RPGs

The Other OSR—Warlock! Compendium

Reviews from R'lyeh -

The Warlock! Compendium is the first supplement for Warlock!, the Old School Rennaisance-like Career and skills roleplaying game whose inspiration is a hybrid of Fighting Fantasy a la The Warlock of Firetop Mountain and Warhammer Fantasy Roleplay. Published by Fire Ruby Designs, it complies the first four expansions for Warlock!, each of which adds flavour and detail to the core rules, particularly when it comes to Careers and magic. In turn, adds new Careers for the non-human races of the Kingdom—or wherever the Game Master’s campaign is set, new magic, rules for magic from old body parts, and rules for what happens if you entreat the unholy powers.

The Warlock! Compendium opens with ‘Part 1: Different Paths’, in particular, ‘Community Careers’. One of major omissions in Warlock! was a lack of Careers for Dwarves, Elves, and Halflings. ‘Community Careers’ amends that with an expansion of the Career table in the core rules, which a player rolls on to determine his character’s first Career. This table extension adds six more, such as Dwarf Inventor, Elf Kin Guard, and Halfling Gong Farmer, which when rolled determine both a character’s first Career, but also his Community. This does not necessarily replace a player’s option to choose his character’s Community, but rather means that the character will definitely be a member of one if the right roll is made. Some of the Careers, such as Dwarf Tunnel Fighter and the Advanced Careers of Dwarf Slayer, Elf Champion, and Halfling Burglar, all feel very much inspired by a certain British fantasy roleplaying game. Warlock! however, is not a fantasy roleplaying game in which one Community is mechanically any different from any other, but ‘Community Careers’ adds potential flavour without adding any undue mechanical complexity or advantage.

‘Part 2: The Grimoire’ is all about magic. It starts by adding advice for discovering spells—essentially research, research, research—and copying scrolls. The latter is particularly trying, costing a wizard stamina which cannot otherwise be recovered. Now whilst this can be done, it definitely feels as if the author is persuading the wizard against such a rash action, suggesting instead that he concentrate upon exploration and the search already completed scrolls rather than create his own. This is followed by some forty spells, from Beam, Bleed, and Curse to Tremor, Whisper, and Yearn. These all fantastically gritty and down-to-earth, such as Dry, which protects the caster and anyone nearby from the rain, but makes all incredibly thirsty, or Glamour, which grants a bonus to the target for all actions where beauty is involved, but makes the target ugly and repulsive for several hours after the spell’s effects have worn off! ‘Rods, Staves, and Wands’ cover a wizard storing spells in them, whilst ‘Rare and Wondrous Artefacts’ adds a handful of magical items, typically with a sting the tail, such as the ‘Boots of Striding’ which enable the wearer to leap great distances, but with the chance that one boot will be left behind, the other at the destination, and the wear equally as split! ‘Lost Relics’ provides rumours of a handful of missing items, whilst ‘Community Spellcasters’ adds Advanced Careers for Dwarves, Elves, and Halflings capable of using magic, such as the Dwarf Runeforger, Halfling Conjurer—street magicians who use illusion and beguilement, and Elf Druid—who can sacrifice of the blood of sentient species for a much darker version of the Druid typically seen in fantasy roleplaying. 

‘Part 3: Necromancy’ presents the dark arts of dealing with the dead and the undead, practitioners often beginning with contacting the spirits of the departed to learn their secrets and then it is a slippery slope to degradation and terrible power. Of course, in the Kingdom, the art is forbidden and outlawed. From Bind Spirit and Create Guardian to Spirit Speak and Summon Dead, some eight necromantic spells are given as well as detailing the dangers of necromantic miscasts and some necromantic artefacts.

‘Part 4: Corrupted’ covers the effects and consequences of the dark arts, another slippery slope to power for ambitious—or foolish!—wizard, but does actually detail how a wizard might take such a path. With the inclusion of the Cultist and the Death Knight—a sorcerer who has fallen under the influence of a demon, demonic marks and gifts bestowed upon such Death Knights, along with  demon swords, demon goblins, and descriptions of such demon masters as the Cthulhu-like Delock, Lord of the Depths and the demon lord of war, Pazaali, the Warlock! Compendium strays ever closer to Warhammer Fantasy Roleplay in emulating its inspiration.

Physically, the Warlock! Compendium is a handy, digest-sized hardback. It is decently illustrated throughout, the occasional roughness of the artwork contributing much to the British Old School style and look that Warlock! seeks to evoke. The book is well written and an engaging read, and everything within its pages is easy to grasp and pull out into a game.

