A few years back I reviewed Kevin Crawford's Stars Without Number.  At the time I said: The game is beautiful and there is so much going on with it that it would take me a number of games with it just to get the right feeling for it. The overall feel I get with this game is that it is the perfect child of Basic D&D and Traveller. So much of what made both of those games so great is here.

Is Stars Without Number perfect? No, not really. But it is really, really damn close and even from a short distance I could not tell it apart from a perfect game.

Recently I went back over the game and still found it to be nearly perfect. But I had not played it all that much since then.

So on a whim really I picked up the newest Stars Without Number: Revised Edition and I figured I would grab the Print on Demand as well.  I just go it in the main this past week.

Wow.

That is really the only way to describe it.  Any of the reservations I had about the previous edition evaporated with this edition.  

I am considering the PDF and the full-color Print on Demand version. 

Written by Kevin Crawford, art by Jeff Brown, Christof Grobelski, Norah Khor, Aaron Lee, Joyce Maureira, Nick Ong, Grzegorz Pedrycz, Tan Ho Sim. And what fantastic art it is too!  All pages are full color and each one is evocative and eyecatching.   324 pages. 

Chapter 1 covers Character creation.  We have seen this all before, but perfect for people new to RPGs or sci-fi fans new to the Classic 6 Attributes and level/class systems. The feel here is solid old-school and SWN:RE wears its old-school and OSR cred proudly.  BUT they are also a new game with new design sensibilities.  For example, character creation is broken down into easy steps.

You can determine your character's skills (and these can be from a number of sources).

There are background packages that can be added to classes to give your character more depth and determine some of their skills.  There are also training packages to further define your character.

The classes are the three "archetypes" that you can find in other games, The Expert, The Psychic, and The Warrior. This edition also has The Adventurer which does a little bit of all the above. 

Character creation is a breeze and no one seems to die while doing it. There is even a quick character creation method on pages 26-27.

Chapter 2 covers Psionics.  Psionics are rather central to the background fiction of the SWN:RE universe, so they get special placement.  There are quite a lot of psionic powers detailed here.  So first thing, if psionics are something you must have in your sci-fi game then please check this game out first.  Psionic points always give the powers a different feel for me than magic, so this is another plus really.  These powers are not merely reskinned spells, they have been redone to fit within the mythos of the game better.

Chapter 3 is the Systems chapter.  It includes the expected combat, but also a new twist on the skill checks with Target Numbers.  Useful if you are using the skills as described here, but its real utility comes in how flexible it can be.  I would have to try it out more, but it's close enough to other skill + die roll + mods vs TN that I can see its use in a variety of situations.  What I like about these skills is they are a 2d6 roll resolution system and not a d20.  Sure makes it feel a little like Traveller. TRhis chapter also covers all sorts of actions, like combat (regular d20 vs AC here) and Saving Throws; Physical, Evasive, and Mental. Hacking also dealt with here since it is most similar to a skill check.

This also covers Character advancement.

Chapter 4 details all the equipment you will need including the Technology Level of the equipment.  D&D would be tech level 1 (or so) while we are at TL 3.  The game is set at TL 5 with some artifacts at TL 6.  Time Lords are hanging out at 7 or 8 I would say.  D20 Future and Traveller also use a similar mechanic, so if you want to see how they can also work, checking out those games is advisable.

The standard batch of weapons and armor from sticks and stones all the way up to energy weapons are discussed.  AC is now ascending.  What is really nice about this game is in addition to lasers, energy swords, and computers it also includes Cyberware, Drones, Vehicles, and "pre-Silence" artifacts. 

Chapter 5 gives us Starships. Everything on size, type, and costs to ship-to-ship combat.  

 Chapter 6 covers the History of Space of the default campaign setting.  Even if you don't use it there are some great ideas here. 

Chapter 7 is Sector Creation which is just FULL of material for any game.  While this game has a lot going for it, this is the real gem in my mind. This chapter is long, detailed and honestly, it makes me want to create worlds.

Chapter 8 covers Adventure Creation. You have characters, you have created all these worlds. Let's get them together. 

Chapter 9 is the Xenobestiary. AKA the Monster Manual.  Again we are given a lot of detail on how to make alien beasts and then a listing of several samples.  Given the old-school nature of this game you could grab ANY old-school monster book for ideas.  Yeah...doing Space Orcs could be boring, but Warhammer 40k has been doing them for so long and if you wanted to do them here, well the rules won't stop you. This chapter also covers the creation of alien species. First, the hows and whys of aliens are discussed; what to use, where, and why to use them.  Some of this is situated in the campaign setting, but there is some good advice here even if you plan on using your own background/campaign or not even have aliens. 

Chapter 10, Factions.  Factions are important groups.  Say a group of allied pirates or smugglers, a government or a band of plucky rebels.   Several key factors when creating a faction are given and there is a huge list of sample factions.

Chapter 11 is Game Master Resources. It talks about character death and when to roll for skills. How to build a galaxy and conversions from First Edition Star Without Number.

Chapter 12 covers newer material, namely Transhuman stories.  Or what I call the Altered Carbon chapter.  The ability to move on to new bodies.

Chapter 13 has my undivided attention since it is Space Magic. That's right magic and wizards in space. Not psionics, but real arcane magic. 

Chapter 14 covers heroic characters.  These are not your Traveller grunts or even characters from Star Frontiers, these are your Luke Skywalkers, your Buck Rogers, and more. 

Chapter 15 is True Artificial Intelligence. 

Chapter 16 covers Societies.

Chapter 17 gives us Mechs. 

There is a fantastic Index (sadly lacking in many books).

SWN:RE ups the game in every possible way over SWN:1st Ed.  

Print on Demand

I said this book was gorgeous and I meant it.  The print-on-demand copy I got is sturdy and heavy.  It is also the closest thing I have seen to offset printing in a POD product.  You would have to look hard to tell difference. 

I described the previous version as "nearly perfect." Reading through this version I am only left to say that is one pretty much is perfect.  It does everything a sci-fi game should. I mentally slot different sci-fi stories, tropes, and ideas in while reading through it and I could not find something that didn't have a fit somewhere.

I have read a lot of sci-fi games this month, but this is one of the best.  

The once prosperous town of Thorston has fallen on bad times. Located on the Dee Estuary on the south side of the Wirral in the north-west of England, industrialisation and trade has passed the former fishing port by as the estuary silted up and merchant shipping favoured the city of Liverpool opposite the north side of the Wirral. Roads degraded, leaving only muddy tracks leading into the town, the railway station was torn down, and so the town was left isolated, at first declining, then mouldering and dilapidated, more and more of its sodden buildings abandoned. Apart from the few remaining inhabitants, Thorston has in more recent times become a haven for vagrants, drifters, criminals, and other ne’er do wells looking for refuge away from the authorities in the nearby cities of Chester and Liverpool. Whether locals or incomers, all of the inhabitants have learned to lock their doors at night or barricade themselves in, for it is not safe to be on the streets of the port after nightfall. As rumours grow of missing students and missing hikers on the nearby Heswall Dales and a missing church minister, the inhabitants of elsewhere on the Wirral shun Thorston more and more, claiming that there is a sign across the road into the town which reads, “Condemned. Stay clear for safety.” And so Thorston’s decline continues…

This is the state of Thorston, a town with history which goes all the way back to the Vikings, as detailed in Thorston, the Shunned Town on the Dee, which brings the Mythos to the northwest of England. Published by Stygian Fox Publishing for use with Call of Cthulhu, Seventh Edition, Thorston, the Shunned Town on the Dee is a combination of setting and scenario intended for use with the Hudson & Brand, Inquiry Agents of the Obscure campaign framework, but which would also work as part of a general Cthulhu by Gaslight campaign. It presents a location and  reason to enter what is known as ‘Fox Country’, essentially Stygian Fox Publishing’s equivalent to Lovecraft Country, but with a longer sense of history. To that end, Thorston is the equivalent of dread Innsmouth, yet despite it being a fishing port, it is not home to a mixture of Deep Ones and their hybrids, but rather a variation upon another Mythos race which has long co-existed with mankind, whilst the nearby Roman city of Chester as its answer to Arkham (although there is no obvious equivalent to Miskatonic University).

Thorston, the Shunned Town on the Dee can be broadly divided into four sections. The first explores Thorston, its history, its inhabitants, and its secrets. The second presents the nearby city of Chester, essentially a jumping off point for anyone investigating the Wirral and Thorston, whilst the third is the supplement’s scenario, ‘Supping with the Devil’. The fourth explains the mythology key to ‘Supping with the Devil’ and the town. With less than a hundred inhabitants, the supplement focuses on just a handful of locations and NPCs. These are primarily The Ship & Bowl, the town’s only inn and its proprietor, Maud, and Harris & Sons, and its proprietor, Daniel Harris, and what remains of the town’s only church, St. Hilda’s. Notably both possess and are connected by ‘Rows’, an architectural feature also found in nearby Chester, which consists of a covered pedestrian, but otherwise open walkway on the first floor, giving access to shops and other premises on the first floor, with other shops and other premises on the ground floor below. 

The description of Chester is relatively short, enough for Investigators passing through, but not staying for any length of time, and enough for the Keeper to flavour her portrayal of local NPCs. The NPCs in Thorston itself are actually all decently done, whilst the Mythos forces involved in the town and scenario nicely draw upon British and Celtic myth. Several hooks are provided to get any Investigators to Thorston, mostly revolving around missing persons. The scenario in the book though, ‘Supping with the Devil’, has them employed by Joshua Armitage, a wealthy Liverpudlian merchant who wants to develop Thorston into a seaside resort, complete with pier and promenade. He sends them into the blighted town to ascertain its condition and to get a feel for the place, having them stay a single night. The investigators will find the few inhabitants cold of manner and ill-disposed to talk, their rooms at The Ship & Bowl dank and unpleasant, and their sleep interrupted by door handles rattling and scratches at the window. During the day there are few people on the street, and strangely for a seaside town, an absence of seagulls. ‘Supping with the Devil’ is, in the main, an exploration scenario, the Investigators examining the few remaining buildings in the town, hopefully driven to examine more and more until some of its secrets are revealed—or at least hinted at, and the town’s dark side can react… Up until that point, the scenario is player-driven, but then the NPCs may come to drive the Investigators, perhaps necessary if the players and their Investigators simply decide that the best course of action is to flee. The Keeper may want to create a few more NPCs, in particular some of the vagrants, drifters, criminals, and other ne’er do wells who have taken refuge in Thorston. These can at least populate some of the seemingly abandoned buildings—which will also benefit from some window dressing too—and add colour, as well as their perhaps hinting at some of the mysteries and secrets in the town, falling prey to the evil present, perhaps foreshadowing events which might befall the Investigators…

Physically, Thorston, the Shunned Town on the Dee is engagingly presented. Done in full colour throughout, the cartography and illustrations are in general, well done throughout. Some of the maps are a little small, whilst others do not work as double-page spreads, and there are differences between the two maps of the town. However, Thorston, the Shunned Town on the Dee is let down by the writing—or rather by the editing. Parts of the text are overwritten and repetitive, and whilst there is an editor listed in the credits, there are no signs that Thorston, the Shunned Town on the Dee has actually been edited.

Thorston, the Shunned Town on the Dee is essentially Innsmouth and the scenario, ‘Supping with the Devil’, its equivalent of H.P. Lovecraft’s The Shadow Over Innsmouth. As inspiration goes, that is no bad thing, but neither are they direct copies, for the differences in tone and scale—the town of Thorston and its inhabitants being smaller in scale give them a flavour and feel of their own. As does setting in the Purple Decade of Cthulhu by Gaslight. Plus, there is a sense of English squalor to Thorston and environs. Despite the disappointing lack of editing, there is a lot to like about Thorston, the Shunned Town on the Dee. It wears its inspirations on its sleeve, but in entwining them with local myth to create an atmosphere that is both monstrous and English, Thorston, the Shunned Town on the Dee serves as an enjoyably rotten introduction to Fox Country.

US D&D Basic Set

This may get long.

This is just a review of the Basic rule book. Coverage of the other items, such as the Geomorphs that came in the first printing and the B1 & B2 modules that came in later printings are dealt with separately.

I’ve been looking forward to reading this since starting this project. Basic was the first ever D&D I played. My brother bought the box set pictured above and he took me through B1. I can’t even remember how many sessions it took or how far I got.

It’s nice reading it now, having read all the preceding material. Back in the day, when I read the rule book for the first time, the stuff in the Foreword was like gobbledygook. Interesting that the Preface mentions AD&D even though it wasn’t available yet.

From the outset it’s apparent that much of the text is explaining the same things as in the original D&D, just with much greater clarity. For example: When rolling up ability scores, you’re allowed to adjust them. E.G., you can boost your Strength by 1 by reducing your Intelligence by 2 points. The original stated this information in a rather confusing manner. Holmes makes it very clear.

In some places, it’s almost word for word the same – e.g. the section on hiring NPCs. This can be confusing at times because it mentions something like encumbrance and then doesn’t give the weights for anything (whereas they were actually given in OD&D).

UK D&D Basic Set

What also stands out is how many references there are to AD&D, even though it wasn’t even published when this came out. E.g. “After they reach fourth level… refer to the more complete rules in AD&D”. It’s apparent that Basic D&D is just a stepping stone rather than the self contained thing that it would become in later iterations.

These rules are still pretty harsh compared to modern editions. You go down to 0HP – you die. You’re a first level Magic-User – you get 1 spell. You’re a first level Cleric – no spells for you! And Magic-Users aren’t allowed to bring their magic books into the dungeon. So to re-memorise a spell, they have to go out of the dungeon and spend a day in study! I guess with no healing spells available to the first level cleric, the party is going to be heading to the surface quite a bit anyway. (Which – allow me to indulge – is what it’s like playing your first level characters in the Apple II game, Wizardry – duck down, have one fight, head back to the surface – and pray you don’t encounter a wandering monster on the way!)

At least characters now get 1-3hp back for each day of rest back home. In the original, it was 0hp on the the first day of rest and then 1hp per day thereafter.

Speaking of time, the changes and clarifications around time/turns/rounds are vastly improved.

US on top, UK on bottom

Wait a second. What the heck is this? Am I reading these rules right? All characters, no matter what class, use the same combat table. And no matter what weapon they have, they all do 1-6 points of damage. And the to-hit is the same for all 3 levels. So by my reckoning, a first level magic-user with 3 Strength has just as much chance of hitting and doing the same damage with a dagger, as a third level fighter with 18 Strength and a sword! The only difference is the magic-user will generally have lower hit points and terrible armor class.

Huh. I guess in some ways that makes sense. The fact that first level magic users only have 1 spell and clerics have none is balanced by the fact they can dish out damage in the normal way.

