A new week and a new set of rules to read over.  This week I am going for a span of 20 years. Traveller, in its first 10 years, stayed pretty consistent and took me about two weeks to work through.  The next 20 years are going to be much faster.

I am going to start off with one today I only know very little about.  Traveller: 2300 also known as 2300 AD.  

Before getting into any books or research here is what I do know.  This was supposed to be the start of a new line for GDW.  It dealt with the earliest time in the Traveller Universe, specifically 2300 AD on Earth. There was a tie-in with their Twilight 2000 game line.   In 1986 I was very deep into AD&D to exclusion of all else save for college prep. 

So this one is 100% new for me.

2300 AD or Traveller: 2300

Ok. Let's do this one right from the start.  This is not really a Traveller game.  While I am sure many people worked it out so it could be the past of Traveller, my very, very limited understanding of the history of Traveller's Imperium suggests that likely isn't.  But I am sure people with better knowledge than me can say for sure.   Since I have a sci-fi game set more or less in the 2300s I figure why not pick this up to see what it is like. 

For this review, I am only considering the PDF available from DriveThruRPG.  I *thought* I had bought it from FFE years ago, but I can't find my copy.

PDF. 131 pages. Color cover, black & white interior art.  The scan is OCRed and bookmarked.  The scan of the cover is rough, but the interior looks better. 

The Introduction reads like many RPG books. "This is an RPG", "here are some expectations." And so on. 

Player's Manual

History covers the history of this setting with the horrible nuclear war in 2000.  I must have been sleeping. I am kidding of course, RPGs are great fun but they have not been great at predicting the future really. Now I have no way of telling, but I think this is basically the same history as GDW's other game Twilight 2000. It certainly feels the same. I never played the game myself.   This history section covers the fall and rise of humankind as they venture out into space by the year 2300.  Wars and geo-political rivalries are also covered and how they still affect the day-to-day lives of humans on Earth and in Space.  This flows into the next section.

Political Geography talks about Earth and beyond of 2300.  America is split up (ok that one is not so far-fetched) with Texas as its own republic (which seems to be a reoccurring theme in a lot of things I am reading right now) and other "American" nations. Mexico is split up. Europe ie, well Europe.  I think the authors overestimate the older rivalries a little.  Germany reunited long before 2000 in a largely peaceful integration and the European Union has been going pretty strong if you ignore Brexit.  

In space we colonies at L-4 and L-5 (LaGrange Points), Mercury (not likely, but I'll go with it), Mars, the Asteroids (much more likely), the moons of Jupiter, and just beyond Saturn.  No mention of Lunar colonies at all here. 

The chapter on Technology is interesting. By 1986 we had seen nearly 10 years of Moore's Law in effect for computers, so the authors of this game give computers a bit more power.  I would argue it is not really enough still, but getting there. There is a bit about AIs and psychosis that feels like something I just read in Robert A. Heinlein's Friday.  There is some detail on transportation and medical sciences as well.

Colonies cover the fifty-five colonies on twenty-nine inhabitable worlds.  Since these colonies are largely extensions of Earth-based interests they are classified by which "Arm" they are in (American, Chinese, French) or which "Finger" of the Arm (Canadian and Latin for America or the French Frontiers).   This is followed by Foundations that provide services for citizens after the collapse of the governments in 2000.

Twenty pages in we finally get to Character Generation.  If you didn't know this was "not Traveller" before then you learn it here.  There are four physical attributes: Size, Strength, Dexterity, Endurance, and four psychological ones: Determination, Intelligence, Eloquence, and Education.  You roll a 4d6-4 (generating a score between 0 and 20) and you can re-roll one physical and one psychological attribute.  Strength and Dexterity are altered by homeworld and gravity type.

Like Classic Traveller you have skills that can be determined by Background and Career.  But no hint of dying in Character Gen (is this even Traveller then???).  

This all takes us right to Skills and Careers.

The "Shopping sections" Equipment, Weapons, Vehicles, and Armor follow.  Weapons cover all sorts of guns (as expected) and a few laser-based ones. Vehicles does not cover starships.  The currency of choice is the French Livres (Lv). 

We get some star charts and tables of the nations of the systems.

Referee's Manual

While this is all one file, it was obviously once a boxed set with separate books.  Pages 54 to 105 cover what was the separate Referee's Manual.  I will also point out that the Bookmarks in my PDF stop working well at this point.  There are bookmarks, but they don't always go where they should and are indented oddly.

What would have been the back cover of the Referee's Manual has some really great insight.  It credits Marc W. Miller (Traveller) and Frank Chadwick (Twilight: 2000) as two of the "big name" designers of 2300.  The implication here is that 2300 was something of an in-house game combining elements of Traveller and Twilight:2k.  As a designer myself, I find that fascinating.  Maybe, just maybe, more fascinating than the actual game!  Internally they called it The Game. And it sounds like that played it out from 2000 to 2300 in turns of 5 or 10 years to get us where we were then.

Life on the Frontier covers the implied setting of the Traveller 2300 game. 

Tasks and Combat are largely the same sorts of sections, with combat a special case of task resolution.  Clue #2 that this is not your father's Traveller: 1d10 for task resolution and not a 2d6.  Here you need to roll higher than a 7 with every 4 points above or below that as a target number difficulty. You add your plusses from skills to your roll and if needed an attribute divided by 4 (+0 to +5) range. 

Both Tasks and Combat have charts of successes and failures and what you do with each.

Star Travel finally gets off of the Earth and out into the colonies.  The stutterwarp is travel mode of choice to get to distant stars. There are limitations.  The drives of these ships can travel great distances but have to jettison their spent radioactive fuel in the gravity well of a system.  This process takes some time.  So there is a limiting factor on how far a ship can practically travel.  There is some detail on tinkering with your starship, but not at the level I have come to associate with Traveller.  Space Combat follows right after this.  What is nice about this one is there are some photos of ships on a space hex-grid.  

Ship Listing is the "shopping list" of Starships.  It lacks the "used cars" feel of Classic Traveller. 

World Generation is next.  It covers quite a lot of detail to be honest. More than I expected.

NPCs are next, followed by World Mapping and Animal Encounters. 

There are some star maps, star charts, and some blank forms for Star Data, World Data, and Colony/Outpost Data.

Also included is a sample adventure, The Tricolor's Shadow.  It has maps, adventure ideas and two scenarios to run. 

Two alien species are introduced in the end, The Kafers and The Pentapods.  They are presented as NPCs only, not as playable species.

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Traveller 2300 is not a bad game to be honest, it just isn't really Traveller is it?  I would be better with it IF I could try to figure out a way to make it work with more up-to-date history. But by that point, I could instead use it as a guide and run a Classic Traveller game and limit it to this time period and location.  

There is another issue with playing this sort of game.  Traveller 2300 suffers from our collective inability to really predict the future.  That is no slight on the designers, that is just human nature.  Compare the tech in this game to that of The Expanse RPG.  Both cover humanity's first step to the solar system and beyond.  Both cover roughly similar time periods (2300 vs. 2359) and both can play the same sorts of games.  In Traveller 2300 you have the stutterwarp to get to extra-solar planets and int he expanse has the ring gates.  The differences lie in the subtle predictions.  Computers are much more powerful in the Expanse, but FTL tech is non-existent (save for the ring gate).  Traveller 2300 has FTL (in a limited fashion by design).  Compare both to say Star Trek of the same period, neither has anything at all like the Ambassador Class Enterprise-C. 

Still this is a good game for a grittier version of Traveller, if you don't mind the system change, or for an advanced version of Twilight 2000.

The Spy Game: A Roleplaying Game of Action & Espionage takes the mechanics of Dungeons & Dragons, Fifth Edition into the very modern world of international espionage and intrigue, of stealth and superscience, and of maladjusted masterminds and doomsday devices in which spies, hackers, assassins, femme fatales, and suave secret agents set out to save the world in the name of freedom and democracy! Published by Black Cats Gaming following a successful Kickstarter campaign, The Spy Game casts the Player Characters as Agents, members of a spy agency, whether a real-world agency like the USA’s CIA, the United Kingdom’s MI6, or India’s RAW, or a fictional one included in its pages or of the Game Master’s own creation, and undertake assassination, capture, obtain, sabotage, or surveillance missions—or a combination of any five of them. They will attend briefings, gather intelligence, and conduct fieldwork, all before attending mission debriefings. The rules in The Spy Game allows the players to create interesting characters from a diverse range of backgrounds who engage in a range of espionage activities including infiltration and hacking, equipped with a wide array of equipment, and the Game Master to create agencies, missions, enemies and threats. In bringing espionage and modern action to Dungeons & Dragons, Fifth Edition’s mechanics, The Spy Game notes that anyone who comes from that roleplaying game will find a lot of familiarity, but also that it adds Infiltration to combat to expand upon the element of surprise and detection, gadgets which replace magic items—and which have to requisitioned, and hacking which works like magic, but only on computer technology.
Like any good, modern roleplaying game, The Spy Game includes advice on the use of safety tools. Not just on the use of the X-card and lines and veils, but also advice appropriate to The Spy Game and its genre. This includes advice on taking care when involving real world events and politics in the game, and be careful when involving torture as a means of acquiring information. Ideally, if it is used, it would only be a grittier type of game and even then a veil be drawn over it. The Spy Game also notes that whilst sex and seduction have always played a role in espionage, whether fact or fiction, there is no Seduction skill in the roleplaying game and again, all of the players will need to agree to its inclusion in a game.
The Spy Game: A Roleplaying Game of Action & Espionage is a Class and Level game. It has eight Classes—Face, Hacker, Infiltrator, Martial Artist, Medic, Ranger, Soldier, and Technician, each one of which has its own three archetypes, Proficiencies, abilities, and more. Backgrounds such as Academic, Athlete, Civil Servant, Con Artist, Criminal, Diplomat, Motorist, Outdoorsman, and Scientist, all add bonuses in terms of attributes, languages, and equipment, as well as special advantages, proficiencies, and a Feature. Each also gives options for an Agent’s Double Life, Secret—which is initially kept just between the player and the Game Master , Ideal, and Bond, all of which can be used in play to gain Inspiration as per the roleplaying mechanic introduced in Dungeons & Dragons, Fifth Edition. For example, the Motorist increases an Agent’s Dexterity and Wisdom by one, grants Mechanics as a skill proficiency, grants him Advantage on Dexterity Saving Throws when driving or piloting a vehicle, gives special proficiency on motorcycles, cars, heavy goods vehicles, and mechanic’s tools, and provides the ‘Home Behind the Wheel’ Feature, which lets him regain control of a vehicle if he loses control of it as a Bonus Action. This can only be done once before requiring a short or long rest to use again.

To create a character, a player selects a Class and a Background, generates his character attributes—either by rolling or using the point buy option, and adds all of the finishing details you would expect. Multiple dice rolling options are given, but The Spy Game suggests that a player choose his character’s Class and Background first before rolling, or preferably, using the point-buy option. This varies from the ten points of a Gritty campaign to the twenty-five of one involving Super-Spies, but the standard is fifteen.

Rachel Rosen
Nationality: British
First Level Hacker

Str 10 (+0) Dex 12 (+1) 1 Con 10 (+0)
Int 15 (+2) Wis 10 (+0) Chr 16 (+3)

Hit Points: 6
Hit Dice: 1
Armour Class: 13

Class Abilities: Hacking, Personal OS
Skills: Acrobatics (+1), Athletics (+0), Deception (+5), Espionage (+4), Infiltration (+2), Infotech (+4), Insight (+0), Intimidation (+3), Mechanics (+2), Medicine (+0), Perception (+0), Persuasion (+5), Slight of Hand (+4), Stealth (+1), Survival (+0), Tactics (+2)

Proficiency Bonus: +2
Proficiencies: Charisma Saving Throws, Deception, Espionage, Hacking Tools, Infiltration, Infotech, Intelligence Saving Throws, Languages—Spanish and Russian, Light Armour, Motorcycles, Persuasion, Simple Melee Weapons, Simple Ranged Weapons, Sleight of Hand, Thieves’ Tools

Advantage: Dexterity Saving Throws
Feature: Escape Notice
Equipment
Laptop, taser, padded armour, investigation pack

Background: Criminal
I steal as a form of activism, targeting the ruling classes and the corporate machine (Double Life); My plans for a heist could bring down all the major banks (Secret); I only steal to help the poor, with 50% of the world’s wealth in the hands of the top 3% of people – it’s time to there was some redistribution (ideal); I have a unique relationship with the detective who wants to take me down (Bond)

Mechanically, The Spy Game uses the same ones as Dungeons & Dragons, Fifth Edition, although there are changes. The first major addition is that of infiltration to combat. This expands upon the rules for surprise and detection, accounting for the Agents’ actions round by round whilst they remain hidden from the view of any enemy NPCs. This adds a degree of tension to play prior to combat itself breaking out. The rules for vehicles also cover chases—treated as contests, but complete with manoeuvres like ramming or weaving, and combat, including targeting parts of a vehicle.

One of the major additions to The Spy Game consist of rules for Hacking. Primarily the purview of the Hacker Class who can Bypass protected operating systems or password protected software, Modify software, or Attack. The Hacker can use hacking tools which he can install as executable slots in his operating system, which like physical tools and gadgets have a Calibre rating. Operating Systems have their own Calibre rating, Armour Class, and Hit Points, and thus their own executable slots, and when a Hacker attempts to infiltrate an operating system, his aim is reduce its Hit Points to zero and so corrupt its programming and security features. Although the rules for hacking do feel like another combat subsystem, they are not intrusive in the sense that they do not impede play in the way that they do in other roleplaying games which have rules for them at their core, plus not all of the hacking tools are designed to just do damage. Others map or copy a network, deny access, and so on.

A fifth of The Spy Game is dedicated to equipment. It includes just about every item, device, or gadget that the players and their characters can imagine—and probably more beside. If not given , then the Technician Class can actually build more as gadgets as well as boosting those already in the Agents’ possession. The equipment list also includes Equipment Packs, like a Diplomatic Pack, Investigation Pack, and Wetwork Pack, as well as individual items. Unlike some of the source fiction, The Spy Game does not use brand names, makes, marks, and manufacturers in its descriptions, for example, genericising its weapons. It avoids the designers and the roleplaying game getting bogged down in real world detail, but on the other hand, it does mean that the game loses a degree of verisimilitude.

The list of equipment also encompasses the gadgets beloved of the genre. So it includes Exploding Gum, Palm Flamethrower, Bladed Boots, Garotte Watch, and more, all the way up to close air support! Vehicles are added too, such as drones and buses, all the way up to tanks and ground attack aircraft. Gadgets themselves have a Calibre rating, from one to five, and do need to be requisitioned. The maximum Calibre of the gadgets available is determined by the Mission Calibre, a factor itself based on the average Level of the NPCs the Agents will face and the number an Agent can carry is determined by his Level.