Although it offers a little more than that, the Warlock! Compendium is very much the magic supplement for Warlock!, adding new spells, magical Careers, necromancy, the dark arts, magical monsters, and so on. As useful a set of additions and expansions as they are, it is the six Careers—the Community Careers for Dwarves, Elves, and Halflings which feel the most useful addition in the Warlock! Compendium, for in giving them something that is intrinsically theirs, they flesh out the core game rather than just adding to it. Plus, they do it without adding to the rules or mechanics—just the setting. The Warlock! Compendium is overall, a solidly sorcerous expansion for Warlock!

Character Creation Challenge: Dungeons & Dragons, 3rd Edition

The Other Side -

D&D Player's Handbook 3rd EditionThe year is 2000. We don't have flying cars or stations on the moon, but we do get a new edition of the Dungeons & Dragons game.  Wizards of the Coast, known for Pokemon and Magic the Gathering, buy the cash strapped and deeply in debt TSR.  Soon TSR is folded into WotC and when D&D 3rd edition is announced, TSR is merely a memory.  Though WotC would go on to produce a hot new game that will still be played 20 years later AND set off a revolution in small press and fan publishing.

The Game: Dungeons & Dragons 3rd Edition

D&D 3rd Edition was by all accounts a revolutionary game.  It produced two (or three) direct descendants; D&D 3.5, Pathfinder, and Pathfinder 2nd Edition. It was the foundation for d20 Modern and the Star Wars RPGs from Wizards of the Coast. There was a Call of Cthulhu edition, a World of Darkness edition and not to mention thousands of games that used the d20 license and the Open Gaming License, and SRD.  The OGL and the SRD made so many other games possible including 90% of all the OSR releases on the market today.  D&D 3.x is also still widely played some 20 years later.

D&D retook the "Dungeons & Dragons" name, dropping the Advanced, to give D&D a single variant moving forward.  Basic and Advanced were no more. 

Of course, we also got the crowd of "never WotC D&D" forgetting that WotC gave out the SRD and OGL for free. Filled their website with free downloads and also created a very robust fan creation guideline that became the heart of the DMsGuild today, while TSR spent a lot of its early days on the Internet harassing BBSes, website owners, and AOL file areas as well sending C&D letters for anyone hosting Netbooks or fan-made D&D materials. 

The Character: Rowan McGowan

For this witch for D&D 3.5, I am going to use the sample custom witch class from the Dungeon Master's Guide.

The DMG witch class is a bit anemic really, it is just a reskinned Sorcerer with a new spell list.  But the goal for it was not to develop a full-blown witch class as I have done, but rather show how the classes can be altered for your own needs.   

Rowan continues my Celtic-themed named witches.  In 2000 I would have likely gone with Rowena, but I have a witch here already with that name.  She is "McGowan" instead of "nic Goibniu" because I want to represent her as being a little more "modern" than the previous witches.  Modern in the sense of rules updates.

Witches of the CoastLiliana Vess by Dopaprime, CC License

Rowan McGowan

Female Human Witch, Level 1 (DMG Witch)
Lawful Neutral

Abilities
Strength: 10 (0)
Dexterity: 11 (0) 
Constitution: 12 (+1)
Intelligence: 11 (0)
Wisdom: 12 (+1)
Charisma: 16 (+3)

Saving Throws
Fortitude: +1
Reflex: +0
Will: +3

AC: 7
HP: 8
BAB: +0
Initiative: +0
Speed: 30

Skills
Bluff +3, Climb 0, Concentration +5, Diplomacy +4, Disguise +3, Gather Information +3, Heal +1, Intimidate +3, Jump 0, Listen +1, Move silently +0, Ride +0, Search +1, Sense Motive +1, Spellcraft +5, Spot +1, Survival +1, Swim +0, Use rope +0

Feats
Scribe Scroll, Toughness

Special Abilities - Familiar
Familiar - Cat (level 1, 11 HP, 15 AC Attack +5)
Deliver Touch spells through familiar
Empathic Link (Su)
Share spells

Spells
Spell DC 13 + Spell level
Cantrips: Arcane Mark, Daze, Detect Magic, Mending
1st level: Burning Hands, Disguise Self

Not too bad, if a little light on options. 

Character Creation Challenge

Tardis Captain is the originator of this idea and he is keeping a list of places participating.  When posting to Social Media don't forget the #CharacterCreationChallenge hashtag. 

RPG Blog Carnival

This month's RPG Blog Carnival is being hosted by Plastic Polyhedra. They are doing Characters, Stories, and Worlds, so that fits right in with everything we are posting this month.

Check out all the posts going on this month at both of these sources.