Flicking back to original D&D, the to-hit varies by class but only once you get above level 3. I guess it stands out to me more because Basic is limiting itself to just those first 3 levels.

UK Basic Set contents

More stuff I find surprising:

• Daggers allow two hits per round – why would you ever use a sword!
• You don’t roll for initiative – whoever has the highest dexterity goes first.

Spells, for the most part, are the same as in the original plus Greyhawk. There are a few new spells as well.

There’s a section on fire and throwing flasks of oil. And one on holy water.

I haven’t got much to say about the monsters. Again, there’s some descriptions copied almost verbatim from the original and in other cases the text is clarified or modified. There are quite a few new monsters as well as a couple more giant and dragon types. A lot of the monsters would be rather challenging for a party of 1st-3rd level adventurers!

The same can be said for magic items. Some text is the same, other bits clarified. Some new items, others removed.

After this, there’s a nice section on the art of DMing which is much more extensive than what you get in the original, even if it is only a page worth.

Australian Basic Rulebook – no white

And lastly we come to the sample dungeon – the Tower of Zenopus, entirely written by Holmes. Most striking is the detailed background story – full of flavour. The dungeon itself is a whole lot more realistic and makes more sense than the sample dungeon in Original D&D. It’s also fairly sparse. I guess that makes sense, considering it had to fit in several pages. It’s got giant rats, goblins, skeletons, pirates, and an evil magic user. What’s not to like?

Some notable things not included from Original + Supplements:

• No Strength adjustments – e.g. pluses to hit/damage/open doors
• Elves are purely multi-class fighter/magic user – no choice
• No fancy sub-classes like monks/assassins etc
• No hit location stuff, thank goodness
• No special damage by weapon type vs armor class
• In fact no different amounts of damage per weapon at all! (Unlike in Greyhawk.)
• No sword intelligence/ego
• No ships/underwater/outdoor/building castles
• No psionics, of course – pfew

Some notes on the design:

• They’re now rocking the Futura font (as opposed to Helvetica in the original and some other serif font in the supplements)
• the drawings are a definite step up in quality – the Sutherland cover is awesome!

There is way more information about Holmes Basic at these sites : https://sites.google.com/site/zenopusarchives/home
http://zenopusarchives.blogspot.com/

Image info

This the first D&D set my brother got – a 7th print Basic with those ridiculous chits and B2 in the box. Secondly, I have the Australian print rulebook (blue and black, no white on the cover). Lastly, I have a UK 4th print Basic Set.

Date info

The copyright date is 10th July 1977. There’s no reason to doubt this. The Acaeum says July. Of Dice and Men mentions July. Judges Guild issue N Aug/Sep mentions it.

I reviewed 1st Edition Gamma World which got me thinking about Mutant Future. I was surprised to discover I had not written a review for Mutant Future. Well, today seems like a good time to do that. This review will cover the PDF and the POD versions from DriveThruRPG.

Mutant Future (2010)

Not to start with, Mutant Future is not really a Retro-clone, near clone, or anything like that.  The closest game it is like is Gamma World.  Set in a post-apocalyptic world, Gamma World has its roots in the dawn of the RPG age and D&D in particular. Filled with mutant animals, plants, and humans of all sorts.

While Gamma World has its own near-D&D system it is not 100% compatible.  Maybe 95%.  Mutant Future doesn't have that issue. It is the exact same rules as its sister game Labyrinth Lord. Plus Mutant Future is not trying to emulate Gamma World exactly.  Mutant Future then is a new game that feels like an old game that never really existed.  Mutant Future does have some differences from Labyrinth Lord. The game is set in a post-apocalyptic Earth much like Gamma World. 

Section 1: Introduction

This covers the basics. What this game is and what to do with it.  A brief overview of dice and common abbreviations is covered.  This largely the same as what we see in many games and in Labyrinth Lord in particular.  Mind this is not a drawback to this game. There is a strong implication here that anything made or written for Labyrinth Lord is also good for Mutant Future. 

Section 2: Characters

Again, there is familiarity here, and that works to Mutant Future's advantage.  The ability scores are the same as Labyrinth Lord/D&D and are generated the same way. The various species or types you can play are also here. Characters can be an Android (basic, synthetic, or replicant), mutant animals, mutant plant, mutant human, or the rare pure human, also like Gamma World. Abilities can go as high as 21 and there are a different set of saving throws, but the basic rules are the same as Labyrinth Lord.  The types also list what HD each character has and how many mutations you have.  

This section also covers gear. It uses a coin system much like D&D and Labyrinth Lord as opposed to the barter system of Gamma World. Either works fine.

Section 3: Mutations

This covers all the mutations that all characters, NPCs, and creatures can have. In true old-school fashion, these are all random tables. 

Section 4: Adventuring Rules

This covers the rules of the game and what characters are likely to do.  Again these are replicated (but not cut and pasted) from Labyrinth Lord.  Mutant Future sticks with feet and Basic movement as opposed to Gamma World's metric and more AD&D-like movement. 

Section 5: Encounters and Combat

Combat and weapons of all sorts are covered. Also covered are damage from stun, paralysis,  diseases, radiation, poisons, and more.  This is one of the bigger departures from the Labyrinth Lord core, the saving throws are keyed for Mutant Future damage types. There is also a mental attack matrix here much like Gamma World.

Section 6: Monsters

This section covers all the sorts of creatures you can encounter. It is fairly expansive and since the format is the same as Labyrinth Lord creatures can be used in one or the other or both.  40+ pages of monsters is a good amount. There are also plenty of detailed encounter tables. 

Section 7: Technological Artifacts

This would be the "Treasure" section in a fantasy game, but this is highly appropriate since the world of Mutant Future is supposed to be littered with the technology of past ages.  This includes non-playable robot types, vehicles and things as mundane as protein bars.

Section 8: Mutant Lord Lore

This covers how to run a Mutant Future game. Not just how to run their own but how to build your world.  Unlike Gamma World which has a sort of baked-in setting, Mutant Future is more open. The Mutant Lord (and I think an opportunity was missed in not calling them Mutant Masters) gets to decide how the world is the way it is.   Advice is given on how to run adventures and a sample setting is provided. 

Section 9: Mutants & Mazes

While it might not really be needed, this section discusses using Mutant Future and Labyrinth Lord together.  The rules are remarkably similar, like 99%, so there are only minor pieces to consider. Though this section does expand mutations to the standard D&D tropes of race/class.

All in all this a fine game. It is not exactly like Gamma World, more was it trying to be. It does however give that Gamma World feel in an OSR ruleset.

Print on Demand

The PoD version of this book is a sturdy hardcover that compares well to my Labyrinth Lord books.

Eve Tushnet / May 12, 2021

I came to Douglas Coupland’s novel Generation X: Tales for an Accelerated Culture, thirty years after its 1991 publication date, expecting sharp sociocultural observation and maybe some economic critique. After all, Coupland, who said that his generation was “sick of stupid labels,” inadvertently coined the self-effacing generational moniker under which my cohort has labored.

But Generation X is something stranger than a novel of social observation. It is a scrappy, almost zinelike collage of images, marginal text, and patchwork narratives, making it feel like a back issue of a magazine that never quite existed. It’s full of incisive nouvelle slang: “McJob: A low-pay, low-prestige, low-dignity, low-benefit, no-future job in the service sector. Frequently considered a satisfying career choice by people who have never held one.” Coupland provides all the expected pleasures: lostness, drifting, downward mobility, a surfeit of irony and anti-politics; and over it all the fading shadow of global thermonuclear war, which still haunts the imaginations of this last generation of Cold War kids.

But Coupland’s characters long more for sublimity than for 1950s-style industrial and familial stability. They’re haunted not just by the mushroom cloud but by the monastery. Reading Coupland’s debut novel, you’ll be reminded that seminal Gen X lit includes not just Jay McInerney’s moral tales but Donna Tartt’s 1992 divine-madness pulp masterpiece The Secret History.

Generation X is about three friends, Andy, Dagmar (a man), and Claire. Their platonic cuddling and aggressively retro aesthetic create an odd, lightly ironized, closety vibe. A novelist more concerned with our moral life would explain this atmosphere: perhaps through parental divorce, which played such a huge role in the national psyche of the ’80s and ’90s. Divorce defines the cultural landscape of Generation X. As one of the marginal comics by Paul Rivoche puts it: “Don’t worry, mother… If the marriage doesn’t work out, we can always get divorced.” The atmosphere of divorce, its ever present possibility, shapes these characters’ contingent and uncommitted life—but it doesn’t define their psychological backgrounds. Unlike in much Gen X fiction (including McInerney’s Story of My Life and The Secret History), our hero’s parents are still married.

In 2019, the divorce rate hit a record low, as did the marriage rate and the childbirth rate. Divorce and the experiences of “children of divorce,” which shaped so many books and movies in the 1980s and 1990s, play a much smaller role in our cultural landscape now that nobody’s getting married or having children in the first place. This shift has not exactly reduced the ambient level of instability and precarity. The covert intensity with which Andy and his friends cling to one another, the mingled hope and guardedness in their promise-free love, is if anything even more striking in our current relationship moonscape.

The place of gay people and gay longings has shifted in a far more significant way since 1991, and here Generation X does feel even more retro than it’s trying to be. But although there are clues to the narrator’s sexuality for those who would like clues (it’s no coincidence that Claire’s awful boyfriend calls him “Candy”), Coupland doesn’t pathologize the unspoken quality of Andy’s sexual longings. Andy’s reliance on dreams and hints suggests an extended adolescence; that’s part of the experience of the closet, but it’s also something he can share with his friends, opening him to them as well as limiting him.

Andy and his friends are bracingly aware that they won’t do as well as their parents. I remember answering the phone when I was in middle school and finding myself in a poll: “Do you expect to have the same level of financial security as your parents, or greater, or less?” I said, “Less,” of course, with a suppressed duh. Doesn’t everyone expect less? And yet Andy and his friends live in their own bungalows, right next to one another. (Andy’s from Portland but fled to tend bar in Palm Springs with Dag; Claire sells Chanel at a luxury department store.) They don’t need housemates. They have pets! Who do you know, who isn’t rich, who can afford their own rental and a pet? There’s a chapter in here titled “Quit Your Job.” I enjoyed that slogan, but thirty years on, in the middle of the gig pandemic, I also thought, Gosh, remember when people had “jobs”? Andy and his friends come from the middle class or higher, true; they’re also part of a generation that could feel the floor tilting under them—even if they hadn’t yet slid all the way off. They’re able to choose between the service industry and a soul-crushing job with health benefits. We should all be so lucky!

The most powerful image of the precarity of these characters is not their withdrawal from romance or their bartending jobs. It’s nuclear war. When the novel was released, in March 1991, the Soviet Union still existed. It’s set in 1990, the year after the Berlin Wall fell. The old game of brinksmanship was rapidly changing its rules, and nobody knew how it would end. Dag is obsessed with the mushroom cloud; he accidentally covers Claire’s bungalow with radioactive rocks; he closes one of his many “end of the world stories” with “the silent rush of hot wind, like the opening of a trillion oven doors that you’ve been imagining since you were six.” Nuclear war is an ever present memento mori: a reminder that you’re a target, that political forces you can’t hope to affect may turn you and everybody you know into glass. 

But nuclear war also offers the promise of a totally different future. Maybe things won’t just keep going the way they have been. Maybe apocalypse will bring revelation. Dag’s vision of the mushroom cloud ends in communion and a kind of confession. His nuclear fantasies express deep-rooted fears, but also a longing for the ecstatic shattering of the self. Nuclear war would not just crack open the self-protective carapace of irony: the persona. It would not only be the ultimate shared experience in an atomized and alienated world (“We Will All Go Together When We Go,” as Tom Lehrer reminds us). It also represents the white-hot moment when loss becomes total. And it’s in this loss, a kind of mutually-assured asceticism, that Coupland’s characters hope to discover some form of transcendence. That’s vague, and it’s vague in the novel; maybe it has to be vague, because, having left the ornament and doctrine of religions behind, Andy and Dag and Claire have little idea what other shape transcendence might take.

We see this in their stories. One of the unexpected delights of Generation X is the way it turns the postmodern obsession with narratology into a game. The three friends constantly tell each other “bedtime stories,” with various rules and conventions. This is part of their self-protective irony (it’s not me, it’s not my heart). It’s part of the zine aesthetic of the novel, and it fits the characters’ directionless lives; no individual plotline can be sustained for very long. But Coupland makes this shared storytelling feel loving and genuinely communal. It’s a sincere statement that they may view their own lives as pointless and meaningless, but they want to hear their friends’ stories. There’s an uncynical lightness to the storytelling, which lets these characters reveal their secret desires as if at a slumber party, flashlights under their chins.

And so we get Claire’s fairy tale of the spaceman who persuades a girl stuck on the backwater planet of “Texlahoma” to give her life so he can get back to Earth. He’ll revive her, he promises. Her sisters know it’s a lie. But they still let her go to her ecstatic death: “And together the two sisters sat into the night, silhouetted by the luminescing earth, having a contest with each other to see who could swing their swing the highest.” This is a tale of deadly romance, appropriate for the sex-kills era. It’s a tale of economic marginality. But it’s also suffused with longing for the unknown, even if the journey into that black, star-studded expanse will kill you. And it’s a hint that death, at least symbolic death, may be necessary in order to touch the stars.

Claire is also the one who tells the most direct parable of asceticism. She tells this story soon after her sketchy grifter friend, nicknamed Elvissa, runs off to be “a gardener at a nunnery.” Dag says, “I don’t buy it”; but Claire retorts, “It’s not something you buy.” Generation X, in Generation X, shelters neither in the certainties of the ’60s revolt nor in the post-Great Recession certainties of the millennials, but in irony and delay. Elvissa’s flight suggests an unsheltered alternative. Not the convent—that’s too much certainty or the wrong kind—but something convent-like: some ascesis, some mystery, some intelligible loss and unintelligible gain.

Right after Elvissa leaves, Claire tells a story called “Leave Your Body,” about “this poor little rich girl named Linda.” Linda’s parents break up when she’s a kid; she becomes a “charmed but targetless” woman, restless and unhappy. And then in the Himalayas she learns about “a religious sect of monks and nuns… who had achieved a state of saintliness—ecstasy—release.” Linda accepts the sect’s strict rules (though it’s important to the generational portrait that they’re not the rules of kashrut or the catechism) and begins seven years of fasting and meditation. She misunderstands. She makes what is literally a fatal error, due to her ignorance of the Himalayan discipline. And yet that doesn’t mean she fails. The ultra-American’s quest ends not in humiliation but in mystery: even in her folly, she found the doorway.

This is Coupland’s attitude toward all his characters’ longings. He lavishes attention on their bright and curlicued foolishness, but he never holds their hopes in contempt. He suggests that they may someday find whatever it is they’re seeking, even if they never understand it. This is an unfinished book; it defined a generation by our unfinishedness.