The Spy Game’s ‘World of Spies’ focuses on spying in the early twenty-first century and how espionage has changed from the late twentieth century. Several real-world agencies are detailed, but it really gives space to new and fictional agencies, including their primary locations, agents and activities, and signature devices. These are the Operations Executive, a ‘deep state’ international organisation committed to global co-operation, co-ordination, and contentment; Taga Bunot, a Philippines-based agency which specialises in date recovery and prevention of blackmail, extortion, and smear activities; Streetworks, an agency whose agents consist of those who have been fired or forced into early retirement from other agencies due to injury, incompetence, or office politics, and operate on a lower budget; the Caledonian Spy Group or CSG, the spy agency established in Scotland following a successful bid for Scottish independence; Zodiac, an agency which responds to threats detected by data sifting by artificial intelligence; and the Hive, an organisation of highly distributed digital mercenaries. Some of these agencies do wear their influences on their sleeves, almost literally in the case of the Operations Executive, a very Kingsman-like organisation, whilst Streetworks feels like Mick Herron’s Slow Horses series of novels. My favourite though is the Caledonian Spy Group, a delightfully parochial agency whose creation feels all prescient.

For the Game Master there is solid advice on creating missions and mission types, and running not just the game, but also portraying and roleplaying the Handler, the Agents’ case handler or control. Campaign themes—technology, cyber warfare, and the effects of globalised economies—are discussed and options are given for running The Spy Game during earlier periods, from the Great War and World War II to the Cold War and the War on Terror. However, the roleplaying game does not go into too much detail about those here. Safety tools are again discussed, but backed up here with examples, which are useful inclusions, but a favourite section is ‘The Moscow Rules of Game Mastery’ inspired by The Moscow Rules said to be followed by spies in the Moscow of the Cold War. These are very nicely done and would apply to almost any roleplaying game. There is good advice too on designing traps and encounters, especially to highlight the particular roles of the different Classes, so the Hacker, Medic, and Technician will want to face technical challenges, combat Classes like the Soldier and the Martial Artists combative challenges, and so on. This also gives them time in the spotlight. When it comes to traps, the advice is also to build in vulnerabilities.

Along with really big vehicles like aircraft carriers and space shuttles, The Spy Game includes rules for creating villains and masterminds. These are backed up with both standard NPCs, including stats for the Head of State(!) and Survivalists along with their bunker, and fully detailed villains and masterminds. These include a pair of sisterly assassin, each of whom uses different methods; ‘The Con’, an incredibly lucky conman who fomented war between Andorra and Lichtenstein for profit, though thankfully no shots were fired; and ‘The Count’, a classic European supervillain! Both ‘The Con’ and ‘The Count’ have their own Legendary Actions with which they are likely to thwart any Agents’ attempts to stop them.

Physically, The Spy Game is for the most part, cleanly and tidily laid out, and the artwork excellent. If there is an issue with the layout it is that the section on equipment and gadgets is simply in the wrong place. It comes after the descriptions of the roleplaying game’s eight Classes and how to create a Player Character, but before the roleplaying game’s rules. So there are sixty pages of gear between an explanation of the ability scores and their modifiers, the Proficiency Bonus, skill explanations, and more. Which impedes Player Character creation. And surely the rules for vehicle combat should be in the combat section?

The Spy Game is very much an espionage roleplaying game which focuses on the here and now as well the tomorrow of the spying world in which its Agents are really designed to be capable or super cable. Although it can do campaigns set in the past or ones which are gritty in tone and mechanics, these are really asides and switches which the Game Master will have to make and research and develop on her own. Perhaps for either option, gadgets and equipment could have been listed along with indications as which type of campaign they would be suitable for. Similarly, a bibliography could have included for reference and inspiration—the equivalent of The Spy Game’s Appendix N. That said, the rules of The Spy Game could easily be used to run a game in the style of Leverage or Hustle.

The Spy Game: A Roleplaying Game of Action & Espionage takes the mechanics of Dungeons & Dragons, Fifth Edition and adeptly adapts to an entirely different genre, successfully providing new character types and Classes and unobtrusive genre mechanics. The result is a pleasing slick and modern approach to the high action, Spy-Fi genre.

Conan the Thief is a supplement for Robert E. Howard’s Conan: Adventures in an Age Undreamed Of published by Modiphius Entertainment. It is the first in the ‘Conan the…’ series of supplements which focus on and take their inspiration from Conan himself at various stages of his life and what he was doing. Over this series, the supplements will track our titular character’s growth and progress as he gains in skills and abilities and talents. Thus this second supplement, following on from Conan the Barbarian, looks at Conan as a young man and his life what he did after he left his homeland, at the beginning of his career which will take him from barbarian to king, essentially the equivalent of a Player Character having taken the first steps in his adventuring career. Yet whilst the stats for Conan himself at this stage of his life do appear in the pages of Conan the Thief, they are more a side note than a feature, for the supplement is an examination of the countries of the centre, where East meets West in the Hyperborean Age—Brythunia, Corinthia, Nemedia, and Zamora. It includes new archetypes, talents, backgrounds, and equipment to help players create more varied Thief characters and Game Masters more varied Thief NPCs; a gazetteer and guide to the waning lands where the rule of law and civilisation force the poor and the needy, the greedy and the driven to steal and trade in what is not theirs; an array of detailed NPCs and monsters, including unique nemeses; and mechanics to help bring thievery and other activities and attitudes to your game, including burglaries, heists, assassinations, and more.

Conan the Thief opens by introducing new options for the Thief type character, building upon the content in  the core rulebook for Robert E. Howard’s Conan: Adventures in an Age Undreamed Of. This includes the Outlaw, a new Caste, which gives numerous reasons why a Player Character turned to thievery, such as ‘Nobility in All But Name’, ‘A Victim of Justice’, and ‘An Example Must Be Made’, and presents seven new Thief Archetypes: the Assassin, the Bloody Right Hand, the Fence, the Highwayman, the Master Thief, the Relic Hunter, and the Spy. In addition, there are Thief Educations, like Burglar, Rustler, Lock Breaker, Quack Physician, and Thug, enabling a Player Character Thief to specialise or to add thiefly elements to another character type. To these are added themed War Stories, Thief Talents, and kits and weapons. The latter includes the punching dagger, the katar, the duelling sword, and the garrote, along with the typical tools of the trade such as marbles, tripwires, smoke bombs, and more. Augmenting the core rulebook, this enables a player to create an interesting character or the Game Master interesting NPCs.
Supporting these new character options is a gazetteer of the lands between the East and the West—Brythunia, Corinthia, Nemedia, and Zamora. Zamora is famed for its thieves and for the city of Shadizar the Wicked is infamously home to the most notorious of all assassins’ guild, The Black Hand; Corinithia for its merchants and economic power, as well as its fractious cities cannot agree anything more than mutual self-defence, paying for their mercenary armies; Nemedia for being dominated by the Church of Mitra and being obsessed with the ancient cultures and ruins it is built upon; and Brythunia for being a backwater with its fractious clans, one of which could easily turn on the other at a moment’s notice or slight. The fortunes of all four have fluctuated over the centuries, being both conquers and the conquered. In the main it focuses upon the cities in each of these lands, typically the site of Conan’s adventures. So ‘The Tower of the Elephant’ in the city of Zamora in the land of Zamora and ‘Rogues in the House’ between Zamora and Corinthia (here given as Magyar, the Red City), for example. In each case, the content of Conan the Thief is set before the events of Conan’s stories, enabling the Game Master to run them as adventure for her Player Characters, but there are notes for adjusting them to be used after their events too. The emphasis is firmly on the cities in detailing Zamora, Nemedia, and Corinthia, if not least for the fact that the city is the natural home of the thief, and also because they are on major trade routes which the cities’ thieves can prey upon. However, Brythunia is different, suggesting that the fractiousness between its four kingdoms can be scaled down to the village level, and using ‘Brythunian Village Design’ table, to create a rural campaign which might build into something more political.
If the gazetteer explores the cultures and places where thievery is rife, ‘Events’ goes into the types of occurrences that might beset the Thief or that the Thief might instigate. These include Personal, City and Town, and Kingdom-level events, so go from Rivalries, Framed or Set, and Debt, to Wars and Rumours of War, Steal the Heir, and Plague and Other Such Chaos via Gang War, Watch Crackdown, and The Prince of Thieves is Dead! These joined by Unnatural Events like Just Another Snake Cult or Obtainer of Rare Antiquities, and there are notes on combining them too. Effectively all of them work as potential story hooks.
‘Myth & Magic’ discusses the myth of the thief and thievery, in particular, the myth that all thieves hold to, and that is ‘Honour Among Thieves’. It quickly dispels the notion that it is actually practised, thieves typically owing loyalty and friendship, but being fundamentally selfish. It makes clear that thieves do not necessarily worship a thief deity, but rather their local gods, although several gods of thievery and darkness are given, including Bel, the God of Thieves, and the Cult of the Spider God. Potential boons are given for worshipping both, for example, Bel grants a thief who takes him a patron an extra Talent, but expects the thief to leave stolen goods somewhere where they may be easily stolen on a regular basis, whilst the Cult of the Spider God gifts its followers tokens that will poison any non-believer who touches it, a ghastly object used as a means of assassination. There suggestions here too, for the purposes to which the body parts of thief can be put once he is dead, like the Hand of Glory or rope woven from the hair of dead women. A few examples would have been useful here.
‘Encounters’ details a good mix of generic NPCs, like the assassin or the watchman, and named individuals. Several of these come from Howard’s stories as you would expect, thus Yara from ‘The Tower of the Elephant’ or Demetrio, the Chief of the Inquisitorial Council of Numalia from ‘The God in the Bowl’. There are a lot of nemeses here. They are joined by fearsome creatures like the Giant Rat and the Giant Skeleton Warrior, and worse, Yag-Kosha, from ‘The Tower of the Elephant’. These again enable the Game Master to have her Player Characters encounter then if running her campaign before the events of Conan’s stories.
Rounding out Conan the Thief is ‘Hither Came Conan…’ which places our titular hero in the context of the supplement and provides a playable version of him early in his long career. Thieving and criminal campaigns are explored in ‘The Way of Thieves’, which examines how campaigns built around thieves will be different to other campaigns for Robert E. Howard’s Conan: Adventures in an Age Undreamed Of. It notes that Conan himself was a thief for just two or three years, that thief campaigns should avoid descending into farce as thieving is serious business, and whether the city authorities or the head of the guild, there will be checks and balances on the activities of any Player Character thief. There is solid advice here and it is supported by guidelines and rules for joining and running a thieves’ guild, along with descriptions of the guilds of note in the cities described earlier in the supplement. The ‘Heists’ chapter presents a chapter of tables with which the Game Master can generate potential jobs and targets and then develop to run for her players and their characters. It comes with a fully worked example. Lastly, ‘Heroes of the Age’ add a trio of potential Player Characters NPCs developed by backers for the Kickstarter campaign for Robert E. Howard’s Conan: Adventures in an Age Undreamed Of. Of the three, ‘Jamil the Thieftaker’ is a great addition to any campaign set in Zamora, whilst the boastful ‘Inarus’ feels out of place, being more pirate than thief.
Physically, Conan the Thief is a slim hardback, presented in full colour, illustrated with an excellent range of fully painted artwork. It is well written, is accessible, and comes with a reasonable index.
Conan the Thief switches in emphasis and feel from Conan the Barbarian, exploring thievery and civilisation at the heart of the Hyperborean Age in lands which though often rich—for some, at least—are in decline. Both depict worlds of cruelty, one of the rough, frontier lands, the other of inequality and poverty in great cities. The advice for running a thief-based campaign is excellent, though perhaps a campaign outline for taking a band of thieves from their lives on the street into the guilds and onwards, encompassing a similar two or three-year period to that spent by Conan himself, would have been useful. Similarly, the advice on adapting the stories which the supplement directly draws upon, such as ‘The Tower of the Elephant’, could have been stronger and done with an outline or something similar to help the Game Master, especially given how pivotal these stories are in the Conan oeuvre.
Conan the Thief opens up whole new possibilities for running and playing Robert E. Howard’s Conan: Adventures in an Age Undreamed Of. It expands upon the options in the core rules for the player who wants to create a Thief character, and thus also for the Game Master to create interesting NPCs  for the Player Characters to encounter in a city, perhaps if they are just passing through on the way to somewhere else, However, what the content of Conan the Thief really lends itself to is entirely city-based campaigns built around thieves and thieving, where the Player Characters can all be different types of thieves and have different roles in the campaign. Such that a whole Robert E. Howard’s Conan: Adventures in an Age Undreamed Of campaign could almost be run without ever leaving that city or even going anywhere near the background and information presented in its other supplements. It is actually a pity that such a campaign does not exist for the roleplaying game.
Conan the Thief is a solid supplement for Robert E. Howard’s Conan: Adventures in an Age Undreamed Of, which really comes alive as a campaign supplement. In fact, Conan the Thief would make a good supplement for any Game Master wanting to run a Swords & Thievery style campaign. It is an excellent sourcebook.

—oOo—


Modiphius Entertainment will be at UK Games Expo which takes place from Friday, June 3rd to Sunday, June 5th, 2022.

After coming to comics with You Are Deadpool, the solo adventures of the ‘Merc with a Mouth’ switches to the traditional format of text paragraphs with You Are (Not) Deadpool. This is the first entry in the ‘A Marvel: Multiverse Missions Adventure Gamebook’ series published by Aconyte Books and unlike almost every other Solo Adventure book it promises not to put you at the centre of the action. As the title suggests, you do not play as Deadpool in You Are (Not) Deadpool. Instead you are an innocent bystander approached by Deadpool who identifies you as ‘Six’ and asks you to help him. In effect, whereas you are not Deadpool, the character you play could actually be YOU THE READER if you were in New York when Deadpool bounds over to you like a happy puppy. With no mention of what happened to One, Two, Three, or Four, let alone Five, you find yourself accompanying Deadpool on his mission. For the most part he follows your suggestions, where to go, what to do, acting as both sidekick and conscience, much like his best friend, Weasel, or Dopinder the taxi driver from the film. However, there are moments where you shine and Deadpool definitely handles the fights—with relish, often his own—whilst you huddle in the corner, having rolled the dice to determine the outcome.

The plot in Deadpool in You Are (Not) Deadpool is this. Daredevil gives a Deadpool a mission. Alien guns—Chitauri guns—are flooding the city and Deadpool has to find the source and stop them. The investigation will take the pair of Deadpool and Six above, below, and across New York, meeting Bob the Hydra Agent along the way, up and down the USA’s eastern seaboard because the budget does not extend as far away as Hawaii, although it does take them somewhere else… As Six, you and Deadpool will also play the worst game of Jenga in the Marvel Universe, fight a Psychic Octopus, lie about having found a sledgehammer, and a lot more besides. They might even jump book to the next entry in the series—She-Hulk goes to Murderworld!

Mechanically, You Are (Not) Deadpool is more sophisticated than the average solo adventure book. Standard six-sided dice are required, no more than three. Deadpool has three stats—MERC, MOUTH, and FOCUS, which are to do with physical, social, and mental stuff respectively. Initially, they are rated two each with the reader increasing the value of one of them by on, but they do change over the course of the adventure. They come into play whenever you want Deadpool to take an action. This typically involves rolling a single six-sided die and adding a stat to beat a target equal to five or six. This varies though. Sometimes, the reader will need to roll two or three six-sided dice and beat a higher target to see if Deadpool succeeds, and even then, this may not be enough. In certain challenging situations, the reader will need to roll another round or two other rounds to succeed. In addition, Deadpool can acquire Qualities such as GUARDS, GUARDS, RESOURCEFUL, and CHAOS, but never, ever KUMQUAT. Really. Not KUMQUAT. Not once. Each enters play with a value of one, and again, can fluctuate in play. Deadpool can also carry up to five objects, some of which, occasionally, can be used to improve his stats. Along the way, there games and puzzles too, such as decoding a lock in an underground base or playing the slot at a crummy casino in Atlantic City, and both Six and Deadpool can pick a wide array of achievements. 