Character Creation Challenge: Advanced Dungeons & Dragons, 2nd Edition

The Other Side -

Advanced Dungeons & Dragons, 2nd Edition came on the scene to much anticipation back in the Spring of 1989.  I was in college at the time but I still managed to get the books very close on release day.  The game was largely an update and cleanup of the AD&D 1st Ed rules.  Gygax had been gone from TSR for a while at this point and the rules lacked his "voice" but they were a significant improvement in many ways.  

But today no one talks about the 2nd ed rules as much as they talk about the settings.

The Game: Advanced Dungeons & Dragons, 2nd Edition

There is no doubt that the 2nd edition made many improvements to the AD&D ruleset. While Basic-era D&D moved on with the BECMI series, AD&D came here.  With the streamlined, but not simplified, rules in place TSR focused on what they believed to be their cash-cow, settings.  And to be fair the settings are what we all recall today.  There were also tons of splat books and eventually an update that was called AD&D 2.5 by some, but never by the company.  

This was also the edition that caved under the pressure of the religious right and bowdlerized demons and devils right out of the system.  It would not be till later with Planescape that we got them back in the forms of Tanarri and Batatezu. 

Since the Splats and Settings are so important to the identity of 2nd Edition it behooves me to mention a couple and my relationship with them. Not to mention the witch options they gave me.

The Complete Wizard's Handbook

Among 2nd Eds features were the "Kits" or archetypes you could apply to various classes to customize them.  Sadly like many splat books you see power creep in these. The Complete Bard's Handbook was one of the worst offenders along with the Elves book. But today is not the day to discuss those. Today I want to talk about the Witch Kit.

The Witch-kit appeared in the Complete Wizard's Handbook and was a mere 3 or so pages, but it was the first official witch class in AD&D.  She got powers every odd level and had a lot of role-playing potential.  This might seem more powerful than your average wizard, but at the time everyone was assumed to have a kit of some sort.

Ravenloft

My world of choice in the 2nd Ed era was Ravenloft.  The gothic horror tropes were too much of a lure to avoid. Interestingly enough it would not be until Spring of 2000 when Ravenloft would get their first witch class/kit and by this time they were owned by Wizards of the Coast.

This class/kit gave us the Witches of Hala, which is a kit that any non-magic using class could use, so only Fighter and Theif. But the witches did gain some spell abilities.  To differentiate between the two witches Van Richten's Monster Hunter's Compendium, Vol 3 calls the Complete Wizard Witch Kit the "Sorcerous Witch." To further distinguish them I took to calling the Witches of Hala "Hedge Witches."

Forgotten Realms

During the 2nd Edition years, Forgotten Realms was the undisputed King of the Campaign Worlds.  I largely ignored it.  I have made up for lost time since then and been spending more time in the Realms, but that is another post.  I did however know all about the Witches of Rashemen and Spellbound was one of the first Realms products I ever bought. This setting also uses the wizard kit and the Witches of Rasemaar kit.


Due to the amount of material I have here I am also going to do two characters.

The Character: Sinéad

Following my Celtic-influenced witches, I give you Sinéad.  Of course, she is named for Sinéad O'Connor whose album "The Lion and the Cobra" pretty much changed everything for me in 1988/1989.  

Sinéad is built using the Witch Kit from the Complete Wizard's Handbook. Now the witch kit says they can't be multi-classed, but the concept I want to try is. So I am going to do it anyway, but not choose a kit for the Bard class.  Some of the restrictions on this kit feel the same as the removal of the demons and devils; giving the players in-game reasons not to use it.

Sinéad is not a character I played back then, but this build is pretty close to what I would have created back in 1989 while living in Room 109 of the Wright I Hall Dorms.

Goodwife Sinéad
(Goodwife is how you address a witch whose marital status is unknown)
Half-elf 7th level Wizard (Witch Kit)/7th level Bard
Chaotic Good

STR: 12
DEX: 16
CON: 15
INT: 17
WIS: 14
CHA: 16

AC: 1 (Bracers of Defence)
HP: 50
THAC0 (Base): 17

Saving Throws
Paralyzation, Poison, Death: 12
Rod, Staff, Wand: 9
Petrification, Polymorph: 11
Breath Weapon: 13
Spells: 10

Weapons
Dagger

Proficiencies/Skills/Languages
Herbalism, Spellcasting, Artistic Abilities (Singing)
Climb Walls (30%), Detect Noise (40%), Pick Pockets (25%), Read Languages (90%)

Special Abilities
Half-elf: Resist Sleep (30%)
Bard: Spells, knowledge
Witch: Read Magic, Detect Magic, Secure Familiar (3rd), Brew Calmative (5th), Brew Poison (7th)

Spells
Bard: (1st) Light, Faerie Fire, Protection from Evil (2nd) Charm Person, Hold Person (3rd) Dispel Magic
Wizard (Witch): (1st) Audible Glammer, Magic Missile, Shocking Grasp, Identity (2nd) Continual Light, Spectral Hand, Ray of Enfeeblement (3rd) Lightning bolt, Fly (4th) Dimension Door

The Character: Nida

Nida is a character I have been playing around with for my War of the Witch Queens.  She is supposed to represent the "other" witches of 2nd Ed, the ones I didn't use but the ones everyone else did. That is the Witches of Hala and the Witches of Rashemen.  She is not a starting character because I need her to have some history.

Nida was a Rashmi girl born to poor parents.  She was playing when she was taken into the Mists and found herself in the lands of Ravenloft.  She became a thief to survive the world on her own until she tried to pick the pockets of a Witch of Hala. For the next ten years she trained with this witch and learned the secrets of Hala and her magic. One night she was hunting a particularly nasty Annis Hag when she found herself back in her homeland of Rashemen.  Unable to return, she tried to pick up her life before she left only to discover her family had long since died.  She began training as a Wychlaran, or a Witch of Rashemen.  Like the witches of her homeland she adopted a mask and changed her name to "Nida" which means "voice."

Note: Since Nida is a dual classed character, a Thief/Mage, there is no reason to assume she can't be a Thief (Witch of Hala) / Mage (Witch of Rashemen) even though the Witch of Hala can't be taken by a spellcaster (she is a thief at the time) and the Witch of Rashemen has to be a spellcaster (she is a mage at the time).


Lady Nida
Human 4th level Thief (Witch of Hala Kit) / 9th level Wizard (Witch of Rashemen kit)
Chaotic Neutral*
(Witches in Ravenloft can't be chaotic, but this is the character concept I have.)

STR: 11
DEX: 16
CON: 16
INT: 17
WIS: 13
CHA: 18

AC: 1 (Bracers of Defence)
HP: 48
THAC0 (Base): 18

Saving Throws
Paralyzation, Poison, Death: 13
Rod, Staff, Wand: 9
Petrification, Polymorph: 11
Breath Weapon: 13
Spells: 10

Weapons
Dagger

Proficiencies/Skills/Languages
Herbalism, Spellcasting, Artistic Abilities, Ancient History
Pick Pockets (35%) Open Locks (35%), Climb Walls (30%), Detect Noise (40%), Pick Pockets (25%), Read Languages (90%)

Special Abilities
Half-elf: Resist Sleep (30%)
Bard: Spells, knowledge
Witch: Read Magic, Detect Magic, Secure Familiar (3rd), Brew Calmative (5th), Brew Poison (7th)

Spells
Witch of Hala: (1st) Combine, Reveal the Weave, Luck (2nd) Arcane Insights, Master Coven Magic (3rd) Water Walk
Wizard (Witch of Rahemen): (1st) Circle, Alarm, Magic Missile, Shocking Grasp (2nd) Dazzle, Protection from Poison, Blindness, Tasha's Uncontrollable Hideous Laughter (3rd) Firelance, Lightning bolt, Suggestion (4th) Negate Magic Weapon, Magic Mirror (5th) Teleport

I like these builds. I certainly want to use Nida somewhere.  Maybe see what she is like with another system. Both are 14th level and have a similar range of abilities.

Character Creation Challenge

Tardis Captain is the originator of this idea and he is keeping a list of places participating.  When posting to Social Media don't forget the #CharacterCreationChallenge hashtag. 

RPG Blog Carnival

This month's RPG Blog Carnival is being hosted by Plastic Polyhedra. They are doing Characters, Stories, and Worlds, so that fits right in with everything we are posting this month.

Check out all the posts going on this month at both of these sources.


Character Creation Challenge: Advanced Dungeons & Dragons, 1st Edition

The Other Side -

AD&D Players ManualUp until 2000 if you said "D&D" most people thought of Advanced Dungeons & Dragons 1st Edition.   Indeed it was AD&D that dominated the later part of the 1970s, 1980s, and with 2nd Edition the 90s. Though that is for tomorrow's post.

Today I take on the game that I played the most and the one that dominates the imagination of so many still today.

The Game: Advanced Dungeons & Dragons

A lot of ink, both real and virtual, has been spilled on the whats, whys, and hows of the differences between Basic D&D and Advanced D&D, so I see no need to spill more here.  Suffice to say that they are different games, though we freely mixed them back in the day. 

The evolution of D&D from Original to 5th edition sees it's first divergence here. 

In the AD&D 1st Ed years there was no official witch class.  There were however many unofficial and semi-official witch classes.  I talked about the Dragon Magazine #43 witch yesterday but I used it for Basic D&D.  The class was famously, or maybe infamously, updated in 1986 for AD&D in the pages of Dragon #114.  It was, and maybe still is, one of the most popular versions of the witch ever made for D&D.

AD&D Players Manual, 4 versions

The Character: Rhiannon

Ah. If I had a dime for every Rhiannon I have run into over the years. 

Not that I can blame anyone. The Golden Age of AD&D was the early 80s and the Queen of the music charts was Stevie Nicks. "Rhiannon" by Fleetwood Mac was released in 1975 on the album Fleetwood Mac. The second Fleetwood Mac album to feature this title, and their tenth overall, but the first with new couple Stevie Nicks and Lindsey Buckingham.  But in the 1980s it wasn't this album or even the insanely good and popular Rumours or Tusk that grabbed me and my imagination. No it was Stevie's solo efforts Belladonna and (especially) The Wild Heart that began my deep, deep love affair with witches.

Rhiannon would be an old witch in my games today. Likely a relative or even a spiritual Goddess-mother to Larina.  But today she is the young Maiden who "rings like a bell through the night" and looks for a lover.  I can't help think of her as anything but the famous art Elmore drew in the Dragon #114 piece.  If she looks a little like Stevie, well, maybe Stevie looks like her.

Rhiannon
1st level Witch, Sisters of the Moon coven, High Secret Order
Chaotic Good

STR: 11
INT: 16
WIS: 13
DEX: 13
CON: 11
CHA: 15

AC: 9
HP: 3

Saving Throws
Witches use the best of Cleric & Magic-user Saves.

Poison or Death: 10
Petrification or Polymorph: 13
Rod, Staff, or Wands: 11
Breath Weapon: 15
Spell: 12

Saves +2 against other witch magic

Spells
1st (1+3):  Darkness, Mending, Seduction, Sleep

Equipment
Dagger, backpack, iron rations, water, 50' rope, staff.

AD&D Players Manuals and Dragon #114Everything you need for a witch character in 1986

I think an updated, and more mature, Rhiannon will need to grace my War of the Witch Queens games sometime.

Rhiannon rings like a bell through the night
And wouldn't you love to love her?
Takes to the sky like a bird in flight
And who will be her lover?

Character Creation Challenge

Tardis Captain is the originator of this idea and he is keeping a list of places participating.  When posting to Social Media don't forget the #CharacterCreationChallenge hashtag. 

RPG Blog Carnival

This month's RPG Blog Carnival is being hosted by Plastic Polyhedra. They are doing Characters, Stories, and Worlds, so that fits right in with everything we are posting this month.

Check out all the posts going on this month at both of these sources.

Character Creation Challenge: Dungeons & Dragons, Basic Edition

The Other Side -

Monday of the first week of the year and it is back to the day job for me.  Thankfully I planned an easy (for me) one today.  To continue with the editions of Dungeons & Dragons we are now up to Basic D&D. 

Basic D&D Boxed set

The Game: Basic Dungeons & Dragons 

I have told the tale here many times on how I began with Holmes Basic, but the first D&D I ever owned was the Moldvay Basic Set.  I played Basic D&D, just "D&D" to me then,  but soon I and everyone else, were mixing it liberally with bits of AD&D.  Sometimes I think of the days when a Blue or Red D&D Basic book was used side by side with the AD&D Monster Manual and modules.

Spend any time here and you will know of my love for Basic D&D. So there is little more I can say here.

The Character: Áine nic Elatha

The witch class I am pairing with this is the one from Dragon Magazine #43 and using the guidelines set out by Tom Moldvay on what a witch should be. 

Dragon Magazine #43 was published in November 1980; the high point of Holmes Basic, the start of AD&D popularity, and one year before Moldvay Basic was released.  The class is overtly designed for AD&D, but as I mentioned we used Basic and Advanced interchangeably.  I suppose if I am being true to Basic I should drop the bonus spells per Intelligence the witch gains.

Given the time and this tantalizing promise, I can justify making it for a bastardized Basic/Advanced D&D.

The witch from Holmes

Áine daughter of Elatha is a human magic-user (Basic after all).  She is "the path not taken" for me.  My first "witch-like" character was Luna, a cleric that worshipped an unnamed moon goddess. While she would later morph into something else, I soon created other witch type characters, Áine is what that character could have been if I had chosen Magic-user rather than Cleric.

Áine nic Elatha
1st level Human Witch

STR: 10
INT: 17
WIS: 12
DEX: 11
CON: 12
CHA: 11

AC: 9
HP: 3

Spells
1st (1+3):  Change Self, Cure Wounds, Light, Sleep

Equipment
Dagger, backpack, iron rations, water, holy water, darts (3), 50' rope, staff.


Holmes & Moldvay Basic sets

If you are doing this challenge as well please feel free to post on the Facebook group, I'd Rather Be Killing Monsters.

Also, this month's RPG Blog Carnival is being hosted by Plastic Polyhedra. They are doing Characters, Stories, and Worlds, so that fits right in with everything we are posting this month!

Do check them out!


For Cultured Friends XII: The Excellent Travelling Volume Issue No. 12

Reviews from R'lyeh -

For devotees of TSR Inc.’s Empire of the Petal Throne: The World of Tékumel, 2020 is notable for the release of not one, two issues of The Excellent Travelling Volume, James Maliszewski’s fanzine dedicated to Professor M.A.R. Barker’s baroque creation. The Excellent Travelling Volume Issue No. 11 was published in April, 2020—available direct from the author or the Melsonian Arts Council—and continues his exploration of one of oldest of roleplaying settings heavily influenced by the campaigns he has been running, the primary being his House of Worms campaign, originally based in, around, and under Sokátis, the City of Roofs before travelling across the southern ocean to ‘Linyaró, Outpost of the Petal Throne’, a small city located on the Achgé Peninsula, as detailed in The Excellent Travelling Volume Issue No. 8.

As per usual, The Excellent Travelling Volume Issue No. 12 opens an editorial from James Maliszewski. This highlights the gap between this issue and The Excellent Travelling Volume Issue No. 11–or rather the lack of a gap, one facilitated by the periods of enforced isolation that beset many of us in 2020, as well as the continuing influence of the author’s ongoing House of Worms campaign. That can be seen in the first entry in the issue, part of the ‘Additions and Changes’ series which examines the various non-human races on Tékumel and makes them playable. ‘Hláka Characters’ adds the three-eyed, bewinged, and sharp-tailed species capable of actual flight. Like many non-human races, they do not acknowledge the Gods of Stability and Change, but when living amongst human civilisations, may adopt one or more faiths to fit in! However, they make for poor worshippers at any temple. Notably, they have a reputation for being skittish and cowardly, but this does not stop the militaries of the Five Empires recruiting them as scouts and even into legions, many of which are listed, solely comprised of Hláka and occasionally as aerial artillery. In terms of Profession, there is no limit in terms of their options, but they make better Warriors than they do Magic-Users or Priests. Alongside notes on Hláka names and homelands, the article includes discussion of Hláka clans—there are none. That is, except for the Blue Clouds of Joy Clan in Béy Sü, an extremely notable exception. Rounding out the article are rules for Hláka flight. This is another fine addition to the series, which with the inclusion of names, makes them both reasonably playable.
The second entry in the ‘Additions and Changes’ series is ‘Psychic Ability and Spells (Additions and Changes) which presents an adjusted table for rolling the Psychic Ability, and discusses the dangers of wearing metal—almost any metal, when casting spells and gives a table of results should a Magic-User attempt to cast a spell whilst wearing metal. Having discussed and presented the dangers of combining metal and magic, the article is rounded off with a discussion of what a sorcerer might actually wear instead of metal, pleasingly adding some colour.
‘The Warrior (Proposal)’ is the author’s suggestion to develop and add context to the Warrior Profession in Empire of the Petal Throne: The World of Tékumel. It does this by dividing the skills in General and Soldier skills, so Spearman and Bowman are General skills and Drills and Logistics are Soldier skills. The aim here is to have General skills that any Warrior can learn, whilst the Soldier skills can only be learned by serving in the legions. Accompanied by the definitions of various skills, it nicely serves to individualise the Warrior Profession and a Player Character’s previous history.
The centre piece in The Excellent Travelling Volume Issue No. 12 is ‘Sa’á Allaqiyár, the Many-Towered City’, a detailed description of the capital of the northern empire of Sa’á Allaqi. It is accompanied by an excellent map, and covers the history of the city, an examination of its major clans—several of which have been adopted from the other four members of the Five Empires, and its notable features. These range from a sizeable Foreigners’ Quarter and an extensive number of brothels to the Pyramid of Néngetl, the long looted tomb of the first Engsvanyáli governor and the Ancient Sealed Gate, the former entry to the city on its eastern wall which was bricked up upon the advice of the priests of the One of Light, who stated that it would bring their god’s blessing and ensure that ‘Sa’á Allaqiyár would never fall. Of course, this is not canon, but this is another excellent article, one which is more than serviceable until such times as there is an official version of the city.
‘The Roads of Avanthár (Part 2)’ completes the short story by David A. Lemire begun in The Excellent Travelling Volume Issue No. 11. The story describes the discovery of a great book and the efforts by members of the military faction to get it to the emperor in Avanthár, and their own rivalries. Ultimately, the concluding part leaves questions unanswered and adds mysteries of its own, but is enjoyable nonetheless.
‘The Hollows of Gyánu’ is the adventure location given in The Excellent Travelling Volume Issue No. 12, the hideout for a group of Kilalammuyáni bandits in the mountains of Tsolyánu’s Chaigári Protectorate, who have been raiding local caravans. The local governor has posted a reward for their capture or their demise, but unfortunately, something already has happened to them by the time the Player Characters arrive to investigate their cave hideout. There are riches to be found in the caves and the sinkhole they are clustered around, but also terrible secrets of the Five Empires’ religious past. It is a nicely done encounter, a mixture of horror and exploration, which is easily transferred to a location of Referee’s choice.
The third entry in the ‘Additions’ series is ‘Bestiary (Addition)’ and presents two creatures as an accompaniment to ‘The Hollows of Gyánu’. The two creatures are the Achayá, ‘The Blood of Gyánu’ and the Chagrúo, ‘The Frozen Dead’, two nasty monsters emanating from the Expanse of the Cold Dark, also detailed here. Rounding out The Excellent Travelling Volume Issue No. 12 is ‘Initial Encounters (Additions and Changes)’, the third entry in the issue’s ‘Additions and Changes’, which presents a replacement table of visitors who might be encountered in the city of Jakálla and the nature of their task in hand. Again, both tables are easy to adapt to other civilised settings and so have a wider use.
Physically, The Excellent Travelling Volume Issue No. 12 is nicely produced, a sturdy little booklet in a thick card cover, pleasingly illustrated and tidily presented throughout. Both the illustrations and the maps are good too.
The Excellent Travelling Volume Issue No. 12 continues the author’s excellent support for Empire of the Petal Throne: The World of Tékumel. It is a solid issue, packed with content and background that the Referee can readily bring to her campaign.

War of the Witch Queens Session 2: Into the Ruins of Ramat

The Other Side -

We got a chance to play the second full session of War of the Witch Queens today, our last day of winter vacation.  Today's adventure dealt with leveling up the characters to level 1 and giving them a slight boost in HP.  The characters also got the chance to buy some real weapons and armor.

All in the process they learned about the terrible Ruins of Ramat from the villagers of Wydfield Woodfield.


The party searched the ruined church and found their way down into the underground structure where the clerics had lived and trained.   

They still need to find the spear and use it to defeat the ghost above.  Hopefully, we can get a session in this week, even with work.

The players are learning a key feature of Basic-era D&D.  Sometimes it is better to run away.  

Since everyone is now level 1, I am allowing the players to diversify their characters.  One thief is now an Assassin from OSE-Advanced. The magic-users are splitting up into a Blood Witch, Sorcerer, and Wizard.  I am going to let them choose from a common spell list, and then also a spell list unique to each class. One cleric is going to focus on being a healer.  So I need to get that written up with some ideas. 

For this game, I swapped out my New Big Dragon Game Master's Screen for the Old School Essentials Screen.  Both work great.

The tiles are Dwarven Forge and the temple is from Reaper Minis.

Can't wait to see where we all go next!

[Fanzine Focus XXII] Beyond the Borderlands Issue #1

Reviews from R'lyeh -

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 & DragonsRuneQuest, 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.
Beyond the Borderlands Issue #1 is a fanzine of a different stripe. Published by Swordfish Islands LLC (but also available in PDF from the author), best known for publishing Swordfish Islands: Hexcrawl Adventures on Hot Springs Island, it is a systems neutral regional hexcrawl inspired by B2 Keep on the Borderlands, most recently implemented by Goodman Games’ Original Adventures Reincarnated #1: Into the Borderlands. It is the first part of a trilogy which will explore the overland region in this the initial issue, then the underground areas in the second issue, and lastly provide the bestiary for the previous two issues. The setting for the Beyond the Borderlands, like B2 Keep on the Borderlands before it, is the edge—or just beyond it—of the civilised lands, the frontier outside of which lies untrammeled wilderness, barbaric tribes, and Chaos run rampant. Here a solid fortress has been established as the last outpost of civilisation, to provide a degree of protection to travellers making the journey beyond and against the possibility of an incursion from the ghastly Goblins, horrible Hobgoblins, obnoxious Orcs, grim Gnolls, and more, which lurk just out of sight, ready to strike…
The setting for Beyond the Borderlands is the Wicked Palovalley. Here Stronglaw Keep defends the Western Kingdoms against invasions from the monstrous forces of the Wicked Palovalley. It is presented as a six-by-six, thirty-six hex hexcrawl, divided into six different regions, each one with its own theme, content, rumours, and random encounters. The issue begins though with a description of Stronglaw Keep, which stands at the mouth of the Wicked Palovalley. Stronglaw Keep is an independent outpost, a last settlement of civilisation, the law—rigidly enforced upon pain of death or banishment, and the Church of the Holy Sun. Stronglaw Keep itself is delightfully presented in a vibrantly colourful isometric style, easy to read and use, and accompanied by two sets of thumbnail write-ups. The first provides simple descriptions of each of Stronglaw Keep’s eleven locations—though there are twelve, whilst the second lists the ‘Loot and Stuff’ to be found at each of the first eleven locations. This provides a little more detail, whether the Player Characters are looking for tools, to make a purchase—whether of goods or services, or purloin an item of vale or two. The possibility of the guards reacting to any theft is covered in a short table. Lastly, the Notice Board lists twenty rumours, events, and employment opportunities which can serve as a spur to the Player Characters to adventure and the Dungeon Master to create adventures.
Supported by a simple set-up—the Player Characters come to Stronglaw Keep, introduce themselves, pick up a job or two, and then go explore, and some simple travel, weather, and encounter rules, the bulk of Beyond the Borderlands Issue #1 presents the six six-hex mini-regions of the Wicked Palovalley. From the Keep’s Domain to the Scarlet Forest, each is presented in a two-page spread. An isometric map of the mini region is presented on the left-hand page, along with a table of rumours and a table of encounters, whilst write-ups of each the six hexes are presented on the right-hand page. Each write-up includes a short description, plus two or three bullet points which provide further details. So in the Sludgy Bog, there are rumours of a carriage full of supplies which never reached the hunting camp and the bog is said to be inhabited by a monstrous people, and any brave adventurers which put foot into the squelchy swamp, they might run into Slug-Leeches or Frogmen, and perhaps follow a trail of shells to a reclusive Sea Witch or find a former keep, flooded, but still with stairs leading down into the water…
All of the maps in Beyond the Borderlands Issue #1 are presented in isometric format, which when combined with their bright, vibrant colours, make them leap off the page. The writing needs an edit in places, but everything is well organised and packs a lot of information into relatively limited amounts of space. The format of the two-page spread used for each location and mini-region makes the contents of Beyond the Borderlands Issue #1 very easy to run from the page. If there is an issue with Beyond the Borderlands Issue #1 as a physical object, it is that it lacks a sturdy card cover.
The twelfth location in the write-up of Stronglaw Keep is a ‘Mysterious Cave’. It is simply left as that, awaiting the publication of Beyond the Borderlands Issue #2 to be fully detailed. This is not the only such location left undetailed the next issue of the fanzine. These include the Bloody Ravine where the infamous Caves of Chaos are located, the Flooded Shrine, and the Caves of the Unknown, a randomly generated, mythic underworld. Now of course, the descriptions of these underground locations were always going to be in the second issue of the fanzine, and then the bestiary in the third issue, but that cannot prevent a sense of deprivation in the reader and potential Dungeon Master, not in the sense of not having that information, but in not having that information and in not being able to bring it to the table and run it right now.
So Beyond the Borderlands Issue #1 is not complete, but it will be with the publication of first Beyond the Borderlands Issue #2—when the Dungeon Master could supply the stats of the monsters and NPCs herself and thus run both the region and its dungeons—and then Beyond the Borderlands Issue #3, when the Dungeon Master will have the official stats. In a sense, Beyond the Borderlands Issue #1 is delivering the promise of a full scenario, one that is inspired by B2 Keep on the Borderlands, but richer and despite the lack of dungeons or stats, has much more going on than B2 Keep on the Borderlands ever did. The vibrancy of the colours used in Beyond the Borderlands Issue #1 evokes a Saturday morning cartoon sensibility to this take upon B2 Keep on the Borderlands, as if it was an adventure written with the Dungeons & Dragons television series in mind. Beyond the Borderlands Issue #1 is the beginning of a charming and engaging take upon the classic B2 Keep on the Borderlands, but will definitely leave the Dungeon Master wanting the second and third issues to be complete.

[Fanzine Focus XXII] The Undercroