecraft’s works and others. This includes Cthulhu, Dagon, Nyarlathotep, The King in Yellow, and more, as well as places such as R’lyeh, the Dreamlands, the Mountains of Madness and beyond. These are all presented on single sheets which are perforated for easy removal and can be coloured in using pencils, inks, or marker pens, depending upon the colourer’s choice.

After the classic quote from The Call of Cthulhu, begins with a depiction of the most iconic of Lovecraft’s creations, Cthulhu himself. In ‘Resurrection in R’lyeh’, he pulls himself up out of the sea under the waxing crescent of the moon, amidst the tops of the non-Euclidian spires of the city below. It is not the only depiction of Cthulhu, the other, ‘The Call of Cthulhu’, a close-up of the great god. Numerous gods are illustrated, such as ‘Yig, Father of Serpents’ and ‘Ithaqua Hunting’, whilst in ‘The Crawling Chaos’ he appears in Ancient Egypt, perhaps as the Dark Pharoah, perhaps as The Crawling Chaos itself. Of the various species, an Elder Thing perches atop an obelisk, ‘The Mi-Go of Yuggoth’ appears from nowhere, and a horde of unnamed Deep Ones swarming forth as ‘Dagon Lord of the Deep’ looms… There is often a cosmically comic sensibility too, such as in ‘Alhazred’s Book, The Neccronomicon’, where the scholar is being assailed by tentacles that thrust up from the very book he is studying, or another scholar attempts to ‘Dispel the Horror’. In general, Human involvement is limited to the poor unfortunates facing the ‘Shoggoth from the Void’ or a Ghoul poses as ‘Pickman’s Model’.

The style of Jacob Walker’s artwork here is clear and open with clean lines and plenty of space. There is however, a familiarity to many of the poses, the Mythos often to be found atop something and looming forth out of the picture towards the viewer. This is the case whether it is the batrachian inhabitants with ‘The Innsmouth Look’ looking out at the viewer, the ‘Grave Eating Ghoul’ pulling itself from the graveyard, or the ‘Byakhee Sentinel’.

In terms of inspiration, Color the Cthulhu Mythos of H. P. Lovecraft draws from Lovecraft’s and others’ fiction to focus upon the gods, the races, the monsters, and more. Barring the aforementioned ‘Pickman’s Model’, there are few if any scenes inspired by or depicted in the fiction. This is very much a monsters of the Mythos colouring book rather than a broader Mythos colouring book. Which is as intended, but it does mean that Color the Cthulhu Mythos of H. P. Lovecraft is less useful as a source of inspiration for the Keeper of Call of Cthulhu, Seventh Edition, or as a means to illustrate something in Call of Cthulhu—both advantages held by Chaosium, Inc.’s Call of Cthulhu – The Coloring Book: 28 Eldritch Scenes of Lovecraftian for you to Color. To be fair, Color the Cthulhu Mythos of H. P. Lovecraft was not created with either feature drawn in, but any Keeper of Call of Cthulhu, Seventh Edition expecting them will be disappointed. Of the two, Call of Cthulhu – The Coloring Book: 28 Eldritch Scenes of Lovecraftian for you to Color is definitely the more interesting and has more to say.

Ultimately, that leaves the point of Color the Cthulhu Mythos of H. P. Lovecraft—the artwork. Clean and simple, every illustration awaits the one thing we are used to seeing in other depictions of the Mythos, and that is colour. The unfussy style of artwork means that this is easy to apply, whether you are a long-time devotee of the Cthulhu Mythos or a three-year-old being introduced to non-Euclidean artwork in readiness for preschool, whether you want to work subtle changes of colour or bold swathes. Color the Cthulhu Mythos of H. P. Lovecraft is then simply okay. The illustrations are decent, and whilst the combination of Cosmic Horror and colouring book is still undeniably weird, it is still just okay.

Solitaire: Tome of Terror: Transylvania

Reviews from R'lyeh -

What marks Tome of Terror: Transylvania—as well as the rest of The StoryMaster’s Tales series—as being different is that it a solo adventure book best played by more than one player and that each and every scene in its story contains a QR code. Scan this and click on the link and the reader will automatically be taken to the narration for the location, which provides a description, some possible actions, and some suitably ominous music. It certainly ups the atmosphere as the stalwart heroes set out to investigate tales of vampires, werewolves, ghosts, and other monsters in the lands of Transylvania and the castle itself. It consists of some fifty locations, comes with four pre-generated Investigators, a means for a player to create his own, maps—some blanks so that the adventures can be played again, a list of potential rewards, and its own neat twist on the dice on the page flipping mechanic. Tome of Terror: Transylvania is inspired by the classics of the genre such as Dracula and Frankenstein, as well as the Hammer Horror films, and so takes place sometime in the nineteenth century.

Published by StoryMaster’s TalesTome of Terror: Transylvania is intended to be played by between one and five players—preferably the latter—aged seven and over. Given its subject matter and the text-heavy format, with younger players, more mature players will be required to play alongside them, perhaps with an adult as StoryMaster. Thus, Tome of Terror: Transylvania can be played as a family game.
An Investigator in Tome of Terror: Transylvania has a Name, Occupation—either Author, Explorer, Priest, and Professor, and several attributes. These include Fighting Skill, Supernatural Insight, Fortune, Study Level, Reflex, Health, and LEU. Of these, LEU is a currency which can be spent during the Investigators’ enquires; Reflex is his dexterity; Study Level is his concentration and curiosity; Fortune his luck; Supernatural Sight his capacity to see and face the forces of the unnatural. Alternatively, a player can create his own. If he does so, he sets his Health at ten and Fortune at four, and then divides ten points between Fighting Skill, Supernatural Insight, Study Level, and Reflex. LEU is also randomly determined. He is also free to decide upon his Investigator’s Occupation rather than adhere to those of the given four. These four include a priest drawn to investigate the supernatural, an authoress in search of authentic background for her next novel, a professor in search of an old student—one Victor Frankenstein, and an explorer in search of the strange, the exotic, and adventure.
Mechanically, Tome of Terror: Transylvania uses a four-sided die and a six-sided die. It does not use a simple type of roll, varying depending upon the situation. Sometimes a player will be asked to roll equal to or under a given attribute on a six-sided die. Combat though, requires a player to roll a six-sided die and add his Fighting Skill, the aim to roll higher than the opposing roll made by the StoryMaster. Whomever loses the roll also loses a point of Health and if the latter is reduced to zero, the combatant is dead. Weapons add to a combatant’s Fighting Skill. When fighting against supernatural creatures, a player adds his Investigator’s Fighting Skill and Supernatural Insight to get his attack total. Group attacks, whether by the Investigators co-operating together or the Investigators and their companions, are done with everyone taking it in turns to attack. Lastly, if the Investigators want to flee a fight, then they can do so, but will lose a point of Health in the process. At other times, a four-sided die is rolled to determine a random outcome and Fortune can be gained and lost throughout the story. So simple enough, but not immediately obvious or easy to grasp, although it is clear that the author is trying to make Tome of Terror: Transylvania easy to run.
Alternatively, an eight-sided die and a ten-sided die can be used instead of the four-sided die and the six-sided die if the players want to make Tome of Terror: Transylvania more challenging. If the players lack dice, a player can instead flick through the pages with his thumb and when he stops at a page, the numbers on the dice immediately above where his thumb is on the page, those are his die results. There are seven combinations of four-sided dice and six-sided dice on each and every page, which provides numerous combinations and plenty of random results.

So how does Tome of Terror: Transylvania play? Although it can be played solo, it is really designed to be played by five participants, one of whom takes the role of the StoryMaster. Essentially then, he takes the role of the Game Master. The other players take the role of the Investigators. Then everyone picks a Tale from the four included in the book. These are ‘Horror of the Vampire’, ‘Mark of the Werewolf’, ‘Curse of Frankenstein’, and ‘Spirits of the Dead’. Each of these presents the players and their Investigators with an objective and a reward, and after this is read out, the story proper begins at the Tavern. Each of the fifty entries in Tome of Terror: Transylvania is several pages long, varying in length between two and six pages. Each has its own illustration, introduction in bold (which matches that of its narration) and then four options. For example, “Ask for something to drink”, “See what there is to eat”, “Talk to a local”, and “Search the tavern”. Each of the four entries is then greatly expanded depending upon what the Investigators are attempting to do. The players are free to choose which options they want, though no more than two options chosen per encounter. The combination of this and the multiple tales means that the Tome of Terror: Transylvania can be played more than once.
Of course, Tome of Terror: Transylvania is intended to be dramatic, and the author actually performs many of these tales as the StoryMaster. The StoryMaster in Tome of Terror: Transylvania is encouraged to make the ending of each tale as dramatic as possible, to put on a performance, and to be fair, a certain degree of performance is required, since there is a lot of text to go through and present.
Physically, Tome of Terror: Transylvania starts poorly, but gets better. The initial explanation and set-up, and the explanation of rules, could all be more clearly presented for ease of play. However, once the tale starts, the writing improves as the author is clearly enjoying himself. The artwork and the maps are all good, and like the writing, the layout of the various entries is far better than that of the first part of the book.
Mechanically, Tome of Terror: Transylvania is simple, but as simple as the rules are, they are also messy and could have been more consistent. Put that aside, they are simple enough to use and they are simple to impart to players not used to roleplaying. Where Tome of Terror: Transylvania shines is in the tales themselves and the exploration of Transylvania and the revelation of its horrors. Unlike other solo adventure books, Tome of Terror: Transylvania really deserves a participating audience and a Storymaster who can ham it up!

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