You Are (Not) Deadpool is well written, with lots of in jokes and nods to Geek culture (especially Lovecraftian Geek culture), but beyond the cover, it does lack illustrations bar entry ending silhouette clipart. As a consequence of being all text, You Are (Not) Deadpool lacks that dual sense of wondering what situation a piece of artwork illustrates and how to get there via the numbered paragraphs, but on the other hand, it does retain much more of sense of mystery.

In the comics and the films, Deadpool is known for breaking the fourth wall (and the Marvel Universe if truth be told), but in You Are (Not) Deadpool he never does that. There is the interaction between Deadpool and Six throughout, but since you as Six are directing Deadpool’s actions, there is a gap between the two, as if you are directing or roleplaying the actions of someone who is directing or roleplaying the actions of someone else. In this case, Deadpool. It might not be breaking the fourth wall, but it is breaking the immediacy of the roleplaying if you think about it. So do not do that. It would spoil the fun.

You Are (Not) Deadpool has three hundred entries, so there is lot to explore and multiple plot threads to follow and investigate, plus some tough challenges, puzzles, and fights to overcome. Deadpool is definitely going to need more than the one run at this—unless he/you/Six are really lucky, and if all three of you fail, then at least Deadpool can come heal and comeback. As for Six? Just cross out his name wherever it appears in the quest and write Seven (or Eight or Nine or…) instead. No one will notice. 

Not quite the traditional Solo Adventure Book—but than what did you expect, this is Deadpool, after all, You Are (Not) Deadpool is an entertaining often ridiculous romp alongside the infamous ‘Merc with the Mouth’.

It's Friday the 13th! Something of a holiday here at the Other Side.  

May is SciFi month and for the first two weeks here I have dedicated it all to Classic Traveller. I find myself at a bit of a crossroads.  Do I continue with the Classic Traveller OR do I go along to the progression from Classic to Mega Traveller and beyond?  Choices. Choices. 

In the mean time since today is the scariest day outside of October 31st (well, than and Walpurgis Night) let go to a discussion you all know I LOVE and that is horror in Space.  In particular, the Mythos flavored Cosmic Horror of Lovecraft AND the exploration of Space ala Star Trek.

Since I am going to look a few ways to do this I am going to put it under the banner of Plays Well With Others.

My "Star Trek meets Cthulhu" campaign is known as BlackStar and I have detailed the ideas I have had here.  

The game started out as a combination of various OSR-style games because that is what I was playing a lot at the time. But as time has gone on I have given it more thought and explored other RPG system options.  Every combination has its own features and its own problems.   Let's look at all the options I have been considering.

Basic Era/OSR

The first choice was the easy one really.  I went with the two main books for their maximum compatibility, Starships & Spacemen and Realms of Crawling Chaos.  Both are based for the most part on Labyrinth Lord.   This gives me a lot of advantages. For starters, and the obvious one, there is just so much stuff for this.  If I don't like the Cthulhu monsters from Realms, I can grab them from Deities & Demigods, Hyperborea, or so many more.  The Lovecraft/Cthulhu stuff is covered.  The "Weakest" link here is Starships & Spacemen.  Well, it's not weak, but it is not my favorite set of Trek-like RPG rules.

Given the rules, I could add in bits of Stars Without Number. That *might* fill out some of the rough spaces (for me) of S&S.  There is a lot, I mean really a LOT I can do with all of this.

It would also make running The Ghost Station of Inverness Five much easier. 

D20 Systems

I'll admit it. I like d20. I enjoyed d20 games. There are LOT of options if I want to go 3.x d20.

Pathfinder, Starfinder, d20 Call of Cthulhu, Sandy Petersen's Cthulhu Mythos.  All of these are great and at least 90% compatible. Again, I am sick with riches when it comes to Cthulhu/Lovecraftian materials here. Starfinder is good...but it is not Star Trek.  In fact my preferred Sci-Fi d20 game is the Wizards of the Coast Star Wars.  I know. I am strange.  

Certainly, the d20 Cthulhu books would be easily converted to OSR, but they already have analogs in the OSR world.   But having all of these is certainly helpful.

Since my weakest link seems to be Trek-like rules, maybe what I need is a good set of Trek rules.

Star Trek RPGs

Currently, my two favorite flavors of the Star Trek RPG are the classic FASA Trek and the newest Mōdiphiüs' Star Trek Adventures.  Both are great. Both are really fun. AND there is even a Mythos/Lovecraftian game using the same system, Achtung! Cthulhu 2d20.  Now this game is set in WWII, but that is not a problem. 

Here I have exactly the opposite issue.  There is a LOT of great Trek material and limited on Cthulhu/Lovecraft material.   I could add in material from Call of Cthulhu as needed. Also, I have the PDFs for Achtung! Cthulhu 2d20 but none of the physical books. The 2d20 system is also much newer for me and I don't know it as well as some of the others.

Traveller

I have been talking about Traveller all month long and it would remiss of me not to try something with that.  Thankfully things are well covered there.

So I have not even touched ANYTHING yet regarding the Cepheus Engine or new Traveller, but to jump ahead a bit there is a game setting for Traveller Chthonian Stars. It takes place in 2159 (a date I can use!) and there is a lot to it, but the basic gist is Humankind has begun to explore the Solar System and that is about it.  Then we introduce Cthulhu Mythos material to that!  Sounds a bit like BlackStar: The First Generation.  I'll get a proper review up later in the month, but there are a lot of great things in this setting.  Reading over it it really makes me want to try this using just Traveller.  They really make it work well.  Plus I could still use the Classic Traveller system, more or less.

This provides me with a solid sci-fi game with great mythos support too. The publisher has since updated this game to their more inhouse version called The Void. Not sure if it uses the same system as their Cthulhu Tech RPG or not. 

AGE System

I really love Green Ronin's AGE system. I also LOVE the Expanse.  So I grabbed their Expanse AGE-based RPG and am hoping to do a lot more with it.  So imagine my delight when they ran a Kickstarter for Cthulhu Awakens an AGE-based Mythos game.   The Solar System spanning of the Expanse is nowhere near the Galaxy spanning of Star Trek, but maybe I could run it as a "Prequel" game.  Get a ship out to Pluto to discover something protomolecule-like but instead make it mythos-related.  A prequel to my Whispers in the Outer Darkness.  A Star Trek DY-100 class pre-warp ship would fit right in with the ships of the Expanse.  I should point out that the Expanse takes place in the 2350s, the same time frame as my proposed BlackStar campaign in the Star Trek timeline. 2352 for the launch of the Protector and 2351 for the Expanse RPG.

Maybe this "First Mission" might explain why Star Fleet is building its experimental ships at Neptune Station and not Utopia Planitia.  There is something they discovered on Yuggoth/Pluto that makes the Warp-13 engines work. There is my protomolecule connection!

It is possible I could retweak my "At the Planets of Maddness" for this system/setting. Though in my heart I really wanted Shoggoths and Elder Things for that adventure.  Pluto and Yuggoth clearly imply the involvement of the Mi-Go.

--

I have all those choices listed above and that is also not counting games like Eldritch Skies that also combine space travel with Cthulhu/Mythos.

Chthonian Stars might have an answer for me.  What if this story is not being played out over a single campaign, but multiple lifetimes?

I could do something like this.  Note, this is only a half-baked idea at this point.  

Victorian Era:  Scientists work out the means of travelling the Aether to the stars. (Ghosts of Albion*, Eldritch Skies, Space: 1899. Using Ghosts to make the Protector connections a little clearer).

1930s: Scientist found dead with brain "Scoped" out. Investigate. (Call of Cthulhu)

2150s: Travel to Yuggoth discover an advanced civilization was once there.  Items from 1890s and 1930s are there. (Expanse, Chthonian Stars, Cthulhu Awakens)

2290s: Star Trek Mercy (this one is pure FASA Star Trek). Maybe this can be the one with the Klingon Skelleton ala The Creeping Flesh.

2350s: These are the Voyages of the Experimental Starship Protector. (OSR or Mōdiphiüs 2d20)

I could even do an epilogue in the far future of the Imperium.  

And some other stuff to include all my BlackStar adventures.

Maybe all of these are tied to the "Black Star" an artifact that makes space travel possible and is at the core of the Asymetric Warp-13 engine?  Some was found on Earth but there is a bunch of it on Pluto.

Too many ideas, too many systems.  Gotta narrow it all down at some point.  But one thing is for sure, the system used will depend on what sorts of adventures the characters will have. Mōdiphiüs 2d20 is best for adventures and exploring. OSR games are good for monster hunting. FASA Trek does a little of both.  AGE would be suit the New Adventures in Space theme well.

Conall Yellowclaw is on an urgent quest. The son of King Erin has been kidnapped and the king laid the blame firmly on Conall’s three adult children and locked them up in the royal dungeons. King Erin has also granted one chance to prove their innocence and buy their freedom: venture beyond the kingdom’s borders and acquire the famed brown horse belonging to the mysterious King Lochlann. Now he has heard of this King Lochlann—and hopes that most, if not all of the terrible stories he has heard about him are untrue, but he has no idea where he can be found and certainly no idea that he even had a horse—brown or otherwise. Worse, Conall is just a simple tenant farmer, getting on a bit and probably past the age when he should be going off on adventures—even if it is to fulfil a quest given to him by his king. Fortunately, he is persuasive and he is pretty sure that he can talk someone, or rather more than someone, preferably a party of younger, more capable adventurers, into accompanying him and fulfilling the quest on behalf of King Erin. Since time is short, he approaches them directly and asks for the Player Characters’ help.

Conall Yellowclaw’s Quest: A folkloric adventure for Fifth Edition Dungeons & Dragons is an adventure designed for play with Dungeons & Dragons, Fifth Edition using roughly five Player Characters of Fourth Level and should offer between two and three good sessions’ worth of play. Inspired by the tale ‘Conall Yellowclaw’ from the 1892 collection, Celtic Fairy Tales by Joseph Jacobs, Conall Yellowclaw’s Quest is intended to be a fast-paced and light-hearted adventure, one which can easily be run as a one-shot or added to a campaign—the latter especially if the fey play a significant role in the Dungeon Master’s campaign. It will require access to the Elemental Evil Player’s Companion, Volo’s Guide to Monsters, and Xanathar’s Guide to Everything as well as the core rulebooks for Dungeons & Dragons, Fifth Edition.

If the Player Characters agree to help Conall, they have a few hours or so to conduct a little investigation in the Kingdom of Erin—a very minor kingdom, so easily added to the Dungeon Master’s own setting if necessary—and learn not only the route to Lochlann, but also possibly a clue or two which suggests that not all is as it seems. Then they are ready to set out, the road to Lochlann twisty, overgrown, and little used. Nevertheless, there are encounters to be had on the way, some pre-written, others requiring a little development once rolled on the encounter table. Some of these encounters have the potential to be quite fun—an agitated blink dog who appears and wants help because there are children stuck down a well, two fey arguing about who is the best dancer and are about to come to blows, and a young man planting beans in a field—although he does not know it, they are of course, magical beans. In fact, it would have been nice to have seen these developed and used as a means to give the Player Characters clues as what the might be found at Castle Lochlann, a boon perhaps, or if the encounter goes wrong a bane. Further, some of these encounters have more potential for roleplaying and interaction than the written ones—first with a Band of Bandit Cat Bards who all known the ‘Song of the Empty Food Bowl’ and a Hill Giant Goatherder, who is very hungry. These feel much more confrontational than the others and do not lend themselves quite as well to roleplaying as the others do.

Finally, the Player Characters arrive at the forbidding Castle Lochlann. The adventure suggests two means of gaining entry—through the front gates or sneaking in. If they try the direct approach, King Lochlann will be welcoming, but eventually and effectively show them the door to both castle and kingdom. Ultimately, the Player Characters will probably try the latter and get into the stables. Most of the castle itself seems abandoned and is given little description—here the Dungeon Master will need to improvise. When they find the famed brown horse (and perhaps something else, because after all, the scenario was never going to be just that and just that easy), King Lochlann gets to reveal his true self, give a monologue, and shout, “Stop them!” in true villainous fashion. A showdown ensues, which should be a challenging given that King Lochlann is a high-Level Sorcerer. If the Player Characters fail, the Dungeon Master will need to improvise a suitable. If they succeed, then they get to return to King Erin, with the mysterious Brown Horse (and more), and helped release Conall’s children. The scenario suggests several treasures which might be found in Castle Lochlann should the Player Characters go looking.

Conall Yellowclaw’s Quest is intended to be light-hearted adventure with a dark edge. It probably tends towards the latter than the former, in part because there is relatively little scope for levity as the scenario is written. There are humorous possibilities in some of the encounters and the Dungeon Master may want to develop those a bit more than the encounters already given. This is not the only possible scope for expansion in the scenario. There is the whole of Castle Lochlann to detail and there is the distinct possibility that in true villainous fashion, King Lochlann, will himself escape. So he could return in a sequel seeking his revenge!

Rounding out Conall Yellowclaw’s Quest is a full set of stats and maps for the adventure. Physically, Conall Yellowclaw’s Quest does require another edit, but the adventure is decently written and easy to understand. The publicly sourced castle map could perhaps be clearer, but the artwork, also publicly sourced, is much better handled and adds a certain charm to the whole adventure.

With its fey charm, Conall Yellowclaw’s Quest may not be suitable for every Dungeons & Dragons, Fifth Edition campaign, but that fey charm means that it could be adapted to settings where that element is strong. Perhaps in King Arthur Pendragon or even Liminal for the modern day. Would be interesting to know why he is called Conall Yellowclaw though.

Conall Yellowclaw’s Quest: A folkloric adventure for Fifth Edition Dungeons & Dragons is a charming little scenario easy to drop into a campaign and easy to expand.

Far to the north of the continent of Ghelspad lies the frozen lands of Fenrilik, accessible just once per year. Its separation means that in comparison it was little touched by the Titanswar which beset the southern continents of Scarn, but refugees from the Divine War made their way north in its aftermath and continued trade between Ghelspad and Fenrilik means that certain practices have been imported, but not widely spread. The indigenous peoples of the frozen north, primarily the ice fey called the Eschek, are tribal, worship spirits rather than gods, rarely war with each other, and barter for goods and services rather trade away precious resources. Rent in two by the massive Torbor Gorge, the Roof of the World is not only dangerous due to the artic winds and temperature, ice and snow, there are many native species which are also highly dangerous to the unwary. These include the titanspawn known as Blood Gardners, whose haunting song lures victims into its clutches who are then kept alive to feed the Bloodfruit which the creature relies upon for survival; Frost Maidens, former Dryads whose trees were frozen and themselves turned into an icily undead version of its former self; and Crawling Glaciers, gargantuan oozes of solid ice which slowly scour the continent. There is another threat, as yet unknown, which lurks beneath the continent—the scorpion-men known as Skerrai, which surge up onto the surface to attack and capture victims they can implant with their larvae. Welcome to the Frostlands of Fenrilik.

Frostlands of Fenrilik is a supplement for use with Dungeons & Dragons, Fifth Edition, which describes the northernmost continent on the world of Scarn, the setting for the Scarred Lands setting published by Onyx Path Publishing. Previously described in Strange Lands: Lost Tribes of the Scarred Lands, this supplement is available via the Slarecian Vault, the community content programme for the setting. It expands upon the history, geography, civilisations, and religions of Fenrilik, supported with rules for travel and survival in the arctic wastes, new races, subclasses, and spells, new monsters, and an introductory adventure designed for Player Characters of First to Third Level.

Frostlands of Fenrilik introduces the continent via the journal of Yenei Koneru, Vera-Tre researcher and adjunct of the Ganjus Vigil, who like the Player Characters has made the long, only once-a-year open journey to Fenrilik, first to continent’s ‘major’ port of Stasiam and from there to its only city of Kovokimru—and beyond. Yenei Koneru and her companions will also appear in the supplement’s scenario. It opens with descriptions and a table of Fenrilik’s weather, its major settlements, and tables for both encounters and environmental hazards. The latter in particular highlights how deadly Fenrilik actually is, from avalanches and thin ice to fissures and geothermal vents, whilst it is suggested that the encounters be used to imperil the Player Characters’ survival rather than being used as combat encounters. The culture and attitudes of Fenrilik’s tribes are described in quite broad detail, leaving the Dungeon Master to develop further specifics. If the opening chapter is missing something, it is a map of Fenrilik, although one is given at the end of Frostlands of Fenrilik. Unfortunately, the map is not all that interesting and should really have had a few more landmarks indicated.




Definitely detailed though, is the continent’s one city, Kovokimru. It receives a full chapter to itself compared to the thumbnail descriptions of the towns and villages detailed earlier. Mostly built using a mix of wood and the famed hardened icework of the Eschek over geothermal vents which keep the city warm, Kovokimru is inhabited by several tribes and includes a large market and trade hall, as well as a Mage’s Guild, which grew out of a personal lending library into a school and guild. Numerous NPCs and locations are described as well as the holidays and festivals which take place over the course of a year. The fact that Fenrilik is only accessible once a year means that the Player Characters will probably be spending that year in and around the city bas their base of operations, so these festivals are something that the Dungeon Master can develop plots and adventures around, helping to bring the setting further to life. This is in addition to the quartet of adventure seeds included at the end of the chapter, which although involving an entertaining range of combat, diplomatic, investigative, and magical challenges, will need a fair of development upon the part of the Dungeon Master. Three locations are also described and mapped—an inn, a tavern, and a flophouse. However, it is disappointing that no map of Kovokimru itself is provided.

One big cultural difference between Fenrilik and Ghelspad is the use of money. The tribes of Fenrilik value metal of its practical use rather than any monetary value. Consequently, any money the Player Characters arrive with will not be as valuable as it might be back home. Instead, they will find themselves bartering for goods and services—and being paid in kind! However, the peoples of Kovokimru accept most visitors as long as they contribute to city’s welfare, which can include menial jobs if anyone is down on his luck. Given how important this aspect of the city is, it is a pity that a few examples are not included in the supplement’s discussion of it. Nevertheless, this will force both the players and their characters to think differently when it comes trading and bartering, and the roleplaying possibilities that this lends itself to.

The other location described in detail in Frostlands of Fenrilik is Tobor Gorge, which divides Fenrilik in two and is hundreds of miles long and a mile deep. It has only one crossing point opposite Kovokimru and only one easy means of getting down—a rickety lift-and-pully system, which you need to be hooked into lest you be blown into the gorge. Alternatively, it can be climbed down, but that is perilous. The sides of the cavern are doted with caverns, most of which have yet to be explored, leaving the Dungeon Master to detail them and turn them into adventure sites. There are a couple of adventure seeds, although these are not as inventive or as interesting as those for Kovokimru.

Frostlands of Fenrilik also adds a number of new character options and new spells. The Eschek, inaccurately described as ‘winter gnomes’ are actually creatures of ice renowned for crafting ice into tools, furniture, and buildings. Those few who travel beyond Fenrilik require a frost ring to enable to withstand the high temperatures of the south. The Krampek are satyr-like, but their horns are antenna actually used as part their communication, with a disarming appearance which often gives them an advantage when attacking first. They are highly suited to living underground and most of them are slaves of the dreaded Skerrai. The third new race is the oddest and the most recent to appear. They are Taslenh, again creatures of ice, but created when an ooze known as an ‘ice warden’ imprints on a humanoid. They remain both humanoid and ooze, so a bit odd!

Although there are no new Classes in Frostlands of Fenrilik, it does detail four new sub-classes. These are the College of Hope for the Bard, who boosts morale and brings comfort across the frigid lands of the north; the Way of the Winter Soul as a Monk Tradition, who can direct cold or heat damage through his hands, become one with fog, steam, and snow, and so on; the Ice Walker Ranger Archetypes who can survive in the frozen north and even fashion arms and armour from ice; and the Ushada Marked is a Sorcerous Origin which draws from Fenrilik’s primal spirits. They also serve as spiritual leaders for some communities, often replacing Clerics, which opens up roleplaying possibilities for any Player Character. Overall, this a good mix of options.

Frostlands of Fenrilik includes a list of the spells used on the continent, and adds new ones too. Some have a cold theme, such as the Cold Snap cantrip which casts cold deep into the victim’s bones and Ice Shards which creates shards that float around caster, which can be used as an Armour Class bonus or expended to shoot at opponents and do damage. Particularly cruel are the Fracture and Rupture spells, the former snapping one of a target’s bones, the latter fracturing his skull. Most of the spells have been crafted by the Titans. For example, in response to an attack by his fellow Titans, Golthain the Faceless crafted Empathy of the Faceless One to ensure that his attackers felt the same damage they inflicted upon him. A Bard and Druid spell, it affects five attackers and if any are reduced to zero Hit Points or are killed, this rebounds on the caster as his player has to making saving throws to avoid being stunned for a Round. The spells are a good strong mix of interesting theme and flavour, though of course, specific to the Fenrilik and the Scarred Lands setting.

The bestiary, ‘Creatures of Fenrilik’, adds monsters particular to the frozen continent and its frigid environs. There is a slight predilection for the gargantuan in the dozen or so given, such as the aforementioned Crawling Glacier; the Fell Deer, great shaggy beasts whose tusk-like antlers curve down and are used to break up the tundra to get at the lichen and moss it feeds on, and which are used as beasts of burden, travel, and rarely war; and the Gelidiceph—an ice kraken! Perhaps more an immediate threat is the scorpionmen-like Skerrai, who may or may not be the artic version of the Sandmaskers from the far southern deserts, and who lurk in the tunnels beneath Fenrilik, allegedly for something… Even the immature Skerrai are deadly, perhaps too deadly for low-Level Player Characters and the Dungeon Master may want to use them with care lest they overwhelm her players and their characters. Their desire to implant their larvae in their victims adds an element of horror to any encounters with them. Also included here is the Ice Warden, flowing globs of dark blue water which imprints itself on hosts and creates the new player Race, the Taslenh.

Rounding out Frostlands of Fenrilik is ‘Into the Gorge’, a short introductory which takes the Player Characters into the caverns found in the wall of Tobor Gorge. It starts with them on the way to Kovokimru where they are offered employment—a matter of a certain missing anthropologist, one Yenei Koneru. Another job sees them explore some of the caverns in Tobor Gorge. Could the two be connected? This is primarily an exploration scenario in which the Player Characters will discover some of the secrets that lie below Fenrilik and encounter some of its strange inhabitants. Player Characters who rush in first, leaving questions for later, will be at a disadvantage and will likely have to do much to make up for earlier mistakes. However, their style of play will be rewarded with some tough—perhaps too tough—challenges towards the end of the scenario. Potentially, ‘Into the Gorge’ is a challenging scenario for First Level Player Characters, so the Dungeon Master may want to make some adjustments, but otherwise, the scenario does a decent job of introducing the setting and some of its secrets.

Physically, Frostlands of Fenrilik is generally well written and well presented. The artwork varies in style and quality, but some of it is very good. The maps though, are disappointingly bland, and again, the city of Kovokimru could have done with a map.

One aspect of Fenrilik that the supplement does not explore fully is that of survival and travel. Although the table for weather, encounters, and environmental hazards are useful, but there is no advice how travel is handled, important given that many of the tribes of Fenrilik are nomadic and that the Player Characters will definitely have to travel from Stasiam to Kovokimru. Some survival rules would have been useful.

Frostlands of Fenrilik does have some minor issues, but there is a lot to like in its pages. There are fearsome monsters and some nicely detailed locations in both Kovokimru and Tobor Gorge for the Dungeon Master; challenges for the players and their characters in terms of survival and interacting with the indigenous peoples, let alone those monsters; and then also for the players, there are interesting new subclass options and spells (which can also be used by NPCs to, of course). With a time limited means of access, Frostlands of Fenrilik is an excellent introduction to the continent of Fenrilik and a one-year campaign set in the frozen north.

In all honesty, you have my wife to thank for this one.  

I was talking with her about Sci-Fi month (she is a huge scf-fi fan) and Traveller and how I learned of the game via Dragon Magazine.  She suggested that it was high time I did another "This Old Dragon" and focused on Traveller.  So I have spent this week going through some of the Dragons I left and some of the articles I have already "liberated" from various Dragons.

Remember that a lot of the Dragons I have water damage or are other wise in bad shape.  A few were so mildewy I dropped them in favor of the Dragon Magazine CD-ROMs.

There are a few Traveller articles, TSR/Dragon was very eager to embrace other companies' products more in the early days. This is good for me since I really wanted to focus on Classic Traveller. 

I am not going to hit *every* Dragon article about Traveller, but I do want to hit the big ones. I am, for obvious reasons, going to feature the ones I still have in my collection.

The Dragon Days

William B. Fawcett is up first with The Asimov Cluster in The Dragon #20.  This area of space is an attempt to emulate various Science Fiction novels while keeping everything within the scope of Traveller.  There are 10-star systems described here.  I have the feeling that if I had read more classic sci-fi I might recognize these worlds a bit better. 

The Dragon #25 has New Service Options for Navy Characters by R.D. Stuart.  Now the date on this is May 1979 so I am not sure what is happening with the Supplements at this time so no idea if this information had been rendered redundant at any point.  I will assume it had at some point.  But until then it is not a bad set of charts. If you are still using the 3 LBBs this is still good stuff.

We move on to The Dragon #27 and two articles from Gary Jordan. Up first he gives us another take on his Tesseracts article from TD #17 (and famously in The Best of Dragon II).  Where that article was used to confuse map mappers, here it is a boon in Traveller since the area is hyperdimensional.   What does that mean for Traveller characters? You can cram more into your hold.  This is followed by a Star System Generation system. 

The Dragon #35

This is the first of a couple of Traveller-themed issues.  This one comes to us from March 1980.  We get an article on the "Space FBI" from Kenneth Burke in IBIS: Profit and Peril. Alexander von Thorn, famous for his "Politics of Hell" article, is up with one of two articles on new skills.  The other is from Charles Ahner & Rick Stuart. More Clout for Scouts from Anthony Previte and Jame Cavaliere is next and establishes that this article, in particular, takes Mercenary into consideration.   The Traveller universe is growing!  In a switch from characters, James Hopkins is next with Block Holes! about, well, Black Holes.  This one would have been very welcome to me back then having just seen the Disney "Black Hole" movie at the "67 Drive-In Theatre" back in 79.  

This was 1980 though. I was firmly entrenched in my newest obsession, Dungeons & Dragons, and I barely knew other games existed, yet.

Dragon #51

The next, and also sadly the last, issue to have a Traveller featured section was Issue #51 from July 1981.  Though there is a lot here.  And a lot of that is quality.

The heading for this feature is "The Future is Here."  Trust me living in the 80s felt like the future was just right around the corner.  No wonder Traveller attracted me so.

Up first we have Dragon vet Roger E. Moore with Make Your Own Aliens. The Aslan and Vargr are still a bit off for Traveller fans at this point, but Moore takes Andy Slack's article series from White Dwarf #13 to #16 and expands on it.  The article is interesting and feels a little more like a "create your own monster" for D&D or mutant for Gamma World.  The rolls on the charts are d% and not d66.  On the plus side it would also work for something like Gamma World or Star Frontiers.

I do find it entertaining that the art for this article features what can only be described as "Dralasites."

Jeff Swycaffer is next with Plotting a Course for Choosy Players. This takes out some of the randomnesses of character generation by adding a Point-Buy system.  It looks like it could work well enough and I am sure something similar was added to future versions of Traveller. Point-Buy systems were all the rage in the 1990s.

Paul Montgomery Crabaugh is up with a few articles. First is New Ideas for Old Ships. The art and the article give this a full "Used Cars" feel to these ships, but to be honest this feels right.  Characters just completing their terms of service are not going out to buy a brand new Porsche 911 with the heated leather seats, heads-up display, and personal wifi.  No, they are getting an 11-year-old Honda Civic with all after-market parts and a rattle that no one can figure out.

Next, he gives us In Defense of Computers and tackles the two biggest issues people had with computers then; they are too expensive and do too little. First I never felt the computers in Traveller were too expensive, at least not for what they are supposed to do on a Starship.  I do agree they do too little by today's standards. But anymore I of the frame of mind there are computers in Traveller and there are Computers. 

Crabaugh delivers two shorter articles. The first is Planet Parameters which details various features, mostly gravity, of an alien world.  It works...for the game, but actual stellar data is wildly different.  I think we are fine with the size, G, Vesc, and Mass columns, but the P (rotational period) we know can vary wildly.  Earth and Venus are roughly the same size (say Size 8 and 7 respectively). Earth's rotational period is 23 hours, 56 minutes, or one day.  Venus has a P of 116 days, 18 hours. Mars, a Size 4 or 5 planet has a P (day) of 24 hours, 37 minutes.   Jupiter, which is off this scale, has an M of 317 (the chart goes to 2.4) and a P of 10.  In his defense, he does say that rotational periods can be slowed due to gravity.  The Earth's is slowed by our relatively large moon, Venus by the Sun and Mars none really at all. 

Next, he deals with Masers, or microwave band lasers (and points out the lasers are really visible light masers, but hey).  

Lastly, we get an article from none other than Marc Miller. The Miller Milk Bottle is, I think, an attempt to be the Towel of Hitchhikers Guide to the Galaxy for Traveller.  Half a page on how useful the mundane milk bottle is.

The Jon Mattson Articles

Over the next several months we get a number of articles from Jon Mattson.  These are also usually longer articles and add more details to your Traveller game.

Filling in Skills from Dragon #55 does exactly that. This one details a "learning by doing" system of skill improvement. I never got to play enough games to know what my character would have done long-term. So I have no practical experience here. 

Moving on to February of 1982 in Dragon #58 we have Anything But Human, another attempt at creating aliens for Traveller.  Again this one is heavy on the d% rolls. 

Later that year in August we get Robots in Dragon #64, with some nice Larry Elmore art showing us where the VR-X9-4-M2 Galactic Probe, Government Issue Robot was made.  Like the Alien article above it has a lot of random tables.  Also it could be used with Star Frontiers if you wanted to. 

The Luna Series

In the early to mid 80s Dragon's Ares Section, which was devoted to Sci-fi, ran a series of articles on Luna, the Moon, and how it fit into various science fiction games.  I thought it was a great series and I loved reading all the different takes on it.  It had a side effect on my developing the moons of my D&D worlds in more detail.  But today we are looking at Dragon #87 and Luna: A Traveller's Guide by the first Traveller himself Marc Miller.   Note this article was copyrighted 1984 by GDW, so I imagine this is as close to official as it could get.  It is a library computer readout of Luna and it's place in the Imperium and to Terra. 

The Later Years

Post-1984 Traveller and all sci-fi began to see subtle changes.  These would be complete by the late 1980s and early 90s when Sci-Fi became darker and more cyberpunk.  I enjoyed the change myself, but also at this time I was drifting away from sci-fi and fantasy and more into dark fantasy and horror.

A sign of the times could be seen in Igor Greenwalds' Rogues of the Galaxy in Dragon #97 (May 1985).  Called a character "class" these are essentially characters who came up via organized crime instead of military, merchant, or other services.  It also features art from Jim Holloway, so maybe a sign of MegaTravller to come?

We get more Jim Holloway art in September of the same year (Dragon #101) with The Stellar Diocese from Michael Brown.  I know as a D&D player I talked about my Traveller Envy before. But I am getting some serious "D&D Envy" from the Traveller fans here.  Or...maybe these are the articles that Dragon printed since they knew they might appeal to D&D fans.

High Tech and Beyond from James Collins in Dragon #108 discuss some issues that were brought up all the way back to The Dragon #20 and that is that a lot of sci-fi media is much higher tech than the TL 16 depicted in Traveller. This article introduced some things that we take for granted in scifi like planet-destroying weapons, antimatter and transporters.

Michael Brown is back in Dragon #109 with The Double-Helix Connection or Mutants in Traveller.  Gamma World Envy? 

Put on "Bad Boys" because Terrence R. McInnes gives us Star Cops! in Dragon #113.  This article is also one of the reasons why I don't have a Dragon CD-ROM for issues past 250.  This article is copyrighted by McInnes, so likely there were never any second-run or reprintings allowed.   Anyway, this article deals with character creation for police forces. It actually looks rather fun.  This one also cites an earlier article from The Journal of the Travellers' Aid Society #14.  That is an entire universe left unexplored at present by me!

So we have done Gamma World and D&D with Traveller, why not Top Secret?  John Dunkelberg, Jr. has Space-Age Espionage in Dragon #120.  This is presented as a new career (not class) for Traveller characters.  The article is in-depth and in my very untrained eye, it looks like it could work out well.  Interestingly enough the following article is from Douglas Niles about the new Top Secret game.  

This is also the last article in Dragon about Traveller until Dragon #270 (April 2000) and even then it is only to convert it to Alternity. 

1987 is my personal cut-off date for Classic Traveller.  I am sure others share that, but 87 was also the year I went to University and my tastes moved from Sci-fi to Horror.  I still LOVED Star Trek and that was the bulk of my sci-fi roleplaying.  These last two weeks have given me so much Traveller information that I honestly could stop right here and be very happy.  But I have to admit there is Traveller 2300, MegaTraveller, T5, T20, and more out there I need to learn about and figure out. 

This is going to be a fun trip.

Yesterday I covered the first three Alien Modules for Traveller.  The three I was most familiar with.

For Part 2, I want to cover the next five.

Alien Module 4 - Zhodani

PDF. 52 pages, color cover, black and white interior art.

Ok, I have heard of this one, it just, at the time, didn't grab my attention as much as the first three.  The Zhodani are a race of psionic humans that established themselves on their homeworld about 300,000 years ago.  That is the same time period as the Vargr. No idea if there is a connection yet.

This Module is much like the first three save there is no comparative anatomy section.  The psychology is expanded and the character creation section is altered from the Traveller standard to deal with a race of psionic humans.  

There is a small section on the Zhodani "Thought Police" that I thought could have been larger, given their role in Zhodani society.  Still though, an interesting take on an "Alien" for Traveller.

Alien Module 5 - Droyne

PDF. 52 pages, color cover, black and white interior art.

We are getting into very unfamiliar territory for me. The Droyne are an ancient race that had Jump Drive technology long before (at least 50,000 years before) the other major races.  Though they tend to placid lives on pastoral planets.  They don't seem to have the desire to get out to other worlds like the races covered so far. 

They are a smaller race, standing under a meter tall, reptile/bird-like, with small wings.  The original homeworld of the Droyne is believed to have been a low gravity one to allow their relatively small wings to work.  Droyne are divided into six main castes and this affects their psychology and their physiology.  In one example the Droyne have three genders and all three are needed to gestate a clutch of fertilized eggs.  Certain genders belong to certain castes and rarely are there exceptions. Droyne can also be high psionic.

There are the typical sections on worlds, there is no longer a Droyne "homeworld", starships and service.  This includes a character creation section that also differs from Traveller standard to cover the unique qualities of the Droyne species. 

The biggest "Feature" to alien is where did they come from? How did they develop jump drive technology and why are they not spread out over known space more given their 50,000 year head start?

I can see where playing a Droyne character would be an interesting challenge.

Alien Module 6 - Solomani

PDF. 52 pages, color cover, black and white interior art.

This "alien" species has a familiar name and a familiar look.  The Solomani are space-adapted humans. Maybe "space-adopted" humans is a better term.  Like the Vargr and the Zhodani, the Solomani were from Terran stock, human in the case of the Zhodani and Solomani. While the Zhodani (and other humans) developed on other worlds, the Solomani or Terrans stayed on Earth and then went out to the stars on their own.   

This book has much more history and background details than all the other Alien Modules.  It also gives us some starting insight to the various other human races in the galaxy (45 total according to the internet).  There is also quite a lot on the Solomani Rim Sector of space.

Like the other Alien Modules, this covers some new character creation details, but is not too different than the Traveller standard which assumed human. 

We end with an adventure about a lost colony and the deaths of thousands.

Alien Module 7 - Hiver

PDF. 52 pages, color cover, black and white interior art.

Back to another very alien species and one I knew nothing about till I bought this.

Where the other books typically opened with a comparative anatomy/physiology this one opens with just an overview of the hiver physiology as there are no reference points for comparison. 

They are called Hivers due to their hive-looking cities, but they are not really hive-mind creatures (say like bees), they are cooperative and work together well but respect the individual (otherwise we could not have characteristics of them). 

This book follows the outline of the other Alien Modules, with details on the Hiver's homeworlds, their government, and technology.  Likewise, there is detail about their starships and the world they inhabit.

As expected there is a bit more on their psychology as a completely alien species.  The rules for character creation are present for both "Basic" Traveller (LBB and such) and "Advanced" (High Guard, Mercenary, and beyond).  Special attention is given to their unique physical and psychological differences.

There is an adventure included at the end to introduce these aliens to players.

Alien Module 8 - Darrians

PDF. 50 pages, color cover, black and white interior art.

Our last Alien Module of the Classic Traveller series and one of the last books before the big edition change.  The Darrians are of human-ish decent and would be a minor player in the game of Galatic politics save for two reasons. While the majority of the Imperium is TL15 (tech level) the Darrians are TL 16 and have been for a long time.  Also they have the knowledge of the "Star Trigger" essentially a weapon that causes a star to go supernova.  

For a major power player the Darrians only occupy a small subsector of space. So this make talking about their history into space shorter.  This Alien Module covers all the same basics as the previous ones. Again, as expected, since the Darrians (more on that) are from human stock seeded by the Ancients 300,000 years ago there is no comparative anatomy or physiology presented.

"Darrian" can mean many things, a gentic Darrian are the ones that were seeded 300k years ago and evolved on their own in their sector of space. It can also mean someone living in the Darrian Confederecy.  It can be anyone that is a citizen of the Darrian Confedercy. These details are explored more in the History and has an effect on Basic and Advnaced character creations.  Darrians are golden skinned, tall but slight of build and have pointed ears.  If you are thinking "Space Elves" then I am right there with you.

Darrians can be fairly described as the academics of the Imperium.  A "Darrian vacation" is going to the library. Or something in the pursuit of knowledge.  I kinda like these guys. 

We get the usual background information on their history, technology, starships, worlds, society and government. 

There is also an adventure, "The Secret of the Star Trigger", included at the end. 

--

So. For SciFi month this ends my little jaunt into Classic Traveller.  By my estimation there are over 300 Classic Traveller related products out there.  That is not counting anything published using the Cepheus Deluxe rules or the Mongoose rules.  I know in two weeks all I have done is (barely) scratch the surface.  I could spend the rest of this year talking about Traveller to exclusion of all other topics and still not get to everything.

While I might be done with Classic Traveller (for now) I am not done with Traveller AT ALL.  I have a couple of other posts coming up and then I want to get into the Traveller2300 vs MegaTraveller fray.

Before I get into the next phase of Traveller evolution I thought it behooves me to spend some time with the major Alien races we encounter in Traveller.  Indeed, it was the aliens and the ads for the first three books in Dragon Magazine that made me want to go back and check out Traveller some more.

All of these are available via DriveThruRPG and Far Future Enterprises.

Alien Module 1 - Aslan

PDF. 44 pages, color cover, black and white interior art. 

While not the first Traveller alien I encountered, this is the first module or data file for the various aliens Traveller has to offer.  This one seemed like a no-brainer to me at the time.  I had read Joan D. Vinge's "psion" earlier that year and between the Caitian and Kzinti (introduced to me by Star Trek) I was primed to want a Cat-like race in space. 

The book covers the basics. Aslan physiognomy, which includes some evolutionary details and how it plays into their current civilization. Their political structure (or almost lack thereof) is also discussed. While the Aslan (named such by the first human explorers to make first contact) are described as proud warrior race, they are not really a unified one. 

We are given a bit of their history and their forays into space and their encounters with the Imperium. We get a bit on their psychology, which includes the territorial nature of the males (explained the loose confederacy) and their ritual duels.  

The next large section is Aslan character creation. This covers the basic character creation going back to the 3 LBBs and "Expanded" character creation for other types of characters. 

We are also given background on the Aslan homeworld, worlds within the Imperium, and a bit on starship design.  There is even some detail on the Aslan language, at least in terms of names.

For 44 pages it is pretty well packed.  There is not a lot of "fluff" here, mostly all "crunch."  So no fiction from the point of view of an Aslan mercenary or a human living on an Aslan world.  Just the basics and enough to get you going on to your own adventures. Honestly, it is all you need. 

This was the Alien Module I wanted the most back in the day.  Researching it now I see that a lot of people did what I was going to do with it; mix in liberal amounts of Kzinti and some Caitian as well.  Plus I was going to have psionic ability be a bit stronger in Aslan women. A nod to a lot of the scifi I was reading at the time.  I also noticed just as many people complaining about others doing exactly what I wanted and described!  Yes, the Aslan are fine just as they are but I also like my ideas too.  Thankfully this book lets me do all of that.

Alien Module 2 - K'kree

PDF. 44 pages, color cover, black and white interior art. 

These aliens were very alien to me.  While I could relate to the Aslan and the Vargr, these centaur-like aliens were very different and thus pushed a lot lower on my "wish list."  I don't even think I had read any of this book until I picked up the PDF ten years ago.

This book is set up much the same as the Aslan book and the future books in the line. I found the bits on K'kree psychology most interesting. As herbivores, they tend to be peaceful (ETA unless you are a meat eater). This combined with the race's inherent claustrophobia goes to explain that while they had Jump technology they had not expanded as fast as other races.  

We do get the sections on history, politics and governments, space travel and starship design, and the language section on creating K'kree names. There is a section on character creation as well.

This Alien Module also gives a few pages on adventures with or about the K'kree.  So a little bit more background here than on the Aslan, but I think needed since this species is so different.

Reading this 10 years ago I was not overly impressed I think.  Today I am of a completely different mind and would like to see these guys used more.

Alien Module 3 - Vargr

PDF. 50 pages, color cover, black and white interior art. 

While I knew about the Vargr, they were the big three alien races GDW was advertising back in the day, my first *real* interaction with them was way back in the early 2010s when I was looking for new ideas for Ghosts of Albion adventures.  I stumbled on one from White Dwarf #62, "An Alien Werewolf in London" about a Vargr in Victorian London.  It was an odd adventure, but I gave it go for Ghosts and always wanted to try it again with Doctor Who Adventures in Time and Space. 

This book is a bit larger than the previous two, largely because there is a lot you can do with these guys.  Also they are the most fun in terms of history.

Vargr look like Terran wolves because generally speaking that is what they are.  They were transplanted from Terra (Earth) to their homeworld by the Ancients over 300,000 years ago.  Now 300k years is not enough to evolve any stock into something like the Vargr so they had been artificially engineered for intelligence and survivability.  They share a number of physical characteristics of both humans and canine stock but have some minor differences as well.  They still have the psychology of pack hunters following a charismatic leader and working in small, but somewhat unstable, groups.  Pack membership can change and leaders can be followed or discarded at any time.  This has had two effects on the Vargr. One their history is a confusing affair with no one narrative of what happened.  Most of their 300,000-year history is largely unknown to them.  Also it leaves them with no central government nor even any type of government that could be considered "typically Vargr."   See why these aliens can be fun!

We get the now usual sections on character creation along with a brief language update for names. Some basics on the Vargr worlds and space travel.  

We also get a section called "Gvurrdon's Story" which is given to us from the point of view of a Vargr.

This makes up the "Big Three" in my mind.  I know more were introduced soon after (and I will get to them) but these are the ones I associate the most with Traveller.

If there was a "Golden Year" of classic RPGs then I am willing to put my nomination in for 1983.

By now what I considered to be the "Big 3" were well established; AD&D/D&D, Call of Cthulhu, and Traveller.  Indeed there were even alternatives to these that were very good games in their own right; Runequest, Chill, and Star Frontiers respectively. While Edition and System Wars have always been with us, it was a great time to be a gamer.  

1983 also gave us a "new" version of Traveller.  Well, not really new at all, but certainly reorganized and edited again.   To keep up my analogy of Classic Traveller = Original D&D and The Traveller Book = Holmes Basic D&D (although with the inclusion of The Traveller Adventure a better one is Moldvay Basic/Cook & Marsh Expert D&D) then the 1983 Traveller Starter Edition is Mentzer BECMI D&D.

The Traveller Starter Edition was the version I saw the most in the pages of Dragon Magazine.  No surprise.  My prime Dragon reading years were 1982 to roughly 1991 and then not again until the 2000s.  Until Mega Traveller came onto the scene this was the Traveller book that GDW was pushing.  Easy to see why.  The cover of the Traveller Book, despite how much I love it, was always more "sci-fi novel" cover.  The new cover?  That's Star Wars meets Dune meets Battlestar Galactica.  This was a cinematic cover, even if the rules were the same.   I could not tell then, and in fact it was only today I noticed, but that ship looks like the Azhanti High Lightning from below.  Or maybe it isn't.  Either way that cover says Space Adventure.  The Traveller Book says "Space is Dangerous and I got bills to pay!" to me.  Both are perfect.

Traveller Starter Edition (1983)

For this review, I am considering the PDF I bought from DriveThruRPG split into three separate files.  The front cover and the back cover of the original book are not preserved here. 

Book 1: Core Rules

This PDF is 68 pages and features black & white interior art with black & white covers with red accents.  They look very much like the classic Traveller covers. 

This book features all the rules from the Classic Traveller system.  It is largely the Traveller Book but reorganized and edited for clarity.  Some sections read a little differently, but for the most part, it felt the same.  There is some new art here, but a lot of art from previous editions remains. The new art is, as expected, better and gives more detail. The red accents to some of the art have been removed.  Character creation reads faster, but it could also be that I have read this section many times now in one form or one book or another that I am "getting it."  

A trained or expert eye could spot the rule differences, but that is not me.  This largely feels the same.  This is not a bad thing mind you.  The difference feels the same as that between Moldvay Basic and BECMI Basic.  Two books for the same game are designed to do the same thing only in slightly different ways.

Book 2: Charts and Tables

This 28-page PDF covers all the charts and tables. References to the charts are in Book 1. 

Book 3: Adventures

This is a 23-page PDF with two adventures; Mission on Mithril (from Double Adventure 2) and Shadows (Double Adventure 1). 

Thoughts

When it comes to learning how to play Classic Traveller then either this version or the Traveller Book would be fine since they cover the same ground.  The analogy of The Traveller Book = B/X D&D and Traveller Starter Set = BECMI D&D extends here.  The trade dress of all future Traveller books will follow the Start Set design.  This will hold until Mega Traveller and 2300 later in 1987.

Which one should YOU buy?  That is entirely up to you.  The Traveller Book has the advantage of also being out in POD format and this one does not.  But this version is a little more friendly to newcomers.

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

—oOo—

What is it?
The Six Paths is a supplement for use with RuneQuest: Roleplaying in Glorantha which describes and discusses the six main Heortling genders and their roles in society and the cults of Heler, Nandan, and Vinga.

Notes are provided to enable the content to be used with QuestWorlds (HeroQuest).

It is a twenty-nine page, full colour 4.89 MB PDF.

The layout is tidy and the artwork excellent.

Where is it set?The content of The Six Paths is set primarily wherever Heortlings may be found.
Who do you play?
The content of The Six Paths is intended is designed to be used with the multiple genders and sexes recognised by Heortling culture and members of the Heler, Nandan, and Vinga cults.
What do you need?
The Six Paths requires RuneQuest: Roleplaying in Glorantha  and The Book of Red Magic.
What do you get?The Six Paths explores how Heortling society recognises and accepts four sexes—female, male, neuter, and both, and at least six genders—female, male, vingan, nandan, helering, and none. It presents the myth of how Orlanth came to recognise these and explores the stereotypical identities and roles associated with them. For example, a vingan uses the female pronouns, keeps her hair short and dyed red, wears trews and skirt with tunic and arm rings, has the personality traits of passionate, violent, and proud, and is associated with the tasks of ploughing, carpentry, hunting, and smithing. Whereas a helering uses both male and female pronouns and neither, keeps their beard long or is cleanshaven, wears a skirt, and is adaptable, mercurial, and changeable. There are no specific tasks associated with helerings as they can turn their hands to anything. Whilst the patron gods are given for each of the genders, for example, Vinga for vingans and Heler for helerings, they do not necessarily join their actual cults, but their cults are given in The Six Paths (in which case, their worshippers are Vingans and Helerings.) As stereotypes, these are essentially the baseline to work from rather than play to.

Three cults—not presented so far for RuneQuest: Roleplaying in Glorantha—are detailed in The Six Paths. These are Heler the Rainmaker, Nandan the Housekeeper, and Vinga the Defender Storm. These are fully written up in the same format as in RuneQuest: Roleplaying in Glorantha including mythos and history, the cult’s beliefs on life after death, likes and dislikes, organisation, centre of power and holy places, and much more. Details are also provided for using the three cults in QuestWorlds (HeroQuest). Each cult is fully playable, adding interesting options in terms of character types, whether that is as a fierce follower of Ereltharol, the  Black Ram, Heler’s brutal warrior child; a loyal Nandan housekeeper; or a fierce Vingan warrior. All three cults come with nicely done associated myths which context to each cult. The Vinga cult details also adds the Weather Lore skill.

In addition to four new spells listed in the appendix—Change Sex, Impregnate, Summon Cloud Spirit, and Summon Nephelae—The Six Paths presents six sample characters which the variety of genders and sexes to be found in Heortling society. They include Leikan, a vingan Initiate of Yelmalio, Frithorf, a neuter Initiate of Orlanth and assistant shaman with their gloriously blue dyed hair and beard, and Esarios, a helering initiate of Humakt. All six do showcase the range of possibilities that the mix of genders and sexes in Heortling society encourages, and they can be easily used as NPCs or sample Player Characters.
There is a wealth of detail and a great deal to like in The Six Paths. The cults are particularly well done, and the supplement in general is very written and full of flavour and detail that is easy to bring into a campaign. 

However, The Six Paths is not without its potential controversaries. Obviously, there is its subject matter, but there are difficulties with its language too. The former is less of an issue because the fluidity of both gender and sex written already written into the background of Glorantha and RuneQuest: Roleplaying in Glorantha, but not every player or Game Master will necessarily want to deal with or address this subject matter within their game. In which case, their game will fall under the caveat that ‘Your Glorantha Will Vary’, and so The Six Paths will not be for them. Nevertheless, the language is problematic with the title of the spell, Impregnate, which carries with it the implication, if not of force necessarily, then of a masculine act rather than the feminine act of conception and its association with Ernalda, thereby negating her role and purview. The spell Change Sex also has its own issues, not least of which is that its use feels arbitrary rather than something special which might be achieved through a lengthy and purposeful hero quest rather than just having a spell cast. The power of both spells is implied by the number of Rune points which need to be expended to cast them—three in either case, but both spells feel underwritten in comparison to the two other spells listed alongside them in the appendix.

When it comes to answering the question, “Are vingans and nandai transgender?”, the phrasing in The Six Paths is potentially much more contentious. Its answer is that, “It would be easy to assume that vingans are trans men, and nandani are trans women. However, as gender and sex are separated in Heort’s Laws, there would be no reason for this to be the case. The Heortlings are perfectly capable of understanding someone who was born in a male body, but with a female gender identity. This means that vingans and nandani are a separate gender identity, seen as possessing different societal roles.” Now whilst vingans and nandai have the benefit of growing up in Heort society which accepts them as equals, by suggesting that vingans and nandai are not transgender (or might not be), The Six Paths is excluding the fact that they could be and in doing so excluding those who are. In effect, denying transgender players the characters and role models within the setting of Glorantha with which they can self-identify. This may not have been the authors’ intention and it may not be the case for every individual who identifies as or is transgender, but there is very much scope here for others of the transgender community to feel excluded.

Is it worth your time?Yes—The Six Paths is an excellent exploration of gender, sex, and associated cults and spells for RuneQuest: Roleplaying in Glorantha, but some of its language may not be considered approriate.No—The Six Paths is an exploration of a subject matter which not everyone is comfortable with as well as some of the language and terminology used in the supplement being contentious for others. Maybe—The Six Paths is a potentially excellent exploration of gender, sex, and associated cults and spells for RuneQuest: Roleplaying in Glorantha, but arguably, its use of language and terminology may not be as inclusive as the authors intended. Address that and it becoms a much less difficult supplement.

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

—oOo—

What is it?
Lost in the Dark is a scenario and supplement for use with RuneQuest: Roleplaying in Glorantha in which the adventurers are tormented by a mischievous Darkness spirit and literally get lost in the dark.

It is an eleven page, full colour 27.46 MB PDF.

The layout is scrappy and the scenario requires development and editing, but the artwork is engaging and the cover excellent.

Where is it set?
The sidetrek in Lost in the Dark is specifically set along in the Nymie Valley on the route between Apple Lane and Clearwine Fort. It could easily be set elsewhere.

Who do you play?Any type of Player Character could play through Lost in the Dark, although a shaman or assistant shaman may be useful. Uz will have a specific advantage when encountering the Lost in the Dark spirit and are not suitable for the side trek adventure seed given in Lost in the Dark. The Player Characters do require a reason to be travelling from Apple Lane to Clearwine Fort, especially at night.
What do you need?
Lost in the Dark requires RuneQuest: Roleplaying in Glorantha as well as The RuneQuest Gamemaster Screen Pack for wider information about the region around Apple Lane. The RuneQuest: Glorantha Bestiary will be useful for details of some of the encounters.

What do you get?
Lost in the Dark plays on the Orlanthi fear of the dark instilled in him in ages past in the Greater Darkness. Whilst travelling at night, the Player Characters unknowingly encounter a Lost in the Dark, a darkness spirit who delights in playing tricks on travellers, making it difficult for them to navigate their way by dimming both torches and the stars in the skydome, and forcing them to become lost. Mischievous rather than malicious, the Lost in the Dark literally forces the Player Characters into a series of side treks from dusk to dawn.

Full stats are provided for the Lost in the Dark, a child of Dehore, although no description is given. There are two illustrations, so the Game Master can choose from either. Notably, the Lost in the Dark is chased away when Yelm ascends out of the Underwrold at dawn, so the Player Characters will not be plagued by it longer than one night, and it can be negotiated with if it is spotted or sensed. Unless a Player Character has Spirit Sense, this is understandably difficult.
 The adventure seed in Lost in the Dark sees the Player Characters start the day-long journey from Apple Lane south to Clearwine Fort—and do so at night. The Game Master is expected to provide a reason for the Player Characters to do this, but given the fear that Orlanthi have of travelling at night, this is an issue. It really, really has to be a good reason, and Lost in the Dark really, really should have included some suggestions, especially how specific it is in terms of setting. Lost in the Dark also includes rules for ‘Navigating in the Dark’ which are workable enough, along with a fully worked out example. The adventure seed itself is supported with a number of encounter suggestions. Like the adventure seed itself, these can easily be extracted from Lost in the Dark and run elsewhere, although the Game Master will need to provide any stats necessary and may want to develop them a little further to fit into her campaign. The best use of Lost in the Dark is as an interlude between longer scenarios. Its brevity makes it easy to prepare and run, but for some players, the mischievous and hidden in the dark nature of the encounter could be an exercise in frustration.

Is it worth your time?Yes—Lost in the Dark presents an easy to run interlude that can be adapted to elsewhere, but which requires some development input upon the part of the Game Master.No—Lost in the Dark presents an annoying encounter with a mischievous spirit at a time when the Player Characters know better than to be out and which the Game Master really has to provide a reason to explain that. Plus the campaign may not be set in the lands of the Colymar Tribe.Maybe—Lost in the Dark presents an an annoying encounter with a mischievous spirit at a time when the Player Characters know better than to be out and which the Game Master really has to provide a reason to explain that.

Book of the Underworld is a sourcebook for 13th Age, the roleplaying game from Pelgrane Press which combines the best elements of both Dungeons & Dragons, Third Edition and Dungeons & Dragons, Fourth Edition to give high action combat, strong narrative ties, and exciting play. It is a guide to the realms below the Dragon Empire. Not the dungeons, but further below, in the realms known as the Underworld, riddled with twisting tunnels and networks of caverns; home to lost seas, lost races, and lost gods; rife with dark secrets and darker kingdoms; and below that? Here can be found the Gnomish school of wizardry, the Arcane Academy in the Burrowdeep Warrens where the graduates swear to never reveal its location upon pain of a curse that changes from graduation year to graduation year and where all sorts of magic is studied away from the eye of the Archmage—even necromancy! Forge, the Dwarven City of Memorials to the lost ancient civilisation of Underhome which stretched across the Underworld and which the Dwarven King still claims as his—along with much of the Underworld. Drowfort, a magnificently dark fortress sphere suspended by webs amidst a circular cavern, where factions of the Drow dedicated to the Elf Queen, She Who Spins, and both without ever revealing their allegiances co-operate to impose martial law on the Underworld. The Caverns of Lost Time in the Hollow Realm where whole regions of both the Overworld of the Dragon Empire and the Underworld, as well those of previous and lost Ages have been swallowed and preserved. Below that, glimpses of Underkrakens might be caught, seas of chaos writhe and surge, gods repose in their great catacombs, and something stranger still might be found—possibly the great architect of the Living Dungeons which burrow up the Underworld to the Overworld… And he has a beard, wears glasses and Hawaiian shirts, and speaks with a Midwestern accent, that would not be the strangest thing in Book of the Underworld.

The Book of the Underworld is a slim volume of ideas, places, monsters, advice, lists of thirteen things, and more, all designed to take a Game Master’s campaign even deeper underground. It is by no means a definitive guide to the Underworld, but it contains more than enough content and ideas to fuel multiple campaigns. Some locations its fleshes out in detail, such as Forge, Dwarven City of Memorials with its multiple districts and NPCs, or Web City, the stalactite city home to two cults—the Cult of She Who Spins in Darkness and the Cult of He Who Weaves With Joy—and innumerable spiders and drow, a fantasy ’noir setting strung across the ceiling of a great cavern, whereas locations such as the Dark Temples where the darkest of gods hide from the light and the Salt Mines of the Manticore, a sprawling salt mine used in ages past as a prison with one entrance pit in manticores were free to feed on the salty inmates, get just a paragraph or two. Whilst the former are more ready to play and easier for the Game Master to bring to the table, the other locations are more ready for her input and development of her own ideas and content.

The Book of the Underworld does require access to a number of supplements for 13th Age. In addition to the core rulebook, the Game Master will need the 13th Age Bestiary, 13th Age Bestiary 2, and 13 True Ways, whilst 13th Age Glorantha, Book of Ages, Book of Demons, and others will all be useful. It divides the Underworld into three layers. These are in descending order of depth, the Underland, the Hollow Realm, and the Deeps, which correspond roughly to the three tiers of play in 13th Age—Adventurer, Champion, and Epic. As with other supplements for 13th Age, it ties in the thirteen Icons and their relationships with the Underworld, which of course can be used to spur the Player Characters into descending below either on their behalf or to stop their plans. It throws in too, several fallen, vanished, and refused Icons, such as the Explorer from the Book of Ages or the Gold King—a former Dwarf King turned undead from 13th Age Bestiary 2. It introduces the Calling, the alien desire which subverts an existing icon relationship and compels an adventurer to travel further into the Underworld…

The supplement also discusses the roles which the underworld can take in a campaign, from a source of evil or monsters to a realm which is either hidden, prosaic, or weird, if not a mixture of all three, as well as using as the setting for a quick delve or a longer sojourn across an entire tier of play. Rather than suggesting that the Game Master map out each and every tunnel or cavern, it gives guidelines on how to use travel montages and include the players’ input and descriptions to detail and enhance the various locations their characters come across to make it interesting and involving, but shies away from focusing upon the day-to-day tracking of resources such as food, water, and sources of light. It adds a few treasures, such as the Drow Poesy, made of flowers plucked from Hell and the Bezoar of the Caves, former magical items belonging to adventurers chewed up and spat out by carnivorous caves, as well as numerous new monsters, but the latter tend to be specific to their locations.

The two races to receive the most attention in Book of the Underworld are the Dwarves and the Drow. Both are well handled and nuanced, but the interpretations of the Drow are the more interesting, if only because they are not portrayed as the out and out villains they often are in other settings, but rather accorded multiple interpretations which the Game Master can pick and choose from. Also known as the Silver Folk, they are primarily divided between those loyal to the Elf Queen and those loyal to the Cult of She Who Spins in Darkness. The realm of the Silverfolk lies below and extends beyond the Queen’s Wood. Numerous options for obtaining access are given, such as via ancient fairy mounds or sigils spun by spiders, and the Silver Folk might be divided into family clans of extreme specialists, whether that is of duellists, torturers, mushroom farmers, spider herders, artists who paint living portraits, and more; operate as the Elf Queen’s secret police; be exiles from the Queen’s Wood above; or reside in cavern dens as drug-addled fiends and hedonists, or laboratories where alchemy is practised as an art. The other Drow locations detailed in the Book of the Underworld, Drowfort and Web City, are located below in the Hollow Realm and are likewise accorded options of their own from which the Game Master can choose—as with much of the supplement.

Elsewhere, the Book of the Underworld provides lists of ways to get into the Underworld—including via the Abyss for Player Characters who want to make their delvings all the more challenging and for the Game Master who wants to make use of the Book of Demons, an explanation of how druidic earthworks work—above and below ground, the Grand Dismal Swamp—complete with Troglodytes and Fungaloid monsters, and not one, but four kingdoms of the Mechanical Sun! There really is a lot for the Game Master to play with in the pages of the Book of the Underworld. Plus it need not be just for 13th Age. The ideas and settings in this supplement would work equally as well in a lot of other fantasy roleplaying games too.

Physically, the Book of the Underworld is well written, but not always well illustrated as the artwork varies widely. It presents a wealth of ideas and options as well as particular locations, some already developed, others awaiting development upon the part of the Game Master, that she can bring to her campaign. Or indeed, actually turn into a campaign! The Book of the Underworld literally adds depth to 13th Age and content that a Game Master can mine for scenario after scenario and campaign after campaign.

US, UK, Australian prints What’s New?

• Huh, anyone familiar with painting 5E minis? Well one treasure item in this module is Nolzur’s Marvellous Pigments! As far as I can tell, this is their first appearance and their description wouldn’t even be explained until the DM’s Guide came out much later
• It has dragons! (G1 didn’t, so it’s a first for a TSR module)

Art

• Cover by Tramp this time
• I like how, as with G1, the back cover shows an aerial perspective very closely matching the first map, in this case the rift, so if the DM has this propped up, the players can see where they are
• very nice image in the middle by DCS III
• there are 4 more incidental pictures, 2 by Tramp (including a pretty cool Remorhaz) and 2 by DCS III
• as with G1, the Australian module has a different back cover (the 3rd outer cover panel from G3!)

General

• This is more like a typical dungeon crawl module – lots of caverns with encounters in each
• Likewise, the wandering monsters aren’t anything special – just random monsters appropriate to the climate
• Notes for the DM is almost word for word the same as G1
• There’s an odd comment on a room with snow leopards. The party is surprised on a 1-3 and completely surprised on 4-6. What’s the difference?
• White Dragons!
• There’s a heck of a lot of treasure in these modules – definitely need some mules to carry it all out
• And again, it’s very hacky slashy – lots of caverns with lots of giants/monsters and that’s about it
• I think the Jarl’s trophy hall win’s the prize for one of the most extensive lists of treasure/random crap – eg a giant boar head, claws of an umber hulk, a giant lynx pelt, etc etc

Image Information

From left to right in all pictures, US 3rd print, UK print, Australian print.

Date Information – July 1978

• See info on the G1 page

I can't really talk about Traveller without mentioning my history with the game, or more to the point, my non-existent history with at least one aspect of the game.  The Traveller Boardgames.

I remember reading ads for Traveller in Dragon and White Dwarf Magazines and among the RPG books and very cool looking minis, there were the board games.   I remember reading about Azhanti High Lightning in particular. This was a board game and yet it could be used WITH the Traveller RPG. It even included material that could be added to your Traveller RPG OR played completely on its own.  Then imagine my surprise that this was not the only one.

Long-time readers will know this was the start of something I call my "Traveller Envy."  Even then in the early 80s, I was blown away by the amount of material for this game.  RPGs, Boardgames, starship minis.  It was enough to make a die-hard D&D player like me jealous.  Sure, I had Dungeon! but that is not quite the same is it? 

Sadly, and long-time readers know this too, I never got the chance to play any of them.  

Fast forward to, well, last week.  I picked up three of the board games from DriveThruRPG.  These are PDFs, but they are, as far as I can tell, complete.  They are PDFs though.  

I want to review them, but I really have no context for them save they are, to me, worth everything I paid.  Honestly just to see what they are all about was worth it even if I never get to play them.  

General Overview

I picked up three games, Imperium, Mayday, and Azhanti High Lightning.  All three share similarities. There is s set of printed rules that are easy to read.  There is a board game that really doubles as an awesome map.  And there are counters.  If anything is the weakest link here it is the counters.  I have, with other games, tried printing and gluing to cardstock (gotta wait for the ink to dry), but that is time-consuming.  I have been considering a completely futuristic plan.  I would use my HDMI projector to project down on a table and use 3D printed starships.  I have found a few online and I am 100% certain there are more.  It would be far more time-consuming than laser printing and gluing, but it would be 1000x so much cooler.  Thankfully the ships would not need to be huge so I could do a few at a time. I wouldn't even need to spend a lot of time painting them, just a solid color the same as the counter. 

Imperium (1977)

This PDF features a 16 page rulebook, 3 pages of rule summaries, a turn tracker, 7 pages of background on the Imperium which may or may not reflect the same history as Traveller*.  There are also 3 pages of color maps/boards, 2 pages of counters, and an additional page of a counter manifest that looks like a page from Excel. Missing is the d6.  Bet I can dig one up.

This is a game of interstellar war. It actually predates Traveller by a bit, but obviously has similar DNA.  While the original 1977 RPG lacked an explicit setting, this one involves the Imperium (natch) and the forces of Terra (Earth).  The phases in the players' turns can include buying equipment, moving, and attacking.

This was published the same year as Traveller and the ideas of the Imperium had not been added to the RPG yet, so there are differences between the events of this game and future Traveller products. 

My issue with this set is I have no idea how big the map needs to be.  I can assume it is some multiple of the box size, but this is not a big issue.

Mayday (1978)

This one seems to be more explicitly linked to Traveller and is in fact Game 1.  The Mayday in question is the infamous "mayday" of the Free Trader Beowulf.  This is a game of ship-to-ship combat.   It was part of GDW's Series 120 games.  These were designed to play in two-hours or less. 

The Mayday is presented as a single PDF. Thre are 15 pages of rules. 1 page of counters. And a counter manifest/inventory (Excel printout). A board/map of a space hex-grid, and a scan of the box cover.

In general, this scan feels much more useful than Imperium did.  I can get a blank hex grid like this from my favorite local game store and I can print out all the counters I need, as I need, or use the 3D printing idea I have. 

While this game is more explicitly linked to Traveller, I see it could be used for any sort of ship-to-ship combat. I could even try my MCRN Barkeith vs. the USS Protector.  Might take some work, but the Barkeith would be a lot easier to do in the Traveller universe. 

Azhanti High Lightning (1980)

This is where it all began for me. Well. At least my Traveller Envy began here.  This is Traveller Boardgame 3 and it is a companion to the S05 Supplement Lightning Class Cruiser.

This game is personal combat on a starship.  This PDF package includes 3 PDFs.  The first is the complete game of 118 pages. This includes 40 pages of rules which includes six different sorts of "Incidents" (read Scenarios).  The next section (40+ pages) of this PDF is S05 Supplement Lightning Class Cruiser.  So if you are looking for this supplement for Classic Traveller, then here it is. 

The next 16 or so pages include the counters and the deck plans for the Azhanti.   Again these counters are good, but I would like to use minis or something like that.

I have been told this game is a lot of fun.  I'll have to endeavor to get it all printed out into a playable shape.

--

It is hard to give these a proper review since the only proper proof is playing them.  One day maybe, but for now I can honestly say my curiosity has been satisfied.  

Links

Imperium

• DriveThruRPG (PDF)
• Board Game Geek
• Wikipedia
• Traveller Wiki

Mayday

• DriveThruRPG (PDF)
• Board Game Geek
• Wikipedia
• Traveller Wiki

Azhanti High Lightning

• DriveThruRPG (PDF)
• Board Game Geek
• Wikipedia
• Traveller Wiki

Hostile is a gritty, near future roleplaying game inspired by the Blue-Collar Science Fiction of films such as Alien, Bladerunner, and Outland. It is a future in which space exploration and colonisation is difficult, harsh, and dangerous, but in which there are asteroid systems and worlds to be exploited and great profits to be made. Conflict is not unknown—between colonies, between colonies and corporations, between corporations, and when that gets too much the Interstellar Commerce Organisation steps in or peacekeepers such as the United States Marine Corps are sent in, but in the main, space is a working environment. One with numerous hazards—the vacuum of space, radiation, adversely high and low temperatures, poisonous planetary atmospheres, potential insanity from being exposed to hyperspace, and strange alien creatures which see you as intruder, food, or incubation for its brood—which humanity must cope with in addition to the stresses of space travel and working away from Earth.

Published by Zozer Games, Hostile is derived from Samardan Press’ Cepheus Engine System Reference Document, the Classic Era Science Fiction 2D6-Based Open Gaming System based on Traveller. It is a standalone game system and setting which is divided into two volumes, Hostile Rules and Hostile Setting. To encompass the military Science Fiction aspect the setting—obviously inspired by Aliens—Hostile encompasses the squad level combat rules from Modern War, but that is only one option of play explored in Hostile Rules. In total, Hostile Rules covers the task resolution mechanics, character creation, survival rules, stress and panic rules, starship and ground combat, starship operations, creating worlds, trade and salvage, encounter tables, and more. What Hostile Rules does not do is provide an actual setting, although that is either referred to or inferred to throughout its pages, for typical wages and costs of items and services in 2250, as well as the licences and qualifications associated with the roleplaying game’s skills, both in the military and out.

Hostile Rules is itself not entirely complete and is not a standalone rulebook. Most obviously, there are no weapon stats given in the combat sections of Hostile Rules—that is saved for Hostile Setting.

The fundamentals of Hostile will be familiar to Referees and players of Traveller. The core mechanic consists of two-sided dice rolled against a target of eight or more, to which are added stat-derived modifiers; characters tend to be older, having gone through several four-year terms of service in a career and may suffer the effects of aging; in combat, damage is taken directly by a character’s three physical attributes—Strength, Dexterity, and Endurance; and starship travel is measured in the number of parsecs travelled. In flavour and feel though, Hostile Rules is very different to Traveller, being grim and gritty near future Science Fiction as opposed to the far future Imperial Science Fiction of Traveller.

Hostile Rules begins by explaining its core mechanic. To the standard skill role, it explains the perception roll and the characteristic roll, all done in a couple of pages, or so. It also discusses the types of campaigns which it can be used to run. These are typically built around particular crew types, including colony work crews, corporate investigation teams, roughneck crews, commercial starship crews, marine corps squads, private military contractors, and more. Then it explains character creation, with options for designed rather than random creation. Although the setting of Hostile is humanocentric, it includes options for the genetically engineered Android and Prole, but neither are intended as options for Player Characters. Proles are needy and introverted with a four-year lifespan, whilst Androids are passive and non-aggressive, and the designers advise the Referee to be careful before allowing an Android with ‘broken programming’ in play.

A character in Hostile is defined by six characteristics—Strength, Dexterity, Endurance, Intellect, Education, and Social Standing—each rolled on two six-sided dice and expressed as line of numbers and letters called UPP or Universal Personality Profile. A Player Character’s homeworld provides some base skills at level zero, with career options including Corporate Agent, Corporate Executive, Colonist, Commercial Spacer, Marine, Marshal, Military Spacer, Physician, Ranger, Roughneck, Scientist, Survey Scout, and Technician. The Android Career is included for NPCs. Then a player rolls for the character’s Career, term by term, with mustering benefits at the end. In addition, Hostile Rules adds tables for his appearance, height, weight, psych evaluation, reason for leaving Earth, suit badges, and more. This nicely adds flavour and detail. All of the details for each Career is neatly contained on the single page.

Chandra Pham is from Singapore on Earth and signed on with Kuorox Interplanetary as a crewhand and for the last two decades has risen through the ranks, qualifying as a senior broker before being appointed captain of the Blue Hildegard. Two years ago, the Blue Hildegard was hijacked following a gun battle in which numerous members of the crew and hijackers were killed. Captain Pham managed to lead an escape attempt and overpower the hijacker, but was badly injured during the incident, losing her right eye. Although an ICO Court of Inquiry exonerated her, it pointed to lax Kuorox Interplanetary operating procedures which enabled the hijacking. Chandra Pham was let go by Chandra Pham, but received Star Envoy Club Membership as a reward and is currently looking for an independent berth or opportunities to trade.

Senior Captain Chandra Pham, Age 38
Homeworld: Earth
Height: 159 cm Weight: 64 kg
Psych Evaluation: Selfish (Concerned with reward and compensation)
Reason for Leaving Earth: Caught up in political turmoil
Distinctive Feature: Shades
Qualifications: Commercial Brokerage Licence, ICO Sensor & Signals Licence, ICO Cargo Loader Licence, ICO Space Transportation Licence, UASL Pressure Suit Handling Licence

578C86
Commercial Spacer (5 Terms)
Brawling-0, Broker-4, Carousing-0, Comms-1, Computer-1, Ground Vehicle-0, Gun Combat-1, Loader-1, Navigation-1, Pilot-2, Streetwise-0, Vacc Suit-1
Cr. 20,000
Star Envoy Club Membership

As well as providing rules for a multitude of environmental hazards, from acid, hiking, and diseases to arctic and desert, pressure loss, and hunger, Hostile Rules includes rules for stress and panic. This can occur when a starship or vacc suit takes damage for the first time, suffering damage to reduce an attribute to half or more, losing control during a spacewalk, and more. This is a standard Intelligence roll and if failed, the Player Character temporarily loses a point of Intelligence, potentially making further Stress checks harder to pass. If a Player Character’s Intelligence is reduced to half or zero in this way, a Panic Check is made and if failed, he will act accordingly to a roll on the Panic Effects table. In general, this favours Player Characters who have a high Intelligence, but there is a spiral loss, at least temporarily, to Stress checks from any lost Intelligence and of course, scope to roleplay a character’s response.

The combat rules cover everything from personal combat all the up to vehicular combat. This includes blind, area, and frenzy fire, calling for fire support, handling NPCs, the scale between man portable and vehicular weapons, and more. Space combat is also covered, but in some ways, the chapter on starship is actually more interesting, getting right down into the nitty gritty of details such refueling, loading and unloading, fight and hyperspace, landing, and more. What this impresses upon the reader is that Hostile is not setting in which a starship necessarily takes off, travels, and lands somewhere. This all takes effort and work upon the part of the crew, and whilst it need not be played out each and every time, it should be done at least once, if not twice, to reinforce the nature of space travel. One aspect which is like Traveller in the Hostile Rules is that travel in hyperspace is done outside of star systems and two aspects in which it is not, is that hyperspace travel is done in hypersleep and that starships can travel for more than week. Which means that a starship capable of travelling three parsecs per week would cover that distance in a week, a shop capable of only traveling one per week, would take three. One pleasing genre enforcing element is that commercial starship crews make most of their money through bonuses, not base pay, so Player Characters get to gripe about their bonus!

Hostile Rules also goes in quite details about worlds and world data, especially its physical characteristics. There are rules here for creating worlds, adding trade classifications and bases, and more, although there is no checklist, so it does look as if they are not actually there! As with the small arms, actual world data for individual colonies and settlements within the setting are saved for Hostile Setting. There are rules for trade though, and salvage.

Hostile Rules is rounded off with a lengthy set of encounter tables and advice for the Referee. The encounter tables handle everything from Space Encounters and Starport Encounters to Colony Encounters and Patron Encounters, as rules for handling interaction between the Player Characters and the NPCs. It also includes tables and guidance for Animal Encounters, including creating them, though this does not extend as far as Exomorphs—or Alien Horrors! There is a nice little essay here on making them interesting and different to that of the Xenomorphs, the obvious inspiration for Hostile. It only runs to a couple of pages, so it is a pity that it could not be longer, but unlike the other animals, there are no tables to help the Referee create her own, though there are plenty of ideas included to make encounters with them different and challenging.

The advice for the Referee is excellent, covering campaign types—the fact that the different crew types allow for a range of Player Character types, adjudicating the rules, how to create scenarios, including a example inspired by a horror film, how to prepare so that you can improvise better, and finally, run campaigns. The latter feels shorter and less useful than the rest, but overall, this is all helpful advice.

Physically, Hostile Rules is serviceably done. The artwork is excellent, capturing very much the grim and gritty feel of space being a working environment. One noticeable design feature is the text size, which although sans serif, is large. Hostile Rules could have easily been a shorter book with a smaller sized typeface, but the larger size is very easy to read.

The absence of weapons is the biggest issue with Hostile Rules. It is obvious why it lack them—Hostile Rules and Hostile Setting are designed to complement each other. However, with the addition of weapons stats, Hostile Rules would all be a standalone set of roleplaying rules.

The contents of Hostile Rules will feel familiar to anyone who played or read either Traveller or Cepheus, but very much filtered through not one, but three different Science Fiction subgenres—Blue Collar Science Fiction, Horror Science Fiction, and Military Science Fiction—and combined into one heavily implied setting with obvious inspirations. Bar the absence of weapons, Hostile Rules does very much feel like a Cepheus Engine version of Alien and Aliens, minus the Xenomorphs. This is not to say that this is a bad thing, but like the Aliens Universe, and even more so with Hostile there are numerous tales to be told which do involve conflict and exploration and strangeness without encountering a Xenomorph, or in this case, an Exomorph. Although Hostile Rules includes rules for Exomorphs and a Referee can run games involving them, they are not its focus as they are in Free League Publishing’s Alien: The Roleplaying Game. Plus, of course, Hostile already has enough elements within it that are trying to kill the Player Characters.

Although not complete, Hostile Rules is an engagingly accessible set of rules and mechanics which serve to make space and the frontier a dangerous place to be, let alone work. In combination with Hostile Setting it will provided a solid, detailed design, both in terms of the rules and the grim and gritty future.

Metamorphosis Alpha: The Mutation Manual is a supplement designed for Metamorphosis Alpha: Fantastic Role-Playing Game of Science Fiction Adventures on a Lost Starship. The first Science Fiction roleplaying game and the first post-apocalypse roleplaying game, Metamorphosis Alpha is set aboard the Starship Warden, a generation spaceship which has suffered an unknown catastrophic event which killed the crew and most of the million or so colonists and left the ship irradiated and many of the survivors and the flora and fauna aboard mutated. Some three centuries later, as Humans, Mutated Humans, Mutated Animals, and Mutated Plants, the Player Characters, knowing nothing of their captive universe, would leave their village to explore strange realm around them, wielding fantastic mutant powers and discovering how to wield fantastic devices of the gods and the ancients that is technology, ultimately learn of their enclosed world. Originally published in 1976, it would go on to influence a whole genre of roleplaying games, starting with Gamma World, right down to Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic from Goodman Games. And it would be Goodman Games which brought the roleplaying game back with the stunning Metamorphosis Alpha Collector’s Edition in 2016, and support the forty-year old roleplaying game with a number of supplements, many which would be collected in the ‘Metamorphosis Alpha Treasure Chest’.
Metamorphosis Alpha: The Mutation Manual is written by a variety of authors, including James M. Ward, the designer of Metamorphosis Alpha and simply gives descriptions of over two hundred mutations. Metamorphosis Alpha: The Mutation Manual is a character sourcebook divided between lists and descriptions. Both lists and descriptions are divided into six categories—physical mutations, physical defects, mental mutations, mental defects, plant mutations, and plant defects. There are more of the mutations than the defects in each category. So typically, there are eighty to ninety entries for the mutation categories and between two and twelve entries for the defects. They are joined by a full complete mutation list at the end of The Mutation Manual, which lists all of the mutations in the roleplaying. Neatly, this list references not just the entries in this supplement, but also all of the mutations and defects listed in Metamorphosis Alpha—both the original version published by TSR, Inc. in 1976 and the more recent edition published by Goodman Games in 2016. One of the features of Metamorphosis Alpha is that Player Characters do not intrinsically get better. They do not acquire Levels, improve their attributes, or increase their Hit Points through being rewarded Experience Points. Which begs the question, how does a Player Character improve himself? There are two main ways. One is to find better and often deadlier arms, armour, and equipment, the other is gain new mutations. Both are relatively easy to come across in play. There are always stores of forgotten or dropped gear to be found, and across the various decks of the Starship Warden are to be found sources of radiation and other mutagenic agents. So the former will equip a Player Character, whilst the latter will alter him, granting wondrous new powers and abilities. Of course, there comes a point when the equipment and mutation lists in Metamorphosis Alpha begins to feel a bit stale and over used. Fortunately, the contents of the ‘Metamorphosis Alpha Treasure Chest’ provide plenty of source material in terms of both—and thus plenty of other source material for other Post-Apocalyptic roleplaying games. Of course, Metamorphosis Alpha: The Mutation Manual adds the new and needed mutations.

So for the physical mutations, there is ‘Anaerobic’ which enables a mutant to breathe any gas bar oxygen, ‘Detonating Fingers’ with which a mutant can generate and miniature bomb blasts from his fingers, ‘Holographic Skin’ grants a low Armour Class and near invisibility when he is partially dressed, and ‘Physical Flinging Back’ which throws the effect of an attack back at the attacker. Some of the Physical Mutations have a superhero power feel to them, like ‘Duralloy Skeleton’ or ‘Metallic Skin’, but others odd, even bonkers, such as ‘Edible’ which makes the mutant’s body produce edible fruit or nuts which have special effects, such as pistachios which temporarily increase radiation resistance for imbiber or makes him a scientific genius for anything up to day. The mental muations include ‘Aerokinesis’ for control of the air currents all the way up to tornados and ‘Technology  Amnesia’ for making a victim forget how to use a piece of technology, whilst ‘Total Healing’  enables to heal all damage once per every two days. Plant mutations include ‘Control Sap’ which renders anyone who touches the sap of the plant with this mutation suggestible and ‘Insect Monarch’ which marks the mutated plant out as both home and food source for a group of insects which the mutated plant can direct to do its bidding.

However, what is not immediately obvious is that Metamorphosis Alpha: The Mutation Manual does not contain any new defects. Instead, their inclusion—or at least mention—is confined to tables listing those available in Metamorphosis Alpha itself. Which is a shame as they are far and few between, and given the fact that any Player Character with mutations will also have defects, it means that whilst there will be a high degree of variation between mutations possessed by the Player Characters and NPCs, there will far less variation in terms of defects.

Physically, Metamorphosis Alpha: The Mutation Manual is cleanly presented. The illustrations are quirky—especially the one of E. Gary Gygax alongside that of his much-desired mental mutation of ‘Total Healing’—and in general, the entries are well written and easy to read. This is a supplement which will may of use to a lot of other Post-Apocalyptic settings or roleplaying games, such as Mutant Crawl Classics or Gamma World. Though for the former, the Judge will need to develop the respective mutation tables for each mutation incorporated from this supplement into her campaign. Overall, despite the lack of new defects, Metamorphosis Alpha: The Mutation Manual is a serviceable supplement for Metamorphosis Alpha: Fantastic Role-Playing Game of Science Fiction Adventures on a Lost Starship or the PostApocalyptic setting or roleplaying game of your choice.

The solo adventure book is no stranger to the comic book. In the nineteen eighties, Diceman was a five-issue series from Fleetway which published stories involving characters from its sister publication, 2000 AD, including Judge Dredd, Nemesis the Warlock, Sláine, Rogue Trooper, Torquemada, and ABC Warriors. Diceman also ventured into political satire with the comic strip ‘You are Ronald Reagan in: Twilight’s Last Gleaming’ and Fleetway would continue this theme with the separate solo adventure book, You are Maggie Thatcher: a dole-playing game in nineteen eighty-seven. Marvel Comics satirised the solo adventure book format with a comic book mini-series all of its own and with the only character it could—the fourth wall breaking, genre busting, Marvel Universe killing Deadpool. In You Are Deadpool, Al Ewing—who has also written for 2000 AD—and Salva Espin and Paco Diaz let you take the ‘Merc with a Mouth’ on another romp through Marvel’s back catalogue after a job goes wrong, and in the process pokes fun at some key moments of Silver Age, Bronze Age, and Modern Age comics across the history of Marvel Comics.

The set-up is simple and one which you can ignore or dive straight into the action. The Tomorrow Man hires Deadpool to steal a Time-Travel Helmet stolen from the Time Variance Authority by the Roxxon corporation and stored in a high-security facility. All Deadpool has to do is get in, steal the helmet, and get out again. Nothing could be simpler. Except, it goes all wrong and Deadpool gets flung back in time. Each of the five issues, or chapters, of You Are Deadpool is set in a different time period. For example, in chapter two, Deadpool lands in nineteen sixties New York where the storylines see him become a beatnik poet and pop artist—complete with de rigueur beret, and potentially be at the birthplace of both the Fantastic Four and the Incredible Hulk! In the third chapter, he dumped in the swamps of the nineteen seventies where he encounters Man-Thing, Dracula and a host of classic monsters, as well as a certain Richard Milhouse Nixon turned antihero in spandex! In chapter four, Deadpool returns to New York, but not of the nineteen sixties, but the nineteen eighties where he up against Kingpin alongside Daredevil and the Punisher, all before doing a quick run through history and back again in chapter five.

You Are Deadpool is no mere ‘Choose You Own Adventure’ book. It includes rules and mechanics. As explained at the being of the first chapter by Deadpool himself directly to the reader—because Deadpool is of course going to break the fourth wall—along with author (though not of this comic, though there is a Warhammer fantasy Battles gag in there at his expense. Twice), Kieron Gillen, Deadpool has two stats, Badness and Sadness. These start at zero and as he progresses through the story, he gains points of Badness for acts of violence and being a badass, and points of Sadness for learning things which make him feel down. These do not have any effect on the mechanics per se, but depending upon which one is higher than the other, they will direct the reader down one path or another. Combat is handled by rolls of six-sided dice. If Deadpool and the reader roll higher than equal to their opponent’s roll, he beats him. Otherwise, Deadpool and the reader lose. The reader rolls two six-sided dice for Deadpool, whilst also rolling one, two, or three dice for his opponents. Typical security guards might only have the one die, but the Incredible Hulk rolls a total of four six-sided dice! Unlike other solo adventure books, the character of Deadpool has an advantage—a healing ability which means that he cannot actually die. Which means he can take a lot of damage, recover, and the reader can keep playing. Well, mostly. There are paths down which Deadpool can go and which do end the adventure.

Along the way, Deadpool can pick and hold three a total of three items to store in his inventory, anything from a doughnut, yo-yo, and shuriken to a deck of playing cards, a teapot, and a Rubic’s Cube—and more. Some of these will prove useful in Deadpool’s adventure. Interspersed in the storylines are several mini-games, including a simple ‘roll and move’ board game and a roll your own slam poetry poem. At the end of You Are Deadpool is checklist of achievements, which the reader can chose to tick off or not.

Structurally, You Are Deadpool consists of five chapters. Chapters one and five form the beginning and the end, whilst chapters two, three, and four can be played in any order. Either amusingly or not, at the end of chapter one, the reader is directed to chapter two or chapter three. This is not an issue and therefore not amusing if reading the collected You Are Deadpool, but of course, You Are Deadpool was released as a five-part mini-series of comics, issue by issue, month by month. So when You Are Deadpool #1 was published, the reader had to wait a month for You Are Deadpool #2 or two months for You Are Deadpool #3 to continue playing. Depending upon the ratings of Deadpool’s Badness and Sadness scores of course. Very droll.

Each issue or chapter itself, consists of between eighty and one hundred panels. Not all are non-sequential as you would expect for a solo adventure book. Certain series of panels can be read sequentially, just as you would any other comic or graphic novel, but for the most part, the panels are placed in non-sequential order. There is one consequence of You Are Deadpool being done as a comic book though. When reading or playing a solo adventure book, it is not uncommon to look at the illustrations as you flick past them to another paragraph and wonder what they depict and how you get there. In You Are Deadpool this is exacerbated because it consists of nothing but illustrations or comic panels…

Physically, You Are Deadpool is adroitly done. The artwork varies from chapter to chapter, so the second chapter, set in the nineteen sixties has a very pop art style. In between, the graphic novel collects the mini-series’ variant covers, including the ‘You Are Deadpool: The Antiheroic Role-playing Comic’, a parody which fans of TSR, Inc.’s Marvel Super Heroes will enjoy and a parody of Errol Otis’ cover to the B/X edition of Basic Dungeons & Dragons. At the end of You Are Deadpool, the author provides the story maps for each of the five chapters.

You Are Deadpool works as both a solo adventure book and a Deadpool story, but unlike most solo adventure books, it does not have much in the way of replay value—even with the achievement list at the end of the collection. This is primarily due to everything in each of the chapters’ different paths being drawn and thus on show—the blocks of text in standard solo adventure books being easy for the eye to gloss over, the panels of this comic strip not so much. So there are fewer surprises and hidden details, though the authors and artists do work hard to hide some. Nevertheless, You Are Deadpool is an entertaining and fun, if light parody of the solo adventure book, as well as the Marvel Universe.

The Traveller Adventure is the companion piece to The Traveller Book I reviewed earlier.

I always wanted this book. It would have looked so great next to my Traveller Book. But more importantly it would have given me some more ideas of what to do with Traveller.  At least Traveller was better for me than Star Frontiers, which tended to be D&D in Space.

I did pick this up on DriveThruRPG as a PDF almost as soon as it came out. 

This book (well. the cover) was my first experience with the Vargr.

The Traveller Adventure (1983)

For this review, I am using the PDF from DriveThruRPG.  154 pages, color cover, black and white interior art with red ink accents.

This book is a collection of connected adventures which today would be called an Adventure Path.  See I told you Traveller was ahead of its time. 

The conceit of the adventures is the player characters are all members of the merchant vessel, the March Harrier, where they befriend a Vargr (a fantastic way to introduce an alien species btw) and leads them on a series of adventures.  Additionally, we (or me rather, it could have shown up earlier in another book) were introduced to the Spinward Marches, the frontier of the Imperium.  Even someone only tangentially familiar with Traveller has heard of the Spinward Marches.

So yeah already a lot in this book.

The book begins with all this information as well as background on the Aramis Subsector and some Referee notes.  These notes include details on the overall plot and what all the major NPCs want. There are even some Pre-Gen characters to use.  Seriously. This thing is so much better than I expected it to be.

There are about a dozen and a half or so adventures here of various sizes and types.  Each moves the plot forward in a different way and each can have an effect on the other.  They did not appear to be overtly linear to me, so there is a lot freedom of how these can be used.

There are also deck plans for the March Harrier and a bit on using Vargr as player characters.

There is just so much information here and just so much of value that I am really kicking myself for not getting this back then.  It really would have changed my Traveller experience.

Reading through this now I also really get an appreciation for how deep and rich the Traveller lore is.