Eve Tushnet is the author of two novels, Amends and Punishment: A Love Story, as well as the nonfiction Gay and Catholic: Accepting My Sexuality, Finding Community, Living My Faith. She lives in Washington, DC and writes and speaks on topics ranging from medieval covenants of friendship to underrated vampire films. Her hobbies include sin, confession, and ecstasy.

Gamma World might have been TSR's first big entry into sci-fi gaming (Warriors of Mars and Metamorphasis Alpha non-withstanding), but it was not their biggest.  While I don't have any hard numbers in front of me, I am going to have to say that Star Frontiers edges out the later Alternity in terms of popularity.  It was certainly built at the height of TSR's fame with the first edition, simply Star Frontiers, published in 1982 with the new edition and trade-dress Star Frontiers: Alpha Dawn and Star Frontiers: Knight Hawks.

Certainly, in terms of fans, Star Frontiers has Alternity beat.  But more on that soon.

For this review, I am considering the PDFs and Print on Demand versions of both Star Frontiers: Alpha Dawn and Star Frontiers: Knight Hawks. I am also going to go with my recollections of playing the game when it first came out.

The Alpha Dawn book is designed by "TSR Staff Writers" but we know ow that a huge bulk of the work was done by David "Zeb" Cook and Lawrence Schick.  Knight Hawks was designed primarily by Douglas Niles.  The cover art in both cases was done by Larry Elmore with interior art by Elmore and Jim Holloway with contributions by Jeff Easley, Tim Truman, and even some Dave Trampier.  Keith Parkinson would go on to do some other covers in line as well.  

While originally boxed sets (gotta love the early 1980s for that!) the PDFs break all the components down into separate files. Handy when you go to print the counters or the maps.  The Print on Demand versions put all the files together into an attractive soft-cover book for each game.  The maps are published in the back, but you will want to print them out for use. 

Both books are easy to read and really nice.  They have been some of my favorite Print on Demand purchases ever.
Let's look into both games.

Star Frontiers: Alpha Dawn

Alpha Dawn is the original Star Frontiers game.  The box game with two books, a Basic and Expanded game rules, some maps, counters, and two 10-sided dice.  The rules indicate that one is "dark" and the other "light" to help when rolling percentages, but mine were red and blue.  Go figure.

The Basic Game is a 16-page book/pdf that gives you the very basics of character creation.  There are four stat pairs, Strength/Stamina, Dexterity/Reaction Speed, Intelligence/Logic, and Personality/Leadership.  These are scored on a 0 to 100 scale, but the PCs will fall between 30 and 70.  Higher is better. These can be adjusted by species and each individual score can also be changed or shifted. 

The four species are humans, the insect-like Vrusk, the morphic Dralasites, and the ape-like Yazirian. Each species of course has its own specialties and quirks.  I rather liked the Dralasites (whom I always pronounced as "Drasalites") because they seemed the oddest and they had a weird sense of humor. 

We are also introduced to the worm-like Sathar. These guys are the enemies of the UPF (United Planetary Federation) and are not player-characters. 

The basics of combat, movement, and some equipment are given.  There is enough here to keep you going for bit honestly, but certainly, you will want to do more.  We move on then to the Expanded rules.

The Expanded Rules cover the same ground but now we get more details on our four species and the Sathar.  Simple ability checks are covered, roll d% against an ability and match it or roll under.

Characters also have a wide variety of skills that can be suited to any species, though some are better than others, Vrusk for example are a logical race and gain a bonus for that.  Skills are attached to abilities so now you roll against an ability/skill to accomplish something.  Skills are broken down into broad categories or careers; Military, Tech, and Bio/Social. 

Movement is covered and I am happy to say that even in 1982 SF had the good sense to go metric here. 

There are two combat sections, personal and vehicle.  These are not starships, not yet anyway, and were a lot of hovercars and gyro-jet guns. 

There is a section on creatures and how to make creatures. I am afraid I took that section a little too close to heart and most of my SF games ended up being "D&D in Space" with the planets being used as large dungeons.

The background material in the Frontier Society though is great stuff. I immediately got a good just of what was going on here and what this part of the galaxy was like.  While Earth was never mentioned, you could almost imagine it was out there somewhere. Either as the center of UPF (Star Trek) or far away, waiting to be found (Battlestar Galactica).  

This book also includes the adventure SF-0: Crash on Volturnus.

When it comes to sci-fi some of the rules have not aged as well. Computers still feel very limited, but the idea that as we approach the speed of light we can enter The Void has its appeal.  

Star Frontiers: Knight Hawks

Ah. Now this game.  Star Frontiers was great, but this game felt like something different. Something "not D&D" to me.

In fact I have often wondered if Knight Hawks had not been a separate game in development by Douglas Niles that they later brought into the Star Frontiers line. I also think that TSR was also suffering a little bit of what I call "Traveller Envy" since this can be used as an expansion, a standalone RPG, and as a board game!

Like Alpha Dawn, this game is split into four sections.  There is a "Basic" game, and "Advanced" or "Expansion" rules (and the bulk of the book), an adventure, "The Warriors of White Light", and all the counters and maps.

As far as maps go, that hex map of empty space is still one of my favorites and fills me with anticipation of worlds to come. 

The PDF version splits all this into four files for ease of printing or reading.  The Print on Demand book is gorgeous really.  Yes...the art is still largely black and white and the maps and counters are pretty much useless save as references, but still. I flip through the book and I want to fire up the engines of my characters' stolen Corvette, the FTL Lightspeed Lucifer. Complete with the onboard computer they named Frodo.

The Basic rules cover things like ship movement, acceleration, and turning, along with ship-to-ship combat.  By itself, you have the rules for a good ship combat board game. It works fine as long as you don't mind keeping your frame of reference limited to two-dimensional space. 

The Expanded rules tie this all a little closer to the Alpha Dawn rules, but I still get the feeling that this may have started out as a different sort of game that was later brought into the fold of Star Frontiers.  

Ships are largely built and there is a character creation feel to this.  Their 80's roots are showing, no not like that, but in that, the best engines you can get for a starship are atomic fission.  Of course, no one just gets a starship, you have to buy it and that often means taking out a loan or doing a bunch of odd jobs to raise the credits. Often both.  I don't think I ever actually bought a ship. The Lucifer was stolen.

There is also quite a bit on the planets of the UPF, Frontier Space, and the worlds of the Sathar.  It really had kind of a "Wild West" meets the "Age of Sail" feel to it. 

The last part of the POD book is the adventure "The Warriors of White Light" with its various scenarios. 

Minus two d10s everything is here for an unlimited number of adventures in Frontier Space.  Rereading it now after so many years I can't help but dream up various new adventures. I also can't help to want to use the Sathar in some of my other Sci-fi games.  They have such untapped potential.

The price for these books is perfect.  Grab the PDF and POD combo.  Get some d10s, load your gyrojet gun and get ready to make the jump to the Void. There are new planets to discover!

Parts of Star Frontiers, in particular the species, would find new life in D20 Future, part of the D20 Modern line.

Both games are fun, but suffer from and/or benefit from the design principles of the time. Newer players might find some of the game elements dated. Older players of the games will find them nostalgic.  Personally reading through them now some 40 years after first reading them I get a lot more enjoyment from the rules.  Back then I was really too D&D focused to really enjoy what I had in front of me. Today, well I can't wait to stat up a character or two and a starship.

Star Frontiers on the Web

There are many places where Star Frontiers is alive and well. There used to be more, but my understanding is a predatory grab for the trademark by another RPG company caused Hasbro/WotC to exercise their legal rights and bring the game back in-house. While that did screw over the amazing work done by the fan sites, there are still many up and providing new material for the game.  

For these fans and sites, Star Frontiers never went away.

• Star Frontiers: Alive & Well (Facebook)
• http://www.starfrontiers.com/
• Star Frontiers Wikia
• Star Frontiersman Magazine
• Frontier Explorer

One of the first adventures I ever bought via mail-order was S3 The Expedition to the Barrier Peaks. I had already latched onto the idea that the S series of adventures were going to be mine to run in our extended group of players that crossed many DMs and groups.  I grabbed it without really knowing a lot about it.  I knew there was crashed spaceship central to the adventure and I knew that it was a larger adventure.  Since I was spending my limited paper route money on my new D&D addiction I had to make every dollar count.   S3 had two booklets, at 32 pages each, and color inserts. There were two covers with maps. So even my young mind all of this was more valuable than a simple adventure that only had half that material.

I got it in the mail one summer and took with me on a family trip to the fish fry my parents loved to go to every year.  It was hot, and July and all I wanted to do was sit in our van and read my adventure.  This was also the first time that I encountered what I would later call the "Gary Gygax" effect. This would be the "E.G.G." on the map of Level II.  I remember not liking it at the time because if this was a real spaceship then why was that there.  But more details on that later.

Sci-Fi gaming was not new to me. I had picked up Traveller and I knew about Gamma World. I also had learned that Gamma World and S3 had a shared parentage in Metamorphasis Alpha, though I will admit I wasn't 100% clear on what that meant at the time.   Without knowing much about the size of the Warden (MA) we always assumed this was the Warden.  Given the shape of the ship that landed on Greyhawk and it's size this was more obviously some sort of smaller scout ship with a prison or brig.  One thing everyone in my groups agreed on was this is how Mind Flayers came to Greyhawk.

S3 Expedition to the Barrier Peaks

For this review, I am considering my printed copy from 1982 or so (not my original sadly, lost that one years ago) and the PDF from DriveThruRPG.  This adventure was written by Gary Gygax himself and was the official Advanced Dungeons & Dragons Tournament scenario at Origins II in 1976.  The adventure was updated and published in 1980. Cover art and art book art by Erol Otus, interior art by Jeff Dee, David "Diesel" LaForce, Jim Roslof, David Sutherland III, Gregory Flemming, and Erol Otus.

The adventure comes in two 32-page black and white booklets. The first covers the adventure and the second covers all the weird animals, plants, and gadgets found on the ship.  There is also four pages in the center of book two with full-color art of the animals.  I have one copy where they are glossy and another where they are matte. I have no detail on what the differences mean.  

Book 1 covers the adventure.  The preface sets up what this adventure is about and gives some background on how this adventure came to be.  The rest sets up the adventure, placed in the Grandy Duchy of Geoff in the World of Greyhawk.   There is a bit of explaining the nature of this "dungeon," really a crashlanded ship, and how to read the maps. 

While one could call this a funhouse dungeon it is a bit different than the other Gygax funhouse, Tomb of Horrors.  There are a lot of new and weird monsters here and some older ones (like the Mind Flayer) that are given a new life so to speak.  What is most interesting to us, and to the players, were the new tech provided.  The tech items were designed not really to be functional, but to confuse the players as much as possible.  There really seemed to be a fear that D&D characters would run around with laser rifles.  Of course the design makes no sense from a human perspective, so we tried to figure out how they might been created.  One idea was that these make sense if you are a Mind Flayer. 

The adventure itself is a pure dungeon crawl into an unknown structure. 

Book 2 covers all the visual aids for this adventure.

The adventure is a must-have really to say you have had the complete D&D experience.  My oldest hated it though, saying he hates mixing sci-fi with his D&D.  My youngest loved and wanted lasers for everyone.

Classic Modules Today & Revisited

There are 5th edition updates via Classic Modules Today by Todd Bergman and the 5e Conversion by Michael "solomani" Mifsud. Each goes for $1.00.

Goodman Games also offers their massive Expedition to the Barrier Peaks, with introductions and background details from author Michael Curtis, Tony DiTerlizzi, Erol Otus (with some new art too!), and an interview with Diesel LaForce by Tim Wadzinski.

Two versions of the classic adventure are given to represent the seven different printings the adventure went through. These are covered on page 21 and largely deal with the various TSR logos used. Given this information, my copies seem to be later printings.  Corrections to errors found are presented in the 5th edition version of the adventure. 

In the last pages, Appendix G, covers the relationship between Metamophasis Alpha and Expedition to the Barrier Peaks.  IF they had included Gamma World then the trinity would be complete.  Goodman Games still publishes some material for Metamorphasis Alpha.

The Warden Campaign

I can see an entire campaign built around this crashed spaceship and the mutants it has let loose in the area.  A great way to introduce the ideas of Gamma World or even Mutant Future or Mutant Crawl Classics to your game.  You can expand it with ideas from Mark Taormino's Secret Machines of the Star Spawn.  It could even lead to a Spelljamming campaign.

Astonishing Swordsmen & Sorcerers of Hyperborea

AS&SH already has things from the stars and even lost technology, so adding this adventure to it is not just a no-brainer, I have a hard time justifying why you shouldn't give it a try. 

BECMI/Mystara

While the Barrier Peaks is firmly rooted in the realm of Greyhawk, there is no reason why it can't be moved to Mystara.  There is already a solid history of magic and technology in Mystara. Not just from the Shadow Elves or Blackmoor, but also the curious connections between these two maps.

Here is Mystara's North and West hemisphere.

Here is Gamma World

Rotate the top map by about 45 degrees counter-clockwise and you get the map below.  No shock since both maps are based on North America.

What happened to cause the world of map 1 to become the world of map 2?

Maybe the reactor of the crashed spaceship went critical, blew up, shifted the world axis (something that did happen in Mystara), and created a bunch of weird mutants.  Unless of course the characters can go on an expedition to some mountains and stop it from happening. 

I had not planned this, but DriveThruRPG is having a Sci-Fi sale now.  I had mentioned that May had a 
"soft-theme" of Sci-Fi.  It is very likely I knew this in the back of my mind.  So while their sale is going on I want to look at various Sci-fi games in my life-long quest to find the perfect one for me. 

I am going to start with some that I have played and see where these reviews take me.

There is an important piece of my 40+ years of D&D anniversary that I have neglected and I thought I must rectify that as soon as I can.  

1981 was a banner year for D&D.  I FINALLY got my real copy of the game, the Moldvay D&D Basic Set which I have talked about ad nauseam here for years.  Within that "Gateway to Adventure" catalog there was another game that I knew a little about and would also soon be part of my ever-growing desire for a good sci-fi game.  That game was TSR's own Gamma World.

Over the next few years, I'd spend time with this game and other editions of it, but it was this first edition that really grabbed me like no other.

I am going to review Gamma World here and talk a little about what I did with it and what I will do in the future.  For this, I am considering my original Gamma World book (the box and dice are long gone), the Print on Demand version, and PDFs from DriveThruRPG.

Gamma World (1978, 1981)

Living thru the Nuclear Scare was an interesting time.  I vividly recall having conversations with kids my own age about how they saw no future because the Russians were growing to blow us all up any day.  Regan was president and I was convinced he was going to do something stupid to get us all nuked. Instead, he just destroyed the middle-class.  But the threat was there all the time.  The news, the movies, even all the music videos, to quote Frank Zappa, used all the same cheesy atom bomb explosions.  Yup we were going to all die and the world become a nuclear wasteland where people drove around Mad-Max style in supercars and fought for the remaining resources. 

I suppose then given that environment a game like Gamma World was inevitable.  Gamma World was our world, but very different. It is always interesting to read an older game describe how the world of their future and our present would turn out.  Gamma World paints a nice picture of the early 21st century as a time when we stopped polluting the Earth and taking resources from it.  Science Fiction indeed.  With that, let's delve into this book.

Introduction

There is a lot of interesting thing going on here. We know this is a (maybe even THE) Post-Apocalyptic game.  This said apocalypse began in 2309 going to 2322.  We get some world-building here with various wars leading up to the attack against a group known as The Apocalypse by what remained of the various governments and groups and The Apocalypse fought back. While it is not said to be a nuclear disaster, that is certainly how it feels.  We know that due to this event that some life-forms were completely wiped out and others were mutated into new and strange forms. It is stated that many of the weapons were biological in nature too.  So we have a heady stew of alchemical death raining from the skies.  The year is now 2471 (450 years from now). There are humans and other things here and that is where our adventures begin.  I can't help but draw parallels between this and the Buck Rogers in the 25th Century TV series which came out at the same time.  Gamma World predates the TV show, but not Buck Rogers. The TV series takes place in 2491, so 20 years after GW. With TSR's later dangerous flirtation with Buck Rogers, I wonder if any attempt was made to bring the two lines together?  I certainly would have tried if I had been into GW as much as I was into D&D.

How to Use This Book & Designing Gamma World

An overview of what this book is about and how to use it.  If you ever played an RPG then you know what is here. If you ever played AD&D then you might even have this section memorized. Gamma World uses the same dice as D&D.

The designing part covers what you are likely to encounter in a typical Gamma World setting. It is a broad overview meant only to introduce the players. Details will come later.

Creating Characters

If you can create a D&D character then you can create a Gamma World character; they are largely the same and makes you wonder why there was no unified game system used at TSR.  Well...I have my guesses. You have three "races" Pure Strain Humans, Humanoids, and Mutated Animals. Your attributes are Mental Strength, Intelligence, Dexterity, Charisma, Constitution, and Physical Strength.  I am sure these are recognizable. Pure Strain Humans are just that, but Humanoids and Mutated Animals can have mutations. These are rolled randomly of course and some are beneficial others are defects. You can have a physical and/or a mental mutation.  Mental ones can even include psionic abilities. Plants can also have mutations.  This covers quite a bit of the book, but that is not really a surprise I suppose.

Since the tables in the game are based on various ability scores they are more important in normal play than they are in (A)D&D.  Levels and experience points use does not even come up until page 42.

Play of the Game

This covers the rules of the Gamma World game. We start out with what happened a lot in GW; moving from place to place and searching for things.  Combat is the next section with weapons from clubs all the way to fusion rifles. We get some combat matrices that look like they were cribbed from D&D Basic. This is a good thing.  There is even something here that I always an improvement, the Mental Attack Matrix. I mean this could have, should have, been ported back to AD&D and been better than the psionics system used there.

Encounters

Gamma World is a Gygaxian fun-house dungeon writ large.  That doesn't mean everything you encounter will try to kill you, but that is a good assumption.  The creatures are not as evocative as say the creatures from the Monster Manual but they are compatible with each other so if your really want an orc in Gamma World game it is easy.

Also presented are various alliances. These are the groups, factions and tribes you can encounter. Only a few are presented here and the Game Master is encouraged to make more.

Artifacts and Equipment

Maybe more so than D&D there is a good reason for all these "treasures" to be laying around.  But there is always the chance that something will fail. Gamma World takes the device flow charts from Expedition to Barrier Peaks (it's "cousin" adventure in AD&D) and dials it up to 11. 

This section also covers trade, the value of goods, and robots. I wonder how many Gamma World games changed the importance of robots after the Terminator movies came out?

The last few pages cover an example of play and there are some charts (random encounters) and hex grids that can be removed for use.  They look right at home next to my D&D charts of the same period.

Print on Demand

The Print on Demand version might be one of the best ones yet.  Yes, the maps from the box set have to be printed out, but that is not a big deal.  The new PoD is clear and easy to read.

Nothing is lost in the translation.  Plus the new pod uses the box art for the front and back covers so everything is here.  All that is missing is dice.

 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?
QAD: Family Histories – 101 Sartarite Character Backgrounds presents one-hundred-and-one backgrounds for characters from Sartar created using the character creation rules found in RuneQuest: Roleplaying in Glorantha.

It is a one-hundred-and-ten page, full colour, 4.78 MB PDF.
The layout is clean and tidy, and whilst the only illustration, ‘Ons voorgeslacht in zijn dagelyksch leven geschilderd’, is on the front cover, it is appropriate.
Where is it set?
QAD: Family Histories – 101 Sartarite Character Backgrounds is set in Sartar in Dragon Pass.

Who do you play?
No specific character types are required to use QAD: Family Histories – 101 Sartarite Character Backgrounds. Instead, QAD: Family Histories – 101 Sartarite Character Backgrounds can supply a background for whatever the type of character is being created.

What do you need?
QAD: Family Histories – 101 Sartarite Character Backgrounds requires RuneQuest: Roleplaying in Glorantha only, although HeroQuest: Sartar-Kingdom of Heroes may be useful when refering to the twenty-four classic tribes used in QAD: Family Histories – 101 Sartarite Character Backgrounds.
What do you get?One of the features of RuneQuest: Roleplaying in Glorantha is that the process of character creation results in nicely detailed characters with both personal and family background. However, as much as the end result is nicely detailed, the process is a lengthy one and if the process is followed through on the complete family history, then a great number of different names is required to fill out all of the family relationships. There is of course a quick method provided in RuneQuest: Roleplaying in Glorantha, but the results are not as involved or interesting.
QAD: Family Histories – 101 Sartarite Character Backgrounds—the ‘QAD’ short of ‘Quick And Dirty’ is a potential solution to this problem. At least for Sartarite characters, other homelands being covered by other entries in the QAD: Family Histories series. The supplement provides one-hundred-and-one pre-generated family histories, each with a potted history, list of family and extended family members, starting passions, and effects upon the character from the history, such as skill increases, reputation increases, boons, heirlooms, and so on. All of which had been generated using the ‘Step 2: Family History’ of the character creation process in RuneQuest: Roleplaying in Glorantha.
Each entry fits on a single page and is organised into five sections. The Heritage section lists the homeland, tribe, clan, lineage, and family trade, and the Ancestral Focus section the character’s favoured family members—grandparents, parents, and so on, who will appeared the Potted History which lists the events they were involved in, including the character, from 1582 to 1625. The History Effect lists the effects that the history has on the character’s Passions, Skills, extra money, and so on. Lastly, the Family Relations section provides the names and dates of the character’s grandparents—maternal and paternal, both parents and their siblings, and then the character and his or her siblings and their dates. These are all arranged neatly into separate boxes—the Family Relations almost like a family tree, and so are easy to read.
QAD: Family Histories – 101 Sartarite Character Backgrounds explains each of its sections and some of the choices made by the author in a very clear manner. In particular, the does differ slightly from the process given in ‘Step 2: Family History’ of the character creation process in RuneQuest: Roleplaying in Glorantha. To counter the high possibility of a character’s predecessors all dying during the process of Family History generation, it allows for guardians and other relatives to play a role in the Family History. It also addresses some of the issues with the ‘Step 2: Family History’, such as possessing both a Hate and a Loyalty to the same individual; family trades which seem incongruous, for example, Grazelander fishers; and the distinction between the passions, Hate (Lunars) and Hate (Lunar Empire). For the most part, QAD: Family Histories – 101 Sartarite Character Backgrounds—as do the other titles in the series—that the player and the Game Master be inventive when addressing these issues and explore the possibilities they suggest. For the passions, Hate (Lunars) and Hate (Lunar Empire), QAD: Family Histories – 101 Sartarite Character Backgrounds assumes that the two passions are different and that Hate (Lunars) refers to specifically to Lunar Tarsh as ‘Lunars’ and Hate (Lunar Empire) to the Empire itself. Should there be a clash, it is suggested that a possible alternative be taken, like Hate (Chaos), or substitute Hate (Lunar) with Hate (Lunar Empire). 
Using an entry from QAD: Family Histories – 101 Sartarite Character Backgrounds negates the need to work through ‘Step 2: Family History’ of the character creation process in RuneQuest: Roleplaying in Glorantha which lends itself to multiple applications. First, it can be used to make a Player Character quicker and more easily, whether a player needs a replacement character following the death or retirement of his previous one. Second, if a player does need a replacement character following the death or retirement of his previous one, it can be used to flesh out an NPC already in play which the player can take over as his Player Character, either temporarily or permanently, rather than find some way of introducing a wholly new Player Character at a moment’s notice. Third, it can be used to help create Player Characters quicker and more easily if a playing group is planning a quick session of RuneQuest: Roleplaying in Glorantha. Fourth, it can be used to flesh out NPCs quickly and easily, including during play, whether that is to determine their history or whether the Player Characters want to see if they have anything in common with the NPC, especially in terms of their histories. Fifth, it can be used to round out part of a Player Character’s or NPC’s background. For example, in presenting various family members in the Family Relations section, QAD: Family Histories – 101 Sartarite Character Backgrounds is also providing lists of names which can be used to fill out details about the Player Character’s or NPC’s own family.
Is it worth your time?Yes—QAD: Family Histories – 101 Sartarite Character Backgrounds takes all of the hard effort of the dice rolling and note taking of character creation in RuneQuest: Roleplaying in Glorantha and reduces its most involved step to a single roll. Simple, easy, and quick, whether you need an NPC detailed or a new Player Character ready to go.No—QAD: Family Histories – 101 Sartarite Character Backgrounds takes all of the fun and the inspiration out of the most interesting step of character creation, and simply mechanises it. Plus RuneQuest: Roleplaying in Glorantha already has a quick method. Further, your campaign may not be in Sartar or involve Sartarites at all.Maybe—QAD: Family Histories – 101 Sartarite Character Backgrounds is a potentially useful tool, but is definitely not vital to playing or creating either NPCs or Player Characters in RuneQuest: Roleplaying in Glorantha.

From one week to the next, Reviews from R’lyeh writes reviews of new games and supplements with an emphasis on Call of Cthulhu and other games of Lovecraftian investigative horror. This series concentrates on Call of Cthulhu and other games of Lovecraftian investigative horror, but not those recently released, but those of the past. There have been innumerable titles published over the years and this is an opportunity to appraise them anew, often decades after they were first released.

Having looked at the releases from Games Workshop, culminating with Green and Pleasant Land: The British 1920s-30s Cthulhu Source Pack, Reviews from R’lyeh now moves on to another early licensee for Chaosium, Inc. This is T.O.M.E. or Theatre of the Mind Enterprises, a publisher best known for the titles it released for use with Call of Cthulhu and Gardasiyal: Adventures in Tékumel, the 1990s roleplaying game set in the world of Tékumel: Empire of the Petal Throne. Between 1983 and 1984, T.O.M.E. would publish five collections of scenarios—The Arkham Evil, Death In Dunwich, Pursuit To Kadath, Whispers From The Abyss And Other Tales, and Glozel Est Authentique!—for use with Call of Cthulhu, Second Edition. It is the third of these titles, Pursuit to Kadath,  which is the subject of this review.
Pursuit to Kadath consists of two separate scenarios. The longer of the two is the titular ‘Pursuit to Kadath’, whilst the bonus, much shorter scenario is ‘The All-Seeing Eye of the Alskali’, which can be run after ‘Pursuit to Kadath’. From the outset, the title itself suggests the Dreamlands and H.P. Lovecraft’s The Dream-Quest of Unknown Kadath, if not the city located either north or below, the plateau of Leng. However, Pursuit to Kadath has nothing do with Kadath, the title here referring to a fictional location in Turkey. The use of the title then, is symptomatic of many of the early campaigns and anthologies for Call of Cthulhu, which would include Lovecraftian references in their titles, but not make use of them in their actual content. That said, apart from Horror on the Orient Express, the two scenarios found in the pages of Pursuit to Kadath are some of the very few to be actually set in Turkey. Title issues aside, the very good news is that Pursuit to Kadath is very much a huge improvement over the first two titles from the publisher. Both The Arkham Evil and Death in Dunwich have deservedly poor reputations because essentially, they are early attempts at writing scenarios for Call of Cthulhu, which simply do not work. Or at least, require a great deal of effort to make work and even then, not necessarily work to the greatest of effects. In comparison, Pursuit to Kadath is a huge improvement because it has a plot which makes sense. It is far from a perfect plot, but it makes sense. It also has an intriguing beginning and it also comes with a lot of historical background and information. However, like its forebears, Pursuit to Kadath is not without its issues. 
Set in 1923, Pursuit to Kadath casts the Investigators as students at Miskatonic University, who are also members of The Sunday Group, a prestigious social club. They may be rich enough to be members, but if not, they may have been sponsored for membership on academic merit. The scenario opens with the Investigators in the library when Darryl Stewart, a fellow member, shows then a weird photograph which has appeared on the front page of a newspaper. The caption on the photograph reads, “FLYING ARM!” and purports to show a bloodied arm which seems to have been brutally ripped from the shoulder of a policeman who subsequently died and is now floating the air. Several witnesses, including the photographer, have sworn that this is what they saw, but both Darryl and the Investigators can see another figure in the photograph and instead the arm floating in the air, it is firmly in the grasp of this figure, a figure which looks awfully like Nils Lindstrom, fellow student and Sunday Club member, and son of a Chicago senator. Further, in the photograph, Lindstrom is holding a bag used by 1st National Bank to transport money and there is a separate report of a bank robbery on the front page. So did the normally shy, mild-mannered Lindstrom rob the bank and if so why? And what drove him to commit such an act of sheer bloody violence? And why can the Investigators see him in the photograph and not others?
In addition, as fellow members of the Sunday Club, the Investigators have attended the same social events as Lindstrom, including a party at which they will recall strange events took place. Many of the attendees, including Lindstrom and the Player Characters, were hypnotised, and Lindstrom had a strange reaction. This was followed by a seance. Could this account for his now apparently even stranger behaviour? As they look into his strange behaviour and track his activities, the Investigators will find themselves following his trail from Boston to New York, where he seems to be inveigling himself into local high society and perhaps courting a young lady his family regards as a suitable match. Mundane help comes in the form of Lindstrom’s father who also wants to know what his son is doing, whilst Mythos help—or at least advice—comes from a strange dream with the Serpent Man who previously appeared in The Arkham Evil. Ultimately, Lindstrom does not tarry in New York for long, setting sail across the Atlantic towards the Belgian Congo with the Investigators on his tail. The Investigators are expected to follow, but towards the end of the crossing, the captain of Lindstrom’s vessel urgently broadcasts a message warning that he has been forced to divert to Turkey.
When the Investigators reach Turkey, they encounter one of the great set pieces in ‘Pursuit to Kadath’. This is the fishing port of Selefko, located on Turkey’s southern coast, Lindstrom’s vessel beached and broken on the shore, the town seemingly abandoned, but with the sound of the call to prayer emanating from the town’s mosque. The only inhabitant is Ahmed Mohammed Mohammed, a mighty, Anglophobic, scimitar- and musket-wielding warrior, who has been sent to deal with the devils who came ashore in Selefko and began preying upon the town’s inhabitants. He will brook no interference from the Investigators, but potentially, could become an ally, if only temporarily, in tracking down the source of the threat which befell Selefko. Ultimately, the Investigators will climb up Alacadaq Mountain on Lindstrom’s trail and descend into the mountain to face him before he can bring about final plans.
At its heart, ‘Pursuit to Kadath’ is a chase scenario. The Investigators start the scenario on Lindstrom’s trail and follow it all the way to Turkey, only catching up with the oddly behaving student in the scenario’s final scene inside Alacadaq Mountain. And what a richly detailed trail it is! Strange behaviour, a bank robbery, missing memories, bloody murder after bloody murder, an odd artefact, a diplomatic incident, and a vampire showdown on the streets of Selefko! Which makes for a very heavily plotted scenario. In fact, Pursuit to Kadath is not only a very heavily plotted scenario, but a scenario which is heavily plotted twice—and heavily pre-plotted at that! 
The issue is that the first half of the scenario is devoted to explaining both plot and background, along with any necessary stats, and so is much of the second half—though to a lesser extent. Further, a fair degree of the beginning investigation is done as a flashback, which involves a fair degree of exposition. What the Keeper is meant to do is follow the plot in the second half, but draw heavily from the first, but what it does instead, is effectively double the effort required to run Pursuit to Kadath. Especially in its preparation.
The heavy double-plotting of ‘Pursuit to Kadath’ is not the scenario’s only problem. The second is getting the Player Characters involved. There are no hooks except, ‘a fellow member of the society you belong to, is acting oddly, so why not for the good of the society, investigate?’ Which is essentially asking the Investigators to investigate because there is a plot there. Later on in the scenario though, NPCs contact the Investigators directly to ask them to continue their enquiries, at which point they have much more motivation. 
Third, in terms of plotting, the scenario’s denouement is severely underwritten with no explanation as to exactly what the Investigators are expected to do to thwart Lindstrom’s plans. A strange artefact would also appear to play a role in the scenario, but no proper explanation of what that role is given, certainly as far as the denouement is concerned. At best, it would appear that the Investigators are expected to rush in, all guns blazing, which feels more Pulp action than Lovecraftian.
The fourth problem is the poor handling of the Mythos in ‘Pursuit to Kadath’. The primary entity involved is Yig and his servants, a set of eleven Dragon Warriors that the Father of Serpents created to fight the other gods. Lindstrom has been possessed by one of these Dragon Warriors—who also appear on the artefact—and cuts a bloody trail from Boston to New York and then onto Turkey in an attempt to prepare himself to summon his master in an underground temple. With the benefit of hindsight and numerous scenarios for Call of Cthulhu and other roleplaying games of Lovecraftian investigative horror, this does not feel like any depiction of Yig and his servants seen anywhere else. Even at the time of the publication of Pursuit to Kadath though, it was noted how much the depiction of the Mythos and its entities differed from that seen in the source fiction and in Call of Cthulhu itself. Elsewhere the inclusion of a Serpent Man makes sense, but a scene involving both Ghouls and a Nightgaunt feels just too much, whilst the creation of vampires feels more Hammer horror than Lovecraftian.
That said, the scenario is very well supported. There is a quick guide to creating students at Miskatonic University, very basic, but years before 1995’s Miskatonic University: The University Guidebook and 2005’s Miskatonic University. This is accompanied by a list of the degree requirements for numerous academic courses at the university, which whilst interesting, is difficult to bring into play and looks wholly arcane to anyone who has not been to an American university. There is a good mix of handouts, some very plain, others made to look like period documents. Some of them though, like a local railway timetable feel superfluous. In addition, there is a sensible guide to hypnotism and what was widely believed about it in the nineteen twenties, a guide to handling languages, and a guide to Turkey in the early nineteen twenties. Overall, lots of useful and interesting material.
Despite these faults, ‘Pursuit to Kadath’ is a big improvement upon the earlier The Arkham Evil and Death in Dunwich. The plot is almost coherent—twice, and the background material is solid and useful. It could be run today, but only with some effort. Not because it is necessarily bad, but because the two plots need to be deconstructed and put back together as ‘a’ plot to provide some much-needed clarity. The Keeper might also want to rework the elements of Mythos, again to add clarity, and then perhaps decide what to do about the vampires. One option would be to push the Pulp elements of the scenario, perhaps enough to use it with Pulp Cthulhu: Two-fisted Action and Adventure Against the Mythos. It would require no little effort upon the part of the Keeper, and it is debatable whether that effort is worth it, but ‘Pursuit to Kadath’ is probably the first scenario from T.O.M.E. which has the potential to be worth it.
The bonus scenario in Pursuit to Kadath is ‘The All-Seeing Eye of the Alskali’ by E.S. Erkes. Much shorter than ‘Pursuit to Kadath’, it is again set in 1923 and where ‘Pursuit to Kadath’ ends in Turkey, ‘The All-Seeing Eye of the Alskali’ begins in Turkey. Thus, it could be run as a sequel to ‘Pursuit to Kadath’. The Investigators are hired by Ghazi Mustapha Kemal, the leader of Turkey—he would only add Ataturk to his name in 1934–to locate a missing British archaeologist, Quentin Halward. Halward is an expert on Troy and the Turkish government fears that word of his disappearance will cause it undue embarrassment. Halward was last seen in the company of two Russians. This should push the Investigators to make enquiries amongst the Russian community in Istanbul, which quickly involves them in a web of intrigue between the White Russian emigres and the official and unofficial Soviet personal in the city, as well as a strange Islamic sect with a reputation for having worshipped demons. Ultimately, the Investigators’ enquiries should lead them from Troy to the Crimea and Halward’s whereabouts.
‘The All-Seeing Eye of the Alskali’ is shorter and more direct than ‘Pursuit to Kadath’. It is also very much better written and would be easy to run today, just as it would have been at the time of publication. Its use of the Mythos is better, if only because it is greatly reduced. Really all it does is add a new Mythos race, one which was the basis for the Cyclops legend. Unfortunately, ‘The All-Seeing Eye of the Alskali’ does end in a fight, which is not particularly interesting. However, all of the running around and intrigue in Istanbul with the Russians should be fun to roleplay.
Physically, Pursuit to Kadath is decent enough, or decent enough for 1983. The cover is uninspiring, but the artwork inside—apart from the random skulls used to separate sections, is not too bad. Similarly, some of the handouts are not too bad either, and whilst the maps merely okay, they at least clearly depict what was intended. The use of period maps adds an element of verisimilitude, but are either too small or too dark to really make use of effectively.
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Reviews of Pursuit to Kadath at the time of its release, were surprisingly positive. Writing in Fantasy Gamer Number 4 (Feb/Mar 1984), Warren Spector said, “Pursuit to Kadath gets an almost-unqualified rave. TOME has offered so much background material, you don’t even have to play Pursuit to Kadath to get your money’s worth – you can just incorporate all the background information into your own campaign. And they’ve even included a second – albeit brief – scenario in the back. You just can’t ask much more in an RPG module.”
However, when reviewing ‘Pursuit to Kadath’ in particular in White Dwarf 54 (June 1984), Nic Grecas wrote that, “There is one other aspect of this scenario which caused me some disquiet — the background mythos which is presented in this scenario in respect of a certain deity (to say which one would, of course, spoil a rather large amount of the scenario’s mystery) seems to me to be at odds with Lovecraft’s own writings and also with some of the information in the main rules. Fortunately this forms a part of the background for the keeper only and with very little work can be reconciled with Lovecraft and Chaosium. This was a regrettable lapse on the part of TOME, but in a game system which was written as a ‘labour of love’ by a group of people who strove to recapture the atmosphere of brooding terror found in  Lovecraft’s work, it is fortunate that these misconceptions do not intrude into the body of the scenario.” He concluded though, that “These points apart, Pursuit to Kadath is a fine scenario which, if well managed, can produce and excellent ‘crescendo of terror’, but beware; the final scene could be a terminal experience for many of the investigators!”. He was equally as positive about ‘The All-Seeing Eye of the Alskali’ and of Pursuit to Kadath in general that, “All in all, both scenarios are most creditable.” before awarding it eight out of ten.
Similarly, William A. Barton would highlight the differences between the Mythos of Pursuit to Kadath and its portrayal elsewhere, when he reviewed all five of the Call of Cthulhu titles from T.O.M.E. in Space Gamer #71 (Nov/Dec 1984) with ‘Whispers of Things Lovecraftian: TOME’s Cthulhu Modules’. In providing an overview of the line published to date before reviewing, the fourth release from T.O.M.E., Whispers from the Abyss and Other Tales, he wrote, “TOME’s offerings are all intended for CoC, though, in some instances, the Cthulhoid connection has been tenuous at the best. … This is a tendency for which TOME has received some criticism.” before continuing with, “Pursuit to Kadath was TOME’s worst offender in this regard. While the main scenario and shorter bonus, The All-Seeing Eye of the Alskali, did have more Cthulhian references than their predecessor — including Nyarlathotep, the Al-Azif, Yig, Father of Serpents, and a new Cthulhoid race, the Alskali (one-eyed giant cyclops) —  the mix of non-Mythos occult materials were even more pronounced. Yig, in particular, was distorted beyond almost beyond recognition as far as any past references. The greatest criticism that can be leveled against this scenario, however, is its name: In the stories of Lovecraft and his imitators, Kadath was the mythical land of dreams — or a blasted plateau in the cold waste — as noted in The Dream-Quest of Unknown Kadath. Yet in Pursuit, the Kadath of the title is a town in Turkey, not the Lovecraftian Kadath at all. According to Rawlings,*TOME felt that a scenario set in the surreal Kadath of the Mythos would be too difficult to do right, so they opted for the more concrete setting of the “real” Kadath. The title was not an intentional deception.”
* Presumably Steve Rawling, who provided extra content for Pursuit to Kadath.
Pursuit to Kadath was awarded three out of four stars by Steve List in Different Worlds issue 38 (Jan/Feb 1985), who wrote, “In Pursuit To Kadath, TOME has produced an excellent package of material for Cthulhu players and added some interesting lore to the ‘things Man was not meant to know.’ It is well worth acquiring.”
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It is surprising that Pursuit to Kadath received so much praise at the time of its publication. Perhaps we have become spoiled by the quality of the content which is being written for Call of Cthulhu, and has been written for Call of Cthulhu over the years. Even so, better content was being written than Pursuit to Kadath in 1983. Of the two scenarios in this volume,  ‘The All-Seeing Eye of the Alskali’ is merely okay, but ‘Pursuit to Kadath’ is a double-stranded suety mess that is overly plotted, suffers from a Mythos mélange, and is underdeveloped where it counts. And yet, Pursuit to Kadath is not irredeemably terrible, just not irredeemably bad enough that its potential can still be seen and that you wish it could have been better.

So I heard that not a lot of people like this movie. Which I find confusing.  I saw it the theatres and it was a fun popcorn flick (which is what all Star Wars movies should be) and I enjoyed it.  So I decided to go back and watch it again. This is the first time since it was out.  I figure since "This is the May."

Rogue One (2016)

So this is taking place just before the events of A New Hope.  We are introduced to Galen Erso played by the always wonderful Mads Mikkelsen. He seems to be on the run from the Imperial Army, but they don't want to kill him.  He hides his daughter, Jyn (Felicity Jones) but the stormtroopers kill his wife.  Jyn is later found by Saw Gerrera, played by Forest Whitaker who it woefully underutilized here.

Fast forward a few years and work continues on the almost complete Death Star.  Orson Krennic, who grabbed Galen, is the Director of the Death Star development and it seems that Galen is head of the weapons division, the Death Star's super laser.   Saw Gerrera is now a rebel extremist (I think his name is supposed to be connected to Che Guevara).  There is an Imperial cargo pilot, Bodhi Rook (Riz Ahmed), who has defected and is looking for Saw. He has information about the Death Star from Galen and he is trying to get it to Saw on the Jedi holy planet of Jeddah. 

The rebels hear of this and decide they need to get to Saw themselves but they need Jyn Erso to do it. Jyn, now a young adult, has been arrested for a number of petty crimes and is currently on a prisoner transport. She gets busted out by Cassian Andor (Diego Luna) and K-2SO (played wonderfully by lan Tudyk) and they head to Jeddah to talk to Saw. 

Lots of things happen including shooting up a bunch of Stormtroopers, finding Saw, running into a blind Force monk (Chirrut Îmwe) and his blaster rifle-wielding best friend (Baze Malbus) played wonderfully by Donnie Yen and Jiang Wen respectively.   They all get together, learn of the plans for the Death Star and of the secret weakness planted there by Galen Erso.  The same weakness that Luke will exploit in A New Hope.  I actually think it is rather brilliant.  Plus it does something truly great. Anytime you see Mad Mikkelsen in a movie you naturally think he is the bad guy, and he could have been here, but instead, he is a flawed man trying to do something good.

We get to see the Death Star operate on low power when they destroy the temple on Jeddah and even a CGI Tarkin played by a CGI Peter Cushing.  It's a little jarring, but not bad.  The one of Carrie Fisher seemed more unreal to me. 

Really that is the best part of Rogue One, everyone is a little bit flawed. Saw is an extremist, Jyn doesn't care, K-2SO is an asshole, Bodhi is kind of a coward. But they come together wonderfully to get the Death Star plans and transmit them to the Rebel Alliance.

They get to the base with plans, the attack goes south of course and everyone gets killed, even our stars.  Though that is not where the movie ends. We now follow the plans as they are transmitted from the communications tower by Jyn, to a rebel ship where they are downloaded onto a disk and everyone is running away from the oncoming attack by Darth Vader.  Vader proves here why he is the most feared person in the Galax by mowing through armed rebels like they were nothing.  We would later see Luke do the same thing to Death Trooper Droids in the season 2 finale of The Mandalorian.  The moral of this? If you are in a hallway and there is a Skywalker at the other end you are doomed. 

The movie ends just as a New Hope is about to begin.  All our heroes are dead which makes for a downer for a Star Wars film, but the perfect lead-up to the "new hope" the Rebels now have. Plus this movie is every bit like the Magnificent Seven or the Dirty Dozen.  This reminds us that war is going on and not everyone will survive.

What I don't get is why do people not like it.

I think it is great and enjoyed even more on my second watch. There are lots of fun Easter Eggs like the two aliens that accost Luke in the Mos Eiley bar, to Donnie Yen as one of the Guardians of the Whills, to Anothy Daniels and James Earl Jones doing the voices of C-3PO and Darth Vader. We even got Genevieve O'Reilly back as Mon Mothma. She played a younger version in Revenge of the Sith and now 11 years later she looks even more like Caroline Blakiston in Return of the Jedi.

The above was written for the Star Wars novel back in 1977.  I remember reading it and wondering what the hell "Whills" were.  Thanks to Rogue One I know a bit more.  Also, I feel that the last line, while about Luke, Han, and Chewie could have just as easily been said about Jyn and Cassian. 

So I wonder why it is that people didn't like this movie.  

You can't blame the plot holes (every Star Wars movie has them) or the fact that everyone dies.  No I think it is, and this is because I see Star Wars fans online, because the hero of this tale is a woman.

There are a lot of misogynistic Star Wars fans and they just can deal with characters like Jyn or Rey.  

But that is a discussion for another day.

Gaming Content

I have heard it said that Rogue One is an example of everyone's WEG Star Wars RPG game. The characters are all practically RPG characters really and the situation; break into an Imperial data storage and steal some plans, sounds like an RPG session. 

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Tim Knight of Hero Press and Pun Isaac of Halls of the Nephilim along with myself are getting together at the Facebook Group I'd Rather Be Killing Monsters to discuss these movies.  Follow along with the hashtag #IdRatherBeWatchingMonsters that is if I can get my co-admins to agree this is the best hashtag for this!

1974 is an important year for the gaming hobby. It is the year that Dungeons & Dragons was introduced, the original RPG from which all other RPGs would ultimately be derived and the original RPG from which so many computer games would draw for their inspiration. It is fitting that the current owner of the game, Wizards of the Coast, released the new version, Dungeons & Dragons, Fifth Edition, in the year of the game’s fortieth anniversary. To celebrate this, Reviews from R’lyeh will be running a series of reviews from the hobby’s anniversary years, thus there will be reviews from 1974, from 1984, from 1994, and from 2004—the thirtieth, twentieth, and tenth anniversaries of the titles. These will be retrospectives, in each case an opportunity to re-appraise interesting titles and true classics decades on from the year of their original release.
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Sometimes the choice of game to review is not yours to make. So, it is with this review. The death of Richard Halliwell, the co-designer of Warhammer Fantasy Battles, as well as Space Hulk and Dark Future was announced on Monday, May 3rd, 2021. Although not a player of wargames, I am a fan of what he designed and created. This is a review of one of his many designs, all of which were popular and well received.

—oOo—
In the twenty-second century, the majority of the citizens of Mega-City One live in vast tower blocks, each a cramped claustrophobic world unto its own. Each block has its own shops, schools, hospitals, parks, and more, its citizens resigned to a life of rampant unemployment and welfare benefits and rarely needing to leave the confines of the block. Everything they, if not want, can be found within the confines of their block, so as boring and as frustrating as their lives are, to each citizen, their block is their home and their identity, and if their lives are boring and frustrating, it is not the fault of the government—there is no government, then they need someone else to blame. That someone else is their neighbouring blocks. Perhaps the citizens, or blockers, of these neighbouring blocks are too rich or too poor, too noisy or too quiet and untrustworthy, too arrogant or too cowardly, unfriendly or hostile, or… Or the reason does not matter, because it is enough to turn a simple insult of one blocker made by a blocker of a rival block, a juvie rumble between rival blocks, or even a pre-emptive strike by a rival block is enough to aggravate the rivalries between blocks into an all-out confrontation between their citizens and their city-def squads. And an all-out confrontation between the citizens and the city-def squads of rival blocks can turn into a war! A war that can escalate into one block invading the other and planting bombs and setting fires sufficient to bring the whole block down! Of course, that is until the Judges, the combined policemen, judges, juries, and executioners of Mega-City One respond to the conflict and intervene to bring it to a permanent end!

This is the set-up for Block Mania, a two-player board game for players aged fourteen and up set in the Judge Dredd universe. In Block Mania, each player takes control of a single block—Sammy Fox or Buddy Holly Block—and the enraged citizens or Blockers who reside there. Armed with flamers, missile defence lazers, missile launchers, spit guns, and stump guns, City-Def units, Crocks (senior citizens), Juvies, and Spugs (really mean Juvies) will attack their rival block or defend their own. Futsies (suffering from Future Shock) will go crazy and attack anyone, Fatties rolling on belliwheels will charge and squash their rivals, Mobs will go on the rampage, Juvies and Spugs can scrawl really demeaning and demoralising graffiti, the alien hungry, hungry Kleggs will fight for anyone and chomp anyone they can, and demolition charges can be laid, firebombs places, and fires set, both of which will severely weaken a Block—and may even bring it down!

Block Mania is played out over two boards placed side-by-side and which each depicts a vertical side view of each Block. Laid side-by-side, they are connected by Mega-Ways for vehicle traffic, Pedways for foot traffic, and a Sky-Rail for quick transit. Both Blocks have balconies from which attacks can be launched and targeted, and upon which units aboard Power Boards or wearing Bat Suits can launch themselves or land. Inside movement can be eased up down the Block via the Elevators, down via Grav Chutes, and across the open spaces of Civic spaces. Once inside, Banks can be looted, really demoralising graffiti can be left in Civic spaces, Shopping Malls can be looted, and Power Houses can be switched off, which turns off the elevators, pedways, and lights! Besides the two boards, Block Mania includes some one-hundred-and-eighty counters, depicting the various units and pieces of Armoury (guns) and Hardware (equipment). Each unit has three stats—Command Value, Strength Value, and Movement Allowance. The Command Value is its cost to be activated, the Strength Value is its defensive score, and the Movement Allowance how many movement points it has when activated. Armoury counters have a damage bonus and a range value. Most of the counters are an inch-square, though the conditional marker counters, such as Fire and Collapse are a little smaller.

As well as moving his counters around the two maps, a player also has Mania cards, which give him certain bonuses and advantages during play as well as adding flavour. There are fifty-four of these and they are double-sided. One side is the Justice side, and depicts the forces and equipment that the Justice Department will deploy against the two warring Blocks—and thus both players—in the End Game phase, such as ‘Stumm Gas’, ‘Kleggs Go Home’, and ‘Riot Foam’. On the other side, the Mania cards depict events and bonuses which will benefit a player when used. For example, ‘Reinforcements’ lets a player deploy two units without paying the Command Point cost, ‘Kleggs’ allows a player to hire the mercenary aliens or take control of the Kleggs already in play (so control of them can switch back and forth), and ‘Kaboom!’ which has a player’s City-Def secretly plant a thermo-Bomb in the rival Block and allows him to place three Fire markers anywhere in the enemy Block. Throughout the game, each player holds three Mania cards and always draws another one at the end of his turn, so each player should play one every turn. Lastly, there are two books in Block Mania, both in landscape format. One is the Rulebook, the other is The Blockers’ Manual, a reference to the various counters and Mania cards.

Set-up involves placing the two boards side-by-side, each player receiving three Mania cards with another sixteen set aside for the Endgame phase, and receiving four random Blocker counters and their Hardware or Armoury counters if necessary, and again drawn randomly. They are placed wherever a player like sin his Block. The rest of a player’s counters—Blockers, Armoury, and Hardware—are placed in cups or stacks face down, so that they can also be drawn randomly. The game is played in turns each comprised of four phases—Command, Defensive Fire, Combat, and End Phase. In the Command Phase, the active player rolls the game’s two six-sided dice to generate Command Points, and then spends them to deploy new Blockers, activate Blockers in play and use their Movement Allowance to move, and spend on extra movement. No Command Points need to be spent in the other phases, but the limited number of Command Points per turn, except when a player rolls very well or plays the right Mania card, will force a player to focus on a few—even just one or two—units per turn, and thus make a few choices per turn. Overall, this should keep play relatively brisk.

In the Defensive Fire phase, the non-active player can shoot at adjacent enemy Blockers and in the Combat phase, the active player can attack—shoot or close assault—with his Blockers, make Loot, Arson, or Firefighting attacks against a target square. Rolls of six or more on the dice succeed for most actions, although in combat, the target’s Strength is deducted from the roll, whilst the damage bonus for the Armoury counter is added. During the End phase, rolls are made for chances of Collapse, Fire damage, and Catastrophic damage. Both Collapse and Fire damage causes Structural Damage markets to be added to a Block, though Fire damage can be prevented from spreading by firefighting. More Structural Damage markers in a square increases the likelihood of a collapse and the addition of a Collapse marker, and if a player rolls five dice and the total is lower than the number of Collapse markers, down comes the Block!

Play continues until the Mania cards run out and the Endgame begins. This means that a game should never last more than thirty-six turns before the Endgame is triggered. When it is, the discard pile is then shuffled, along with the sixteen cards set aside at the start of the game. A player must play one card on his turn and must use the Justice side of the card, not the Mania side. A Justice card will typically remove a Blocker from play, so the Endgame turns into a race to do as much damage to the rival Block before a player runs out of Blockers. The game ends when the last Blocker is removed from play or if both Blocks have collapsed. At this point, each player receives Defeat Points for damage done to his Block, locations Looted, graffiti left in his Block, Blockers defeated, and a whole lot of Defeat Points if his Block was brought down. The player with the least amount of Defeat Points is the winner and is given official permission by the rules to taunt his actually defeated opponent.

Block Mania is raucous, silly fun, and chaotic from start to finish. Which it should be, because none of the Blockers are necessarily trained soldiers and they are not acting in a co-ordinated fashion, often just grabbing what Armoury or Hardware that they can and rushing to attack the rival Block or defend against the invading Blockers. Which is modelled with the random drawing of Blockers, Armoury, and Hardware counters, and the randomly determined number of Command Points a player receives each turn. Plus, once any fires are set alight and bombs placed, there is always the increasing chance of the whole thing, including a player’s Block collapsing. And arguably, there can be no greater joy than seeing your rival’s Block collapse. It does not matter that you are going to spend decades in an Isocube when your inevitable arrest by a Judge comes to pass. Ultimately, the forces of the Law and Justice—and no to say life (or the game)—are against you, but after all, your rival’s defeat is greater than yours!

Block Mania is also complex fun in places too. The idea that you would get so angry and so crazy as to actually attack our neighbours is satirically funny in a dark way, especially with some of the Blocker units each player gets to deploy. Of course, much of this is drawn upon the satire of the Judge Dredd comic strip and universe, but in Block Mania, a player can have a Futsie scrawl in Civic space, Crocks fly between the Blocks on Power Boards and Loot a Bank, and Fatsies with Belliwheels trundling across the Pedway to slam into the City-Def on the other side. Which is all great fun, but thirty years on some players might have an issue with the idea of actively working to bring down a tower block. That said, this probably less of an issue than it would have been in the past. The complexity comes in some of the fiddley little details, such as working out how movement works, as it is often dependent upon where a Blocker is and what means of movement a player wants it to use—by foot or Elevator or Grav Chute or Pedway, and tracking elements of the game, such as fires and collapses. In comparison, combat is fairly simple.

Physically, Block Mania is well presented. The boards and counters are done on thick cardboard and illustrated in full colour with artwork drawn from the Judge Dredd universe, as are the Mania cards. The two books, the Rulebook and The Blockers’ Manual are done in the shades of blue and white and are neat and tidy. The Rulebook includes both Designer’s Notes and Players’ Notes, the latter some advice for play. The Rulebook does need a careful study, because there are lots of little rules that apply in different situations, and that does mean that Block Mania is anything other than a casual game.

Block Mania was originally published by Games Workshop in 1987. It was not the first time that Games Workshop would visit the Judge Dredd universe, having previously done so in 1982 with the Judge Dredd board game. However, despite Games Workshop being better known for publishing the much-loved Judge Dredd The Roleplaying Game, Block Mania always remained a fondly remembered game. The subject matter was also popular enough to be the subject of another game, Judge Dredd: Block War, published by Game and A Curry in 2018. Then in 2020, Rebellion Games, the games arm of the publisher of 2000 AD republished Block Mania and its sequel, Mega Mania, as a pair of handsome limited-edition replicas. This is the version of the board game being reviewed.

It would be inaccurate to describe Block Mania as being wholly British Ameritrash. Yes, the game comes with an H-Wagon or two’s worth of theme and applies that throughout, and yes, the game includes a fair degree of randomness, whether that is the random drawing of Blocker, Armoury, and Hardware counters, or the random determination of Command Points from turn to turn. Yet, Block Mania is also a classic counter and dice wargame, no surprise given that it is designed by Richard Halliwell, the co-designer of Warhammer Fantasy Battle, and in the use of Command Points, the game has the feel of a miniatures wargame where the limited activation of units from turn to turn is a feature. Plus, there are some complexities in the mechanics which means that it is not as much of a throwaway game.

Rowdy and clamorously chaotic, Block Mania is a darkly funny, satirical game. It is far from a perfect game, but it is a fun game to play and it is a brilliant adaptation of its source material.

The Long Hard Mile: A Solo Adventure is a scenario 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’.
The Long Hard Mile: A Solo Adventure is something different for Metamorphosis Alpha. It is an update—is that a ‘backdate’?—of a scenario which originally appeared as Metamorphosis Alpha: The Long Hard Mile for use with Metamorphosis Alpha, Fourth Edition, for use with the classic version of Metamorphosis Alpha. It draws from a storyline where the Starship Warden runs into an invisible asteroid filled with mushroom and crystal life forms smashing a hole in the ship’s hull and letting in a rash strange new lifeforms which seem to want to take over the ship. Feeling that it was in need of transition piece which tied the collision to the events aboard the Starship Warden, the author wrote The Long Hard Mile which both explored the consequences and presented the first solo adventure for Metamorphosis Alpha.
Several weeks ago, the ship hit something hard and the world about the village seems to have shaken again and again, followed by strange changes. New plants roaming and killing, a nearby valley, once wooded, now filled with giant mushrooms taller than the trees they replaced, and deadly plants everywhere. The hero of the story is equipped with the best that the village has to offer and sets out to investigate. The first thing he sees upon reaching the head of the valley is three high tech weapons mounted on tripods, with signs of burn marks on the ground and trees ahead of them. Why are the weapons there and what were they being fired at, are just some of the initial questions to be answered in the opening entries in The Long Hard Mile. As the Player Character explores the valley, he will plunge into Fungi Forests, find himself stabbed and spiked by strange flora, make friends with a piece of mobile artillery, get battered and spoken to by fungi, and ultimately discover some of the valley’s hidden secrets.
The Long Hard Mile: A Solo Adventure is relatively short and runs to just twenty entries. It is fun, and mechanically, it does involve a high degree of combat, but there are two or three scenes involving some roleplaying too—especially if the scenario is run as a standard adventure with a Game Master and several players. The combat scenes will require reference to the Metamorphosis Alpha rules, but in other scenes where a player needs to roll dice, the mechanics are explained in the entry. The scenario includes two pre-generated Player Characters, Scar-Lock and Lock-Scar. The former is a Pure Strain Human, the latter a Mutant Humanoid. Their character-type will not have any effect upon their explorations of the valley, although Lock-Scar does have some advantage in have various mutations which will help him in a fight. If the Player Character manages to survive and escape the valley, he should be able to bring back several weapons along with a few secrets and the means to end the threat which has emerged since the crash and taken over the woods.
Once a player has run through The Long hard Mile in solo fashion, there is nothing to stop her from running the scenario as an adventure for a standard group. This is relatively easy given the limited number of entries in the adventure, but to make it little easier, the Game Master should draw up a map of the various encounters so that it will be easier to plot the Player Characters’ movement from one location to another. As a solo adventure, The Long hard Mile is playable in an hour, but as a standard adventure, a group should be able to complete it in a session or so. And like so many supplements and scenarios for Metamorphosis Alpha, The Long hard Mile works with almost any post-apocalyptic roleplaying game, from Gamma World to Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic.

The capacity for The Long Hard Mile: A Solo Adventure to be played as both a solo adventure and a standard adventure, even if a short one in both cases, gives it a versatility that few scenarios possess. It also means that the Game Master gets to play Metamorphosis Alpha for a change, and whether her character—Scar-Lock or Lock-Scar—manages to survive her explorations, he can become an NPC spurring the Player Characters into action and rooting out the mysteries of The Long Hard Mile: A Solo Adventure.

Let's Make More MST3K & Build The Gizmoplex!

https://www.kickstarter.com/projects/mst3k/makemoremst3k?ref=theotherside

I am a HUGE MST3k fan.  Back in the early days of the show, my cable provider did not offer The Comedy Channel/Comedy Central.  So when I would go visit my girlfriend in the Chicago area I discovered it and was completely hooked.  Fast forward 30 years that girlfriend is now my wife and our oldest son also loves MST3k.

We watched all the VHS tapes she had made for me and now we catch it when we can on the various streaming services we have.

So yeah, you know I am excited for this one!  I loved Joel and Mike and I think Jonah has been a great new addition to the team. I am not sure who the new host is (she will appear in a couple of episodes) but I am excited. AND Joel is back for two episodes!

We are in the Final Sacrifice Countdown now!

The Book of Handouts – 16 Scenes to Show Players is a supplement 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’.
Next to come out of the ‘Metamorphosis Alpha Treasure Chest’ is Book of Handouts – 16 Scenes to Show Players. There is no denying the power of a good handout, whether is the matchbook from the Stumbling Tiger Bar found in Jackson Elias’ hotel room at the start of Masks of Nyarlathotep or the Origami-style elemental stones from The Doomstones campaign for Warhammer Fantasy Roleplaying or the rotating puzzle from The Chained Coffin for Dungeon Crawl Classics or the opening screen crawl scripts for West End Games’ Star Wars: The Roleplaying Game. They engage the players and draw them into the world of the roleplaying game, building atmosphere and a sense of immersion. Yet for most fantasy roleplaying games, handouts take the form of maps, but there is a special case for Dungeons & Dragons. Going all the way back to S1 Tomb of Horrors, certainly Advanced Dungeons & Dragons has had a history of including a separate booklet of images keyed to locations in a scenario, so that when the adventurers reach a particular location, the Dungeon Master can flip to the relevant image in the Illustration Booklet and show it to her players. These illustrations brought each location alive and made the Dungeon Master’s task all the easier, and it is from these Illustration Booklets, for S1 Tomb of Horrors or more recently, Dwimmermount, that the Book of Handouts – 16 Scenes to Show Players draws from for its inspiration.
The Book of Handouts – 16 Scenes to Show Players is simply a book of illustrations of scenes aboard the Starship Warden. Unlike the Illustration Booklets for S1 Tomb of Horrors or Dwimmermount, there is no text associated with the images in its pages. Or indeed, an actual scenario associated with it. What you have instead is literally a booklet of images. Appearing in landscape and portrait formats, one image per page, they include a Tiger Mutant Animal in armour and firing a rocket straight at the viewer—and thus the Player Characters; a woman dressed in the clothes of the Ancients, asleep in her cyropod; and a bunch of scruffy Pure Strain Humans, bearded and armed with flint spears, looking nervously into a strange hole in the wall. Some are humorous, like the four Wolfoids, clearly enjoying themselves travelling in some ancient vehicle, the passengers with their feet, whilst others are horrifying, such as the Pure Strain Human being strapped down by medbots whilst staring at the metal leg they are about to replace his own with! Then some are intriguing, like the entrance to a bunker or a facility marked as ‘Level 5’, the ground before it strewn with dirt out of which protrudes one of the many infamous coloured arm bands to be found aboard the Starship Warden and which will grant access to certain keyed areas.
However, because there is no text in the Book of Handouts – 16 Scenes to Show Players and so each picture is not displaying a specific scene or encounter, these images are not actually intended to be shown to the players—at least not at first. Their initial role is to severe as inspiration for the Game Master, for the Game Master to write scenarios and scenes in which the images can be shown to the players and illustrate what their characters can see. For example, perhaps one of the Player Characters’ friends has gone to serve the Ancients, but when they discover him, they see him about to undergo leg upgrade surgery at the hands of the medbots or during the rites to the holy carp in the lake upon whose shores the Player Characters’ village stands, the giant fish is suddenly attacked by something tentacular. Is this tentacled attacker a mutated beast, a robot gone rogue, or what else could it be?
The all but text free Book of Handouts – 16 Scenes to Show Players does another thing and that is showcase the artwork of the late Jim Holloway, drawings here each to a brief given by author, James Ward. And they are good pieces of art, interesting, a little quirky, and hopefully for the Game Master, inspirational, and her players, illustrative. And like so many supplements for Metamorphosis Alpha, the Book of Handouts – 16 Scenes to Show Players works with almost any post-apocalyptic roleplaying game, from Gamma World to Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic. Ultimately though, the Book of Handouts – 16 Scenes to Show Players is not a book that a Metamorphosis Alpha or other post-apocalypse Game Master absolutely needs, but short of ideas, it might provide much-needed inspiration for the next adventure.

This issue has been on my want list for a very long time, well this weekend I finally got a copy and I could not be happier.  My copy is a little worse for the wear, but still I am happy. So let's get right to it!

This issue comes to us from November 1978, exactly one year before I would discover D&D.  The cover is a Halloween-inspired one, and frankly, I think it is great. It has a Ravenloft feel to it, five years early.  It's one of those that rewards you the more you look into it. I can't tell who did it though. I want to say Tom Wham. 

I also should point out that this isn't "Dragon #20" this is "The Dragon #20".  

We learn from Tim Kask's editorial that the price of The Dragon has gone up to $2.00 per issue. Plus they are going to a new printer for color, things look better, but there is a cost.  Out on a Limb is coming back and I guess it was "controversial."  

Up first Marc Miller talks about his game Imperium, described as "1977's Game of the Year."  He gives us a bit of history of how the game was created and it completely invokes all my Traveller Envy.  Marc follows this up with some rules addendums. 

Some reprinted editorials from Gygax; Dragon Rumbles #19. Largely about Gen Con and Origins. Gen Con is expanding and having growing pains. 

Speaking of expanding, TSR is looking for a new assistant to Gary Gygax.  You need to have good typing, spelling, and proofreading skills.  I wonder who got the job?  I have my guesses.

Mike Crane has a nice random table of various Eyes and Amulets for Empire of the Petal Throne. Easily adaptable to D&D of course, if I knew what any of them actually did. 

Nice big ad for Star Trek minis, 75mm versions at $10.95 each. 

Jerome Arkenberg is up with a great one, The Mythos of Polynesia for Dungeons & Dragons.  The format is similar to what we find in "Gods, Demigods, and Heroes."  It is detailed enough for me to do a One Man's God for it but I know so little about these myths. The gods themselves are an interesting lot. Of them all, I knew Pele and Tangoroa the best. 

Wormy is next and in full color. 

Ah. Here is the reason why I bought this issue. 

Another Look at Witches and Witchcraft in D&D by Ronald Pehr.  This article is a sequel to the article from Dragon #5, and the prequel to the ones in Dragons #43 and #114. This one is more detailed than the one found in TD#5.  This one still has the disclaimer of an "NPC Class" but offers it as a potential PC class for some DM's games.   This one also makes the connection that witches are to magic-users as druids are to clerics. The author does point out that a witch is typically neutral although individuals can be good or evil as they please.  They are not Satan/Devil worshipers even if they can summon supernatural assistance. The author points out that Cleric, Druids, and Magic-users can summon the same sort of aid.   He also dismisses the stereotype that all witches are solitary old hags indicating they need to be to work with others and in harmony with nature so a Charisma of 9 is needed at the minimum.

Presented here are 18 levels in OD&D format. They have saves and attack rolls like that of the Magic-user but require more XP, 3,000 points needed for level 2 and it scales on from there.  This witch gains several powers per level as well.  Why making a Bag of Holding comes before the more stereotypical Brew Love Potion I don't know, I do know that even I think this witch is pretty damn powerful.  

This witch also has spells up to the 8th level.  This has always felt right to me as being between the Cleric and the Magic-user.  Even in modern games where every spellcasting class has access to 9th level spells I still like the idea that Wizards/Magic-users have access to greater magics, even above my beloved witches.  She may be limited to "only" 8th level spells here, but some of these spells...damn.  "Destroy Life Level." "Wither," "Circle of Distegreation."  I don't recall if all of these made it forward to issues #45 or #114, but they are some pretty powerful spells. 

The first part covers two pages then it is continued on for a quarter page later in the magazine.  What strikes me the most is not how really overpowered this class is (it was toned down in #45 and #114), or the casual sexism in the presentation ("it provides a very viable character for ladies," it was 1978 after all), but the fact that this was the headlining article and there is no art associated with it. 

This version of the witch is the one I have typically associated with Holme's Basic set. Mostly because they share a publication time. This fits since the witch from The Dragon #5 is very obviously an OD&D witch and the one from Dragon #45 is connected to the Moldvay Basic game. Also because of the time of publication and because Tom Moldvay did a bit of the editing on that version.  This leaves the obvious connection of Dragon #114 with AD&D 1st ed.

I suppose my collection of Dragon MAgazine witches is complete, more or less. I do not have a copy of The Dragon #5, the first witch, but I do have the reprint in Best of the Dragon Vol. 1 which is identical to what was in #5.

The second reason I wanted this issue, Demonology made easy; or, How To Deal With Orcus For Fun and Profit by Gregory Rihn.  This article also calls back to The Dragon #5, in particular the article on Spell Research in D&D (also in the Best of Vol. 1).  The editor reminds us that the author, Gregory Rihn also gave us a great article on lycanthropy (again, in the Best of Vol. 1) so they feel this is a worthwhile article.  This article is good. It covers the reasons why a magic-user might want to summon a demon in D&D and then how to do it!  Take a moment to breathe that one in. The Satanic Panic was just about to happen.

There is a lot of detail here and a lot of really awesome role-playability.  I mean really if your wizard or witch hasn't tried summoning some evil from the deeper dark are they REALLY living?  There are even guidelines to what needs to be in the rituals (new vestments, items, even sacrifices) and what sort of tasks of the demon can be demanded.   

This article, plus the witchcraft one, when combined can be used to add a lot of flavor to the Warlocks of D&D 5.  

Halfway, we get some photos of the various winners of awards for 1977 at Gen Con XI. Pictures of John Holmes, his son Chris as well as awards presented by Elise Gygax to Marc Miller and Tim Kask among others.

See Africa and Die! Or, Mr. Stanley, Meet Dr. Livingstone comes to us from none other than Gary Gygax himself providing a review of the game Source of the Nile.  IT is not only a pretty detailed review but also suggests some rule corrections.  The review does make the game sound fun but this is the problem in reading 40-year-old+ game magazines. All the great stuff is long out of print and expensive as hell to find. 

William B. Fawcett gives us a Traveller variant/addition in The Asimov Cluster.  Traveller! Why must you haunt my every step! But seriously, this is the exact sort of thing I would read back in the day and make Traveller feel like this epic sweeping Space Opera.  I am sure it is. I am sure there are people (and I have read their blogs) that are just obsessed with Traveller as I am with D&D who would read the D&D articles and wistfully say "someday. someday I'll play that game and it will be as epic as I imagined."   I did play some Traveller, but mine never got epic.  I don't even know which Traveller system to start with now if I wanted to get back into it.  This is my "Sci-Fi" month. I should figure this one out.

Anyway, this article provides details on the Asimov Cluster with a lot of planets here to provide points of interest for your Traveller game.

A really cool ad for the D Series modules from TSR.  I bet these will be cool.  Followed by a preview of the Ralph Bakshi "Lord of the Rings" movie.

Lyle Fitzgerald gives us a breakdown of character death in It's a Good Day to Die (Death Statistics of D&D Players).  I should note that these are statistics only from his local gaming group. And it is not Players that are dead but rather Characters.  Though props for using this as a title 10 years before Worf would utter the same words.  Though like most things it is better in the original Klingon.   It's an interesting read and might even be a good snapshot of the times.  Maybe I'll create a poll one day to get some more data.  Not that I honestly care much about character death, I just like statistics.

Allen Hammack, a very prolific Dragon writer back in the day, has a rule variant for hidden movement in the War of the Ring game.

Finieous Fingers is up. People talk about being able to judge the generations of games by their feelings on Tracy Hickman. I also say you can make the same judgment on the generations just prior to that on their opinion of FF.  It's fun, but does not fill me with nostalgia.

The Convention Schedule fills a quarter of a page. In a couple of years, it will expand to several pages.

Our last article is about Demonic Possession in the Dungeon from Charles Sagui, a name I don't think I have seen before.  It's a good guide and, as the author points out, something not used enough in games with demons. This article presents demonic possession as sort of a trap to be found in dungeons (well, that is the title after all) and a good use of it. Reading this it is easy to expand on it a little more and get your Regan and Captain Howdy types. 

A nice big ad for the new Advanced Dungeons & Dragons Player's Handbook.

Back cover is an add for the Space Gamer magazine. 

Counting covers a total of 36 pages, but a lot has been packed into these pages.

It is interesting to read a Dragon from this time period when I was imprinted on Dragon from the Kim Mohan/80s period.  This one feels a little more like a White Dwarf magazine to me.  If you are curious, White Dwarf #9 was published around the same time.  

Also there is a feeling of embracing more games here.  It feels like gamers were far more open about trying out other games than with what some of the older gamers today would lead you to believe.  This is also consistent with how we all played back then.

So yeah. I paid a lot of money for this issue and I don't regret it at all really.  I still have my Dragon CD-ROM with all the PDF files, but having this in my collection is still worthwhile in my mind.

 The original Known World by Tom Moldvay and Lawrence Schick. 

The Known World Replica Map by James Mishler
It's no lie. I love maps. As a kid, I would read over maps, follow roads to see where they lead. I had a map of the city of Chicago hanging up in my room that I would just stare at and imagine what those streets were like from hundreds of miles away. I still have a map of Victorian-era London in my office that I still stare at.  Just the other night I spent hours pouring over a map of Westeros which has put me into the mood to reread A Song of Ice and Fire. 

So while back there was some new discussion about the Orginal Known World from Tom Moldvay and Lawrence Schick, the one that was the precursor to the World of Mystara of later BECMI use.  James Mishler, who also knows a thing or two about Mystara, put together a hex map of this world and I just can't stop reading it.  Such tantalizing treasures here.  Demi-orcs? So many Orc clans! A city called Keraptis? Tharks!  So many familiar names all in different places.

I know I talked about this one before but it still fascinates me.  The map covers an area about 2,400 miles east to west and 850 miles north to south. OR, about the same size as the continental United States (2,800 miles from furthest points east and west, 1,500 north to south).  

While I enjoy all of this it was largely academic interest. I mean after all I have plenty of worlds. Come Endless Darkness takes place in Oerth/World of Greyhawk, the Second Campaign is primarily a Mystara one, and Into the Nentir Vale is a solid Toril/Forgotten Realms campaign.  So my players are used to the idea of multiple universes and worlds. The characters of War of the Witch Queens are now beginning to learn about this.   So adding a new world only makes things difficult for me and really, it's not all that difficult.

Since "War of the Witch Queens" is my ode to both Basic-era D&D (currently using B/X as the rules base) AND to the many wonderful products in the Old-School scene I always felt I needed an old school world to fit the bill.  I had thought about using the BECMI "Urt" which gives me the same Mystara maps but make it a little different. Mystara we would later find out is hollow. Urt is a living planet akin to Mogo.  I do have a living planet I use in my Sci-fi games, Gaia, so I don't necessarily need another one.  Though Gaia is living in the sense there is a planetary wide consciousness as opposed to a living being.

While Urt, or even Urth, is fine, it isn't really what I want.  I want something old, or at least has a proper pedigree?  Why?  Because this campaign is not really about what I can make up. I have dozens of worlds, places, maps, you name it, but I want something different than what I can do.  

It was while reading a series of posts (links below) from Jonathan Becker on B/X Blackrazor that gave me an idea. 

Why not use this Moldvay/Schick Known World as the PC's world in War of the Witch Queens?

Sure. I should really use Mystara or Mystoerth for a proper B/X feel, but yet this map calls to me. It begs me to explore it.  It isn't the whole world, of course, it is just the known world.  Sure it's not my world.  But I also had no say in being born in Illinois and as a longing for a magical place called Chicago.  BTW Chicago did in fact live up to (and down to) my dreams of it.

I get some familiar names, remixed in new ways.  I already established my East Haven and West Haven towns and how East Haven in my "world" is in the same spot as Haven on Krynn. West Haven of course is West Haven in every world; it is a Nexus Point.  

There is a lot going on this map and it really works for me.  It comes from a time period I really want my Witch Queens campaign to be all about.   Plus it makes Glantri (and Darokin) into a Welsh-like kingdom (and BEGS me to make the ruler King Llywelyn the Great).  Gorllewin even means "West" in Welsh.  This really appeals to me. Glantrin as a Welsh city instead of a faux-Italian one?  Yeah! That sounds fun. I get to use Glantri again, but this is a very different one that the Glantri of Mystara run by xenophobic mage-Princes.  

Then there are all these other details in a map that is just 200 by 200 miles. Deep Ones living nearby? Hell yeah! Again I could spend hours on this map. I mean what the hell is Nanq-Rubbob?? I must know! Looks like some sort of Russian/Slavic Empire to the northeast. Fallen Thyatis to the west. Welsh halflings? Sounds like hobbits to me! Malpheggi Clans? Sounds like swamp hags live here next to the Deep Ones. There are those demi-orcs again. What are they? I don't know but I can't wait to find out!

And really that is it isn't it?  What is out there? I don't know, but I can't wait to find out!

Links

• Moldvay & Schick’s Known World, Atlas of Mystara
• The "Known World" D&D Setting: A Secret History, Black Gate
• Let’s Map Mystara Together, The Piazza
• The Original Known World, Adventures in Gaming v2
• Dragonsfoot Discussion
• JB's posts on B/X Blackrazor:
• Dragons of Insanity
• What Matters
• Reclamation Project
• Adventures by Lawrence Schick
• Adventures and Books by Tom Moldvay

I got a bunch in the mail this past weekend so let's have a look!

HeroForge

Up first,  Some new minis from HeroForge.

Graz'zt and my paladin Johan.  His sword, Demonbane, is on fire because it is a demon-hunting sword and Graz'zt is near.

You can get a better look at Graz'zt below.

If you click on the HeroForge link here you can even see he has six fingers on each hand!

I forgot who made this, the post on Facebook is gone, but she did a great job.

He compares well to the official mini that was made for him.

And he looks good next to my HeroForge Iggwilv.

Blue Rose Adventure's Guide

The Blue Rose Adventure's Guide is out as a DriveThruRPG POD and it looks great!

This allows you to play a Blue Rose game using the D&D 5th Edition rules. It is surprisingly complete.

You do not need the Blue Rose core rules to play this, but you do need the D&D 5th Edition rules.

A full review coming soon.

Dragon #20

And last, but not at all least, I finally got a copy of Dragon #20 with the Witch class and demonology guide.

Expect a "This Old Dragon" post on this one soon!

That's another Blogging A to Z for April for the history books. It was nice to get back into this really. I enjoy the challenge of not just blogging every day (I kinda do that now anyway) but having a prompt for the blogging.

Let's See how I did.

According to my stats my visits were up 20% over other months, except for October (which are usually up 50% to 75%).   I gained followers across social media, with the most coming from Twitter.

That's all well and good really, but for me one of the important things was I found several new blogs to follow from here on out and many more I'll visit on the Blogging A to Z Road Trip.

My goal was to get some monsters done.  I published 26 days with 24 complete monsters, 3 variations, and 1 subtype. I also 2 categories of monsters, Qliphoth with 10 monsters and Vampires with 44 types.

A is for Allip B is for Barghest C is for Cat-sìth D is for Dragon, Purple E is for Elf, Shadow F is for Faun G is for Glaistig H is for Hag, Chaos I is for Incubus J is for Jack O'Lantern K is for Kelpie L is for Lilith M is for Merrow N is for Nuckelavee O is for Orc, Desert P is for Púca Q is for Qliphoth R is for Rakshasa S is for Skeleton, Electric T is for Troll, Swamp U is for Undine V is for Vampire W is for Wight, Barrow X is for Xana Y is for Yeti, Almas Z is for Zombie, Drowned

For the visual types, here is a Pinterest board with links to each one.

Follow Timothy's board "April 2021 A to Z of Monsters" on Pinterest.

I started the challenge with over 330 monsters in my projects folder with 156 of those 100% complete.  I started with two ideas for monster books; one for normal monsters and another for demons and devils (and more).

Today I have split this all off into three books (maybe four) of normal monsters, undead, and fiends.  The fourth book is so early I am hesitant to even announce it.

I also have new cover art for all my books, even the proposed fourth book.  

By the numbers, Basic Bestiary I has (so far) 240 monsters with 220 at complete status.  Basic Bestiary II: The Undead has 178 monsters with 80 complete.  Basic Bestiary III: The Fiends has 87 entries, with 19 complete and an additional 616 proper names of demons, devils and other fiends that I need to sort through.  Basic Bestiary IV currently has a working list of 100 monsters, none are complete.

So roughly 320 100% complete monsters, more than doubling my pre-April count of 156. 

That was my true goal here.  I did not think I would walk out of this with a complete book in hand.  There is still a lot of editing to do and my target per book is still 300+ monsters.  The demons and devils book will be more; I might snarkily have 666 monsters.  So far I am within reach of that.

Will I do this next year?  At first, I was thinking no, but in truth, I did forget how much fun it was to visit all sorts of blogs outside my normal reading. Plus in terms of my goals, this was a success.  Maybe I'll do this for my Book IV.

Right now I have a lot of monsters to clean up and get ready for BBI.  

http://www.a-to-zchallenge.com/2021/05/atozchallenge-reflections-2021.html

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry.

Upper Heleng: The Forest Beloved by Time is a little different. Penned by Zedeck Siew—author of Lorn Song of the Bachelor—and drawn by Munkao, it is the third title published by the A Thousand Thousand Islands imprint, a Southeast Asian-themed fantasy visual world-building project, one which aims to draw from regional folklore and history to create a fantasy world truly rooted in the region’s myths, rather than a set of rules simply reskinned with a fantasy culture. The result of the project to date is eight fanzines, plus appendices, each slightly different, and each focusing on discrete settings which might be in the same world, but are just easily be separate places in separate worlds. What sets the series apart is the aesthetic sparseness of its combination of art and text. The latter describes the place, its peoples and personalities, its places, and its strangeness with a very simple economy of words. Which is paired with the utterly delightful artwork which captures the strangeness and exoticism of the particular setting and brings it alive. Barring a table of three (or more) for determining random aspects that the Player Characters might encounter each entry in the series is systemless, meaning that each can be using any manner of roleplaying games and systems, whether that is fantasy or Science Fiction, the Old School Renaissance or not.

The first, MR-KR-GR The Death-Rolled Kingdom, described the Death-Rolled Kingdom, built on the remains of great drowned city, now ruled by crocodiles in lazy, benign fashion, they police the river, and their decrees outlaw the exploration of the ruins of MR-KR-GR, and they sometimes hire adventurers. The second, Kraching, explored the life of a quiet, sleepy village alongside a great forest, dominated by cats of all sizes and known for its beautiful carvings of the wood taken from the forest. The third in the series, Upper Heleng: The Forest Beloved by Time, takes the reader, if not into this forest, but into a forest.

Stepping into the forest is like stepping into the past. Time seems to pass differently there, and so it is in Upper Heleng, though no native would call it that. Beyond the two great trees which mark its most obvious entry—one dead, the other never not in flower, time passes faster for objects not of the forest. They rot, they rust, teeth fall out. It is almost as if the forest is rejecting such modernisms. Squirrels appear to chatter and gossip—if you listen. A wheezing mouse deer asks for help—it has a woman’s face. Take care lest the Leeches stalk you and steal something from more important than a mere possession—a hand, a child not yet born, a skill, your favourite song… The forest is married to Time and has given birth to many gods who make their home in her arboreal embrace. Each has their own time, some of which are embraced by the natives, some of which are not. The Leech is her eldest, who governs memory, loss, and entropy, and who defends his mother when necessary and whose manifestations stalk and steal from intruders. The Bee is her third daughter, a gibbon-shaped hive of bees whose presence indicates that harvest is here. The Moth is the youngest and the oldest, and governs death for all who die in the forest, able to see out of the spots on the moth he has for a face—and out of all spots of all moths. Anyone who died in the forest may be asked questions through the Moth for he remembers them all, but for a price.

The way into the forest—and Upper Heleng: The Forest Beloved by Time—is through a guide. The girl, Wingseed, is keen to take the Player Characters in—though Dangles, her father now living in a dog’s (and thus a god’s) shape worries greatly for her, and will advise them to eat the food grown inside to lessen the effects of time whilst under the canopy. The Player Characters may encounter Sadushan San Di, who quests for the Leech who defeated Sadushan San Di’s liege-lady, Queen Qaidun, and stole her face, but who knows which of the many Leech Spawn now bears that visage? Or Sri Jahisha, itinerant swordfish who wishes to see the un-oceaned world and is borne upon the back of fisherman blessed with magic. The forest nomads with their strange ways, but kindly manner, treating outsiders like children who know no better… Such as Tittertit, the elderly camp chief who does not give a damn and whose armful of monkeys know spells and Scoffysyrup, a woman addicted to the beakroot which is transforming her into a bird. She wants to be free to fly and wants more, but her campmates refuse to gather it. Perhaps the Player Characters have come to aid Sadushan San Di or to purchase trade goods, like the Ghost Antler, infused with the beast’s final instincts at death, the phantom vines which are found hanging in the air and can be woven into nets capable of entrapping the incorporeal, or Quick Honey, the mercury liquid which grants a day’s invulnerability and unerring action in return for the ultimate price, but which all of the gods across the Thousand Thousand Isles want at their table.

For the Game Master there are tables to determine random encounters in the forest and encounters with the forest people. There is also an insert which provides another pair of tables. Both are ‘die-drop’ tables, one a name generator for the people of the forest which with a roll of six dice also generates a personality too. The other is a lay of the land of the forest, a collection of places, the fall of the dice determining the elements of the location where the Player Characters are, or are going, the Game Master building the descriptions from where the dice land. This is not necessarily a map generator, since the land can change, rivers squirm to elsewhere, paths wither and disappear. Essentially, the forest grows and changes, but remains the same.

Physically, Upper Heleng: The Forest Beloved by Time is a slim booklet which possesses the lovely simplicity of the Thousand Thousand Isles, both in terms of the words and the art. Together they evoke visions of a very different world, inspired by forest taboos and Bateq egalitarianism, and of a very different fantasy to which a Western audience is used, but the light text makes it all very accessible as the art entrances the reader. However, Upper Heleng: The Forest Beloved by Time is not easy to use, the forest crawl being far away and not necessarily easy to reach, but worse, it is difficult to engage the Player Characters with it until they reach its eaves. The Game Master will need to work hard to create motivations and drives for them to travel to Upper Heleng, and that is its biggest weakness. It has the hooks—both ethnographic and cosmological—but it is a matter of getting the Player Characters there.

Upper Heleng: The Forest Beloved by Time has not quite the charm of the previous MR-KR-GR The Death-Rolled Kingdom or Kraching, but this does not mean that it is not without appeal. Once again, Upper Heleng: The Forest Beloved by Time is beguilingly simple and exquisitely enticing in its presentation of a bucolically strange, but seemingly tranquil land far away from whatever constitutes the main hub of the world and its action.

—oOo—

The great news is that is Upper Heleng: The Forest Beloved by Time, MR-KR-GR The Death-Rolled Kingdom, Kraching, and the others in the Thousand Thousand Isles setting are now available outside of Malaysia. Details can be found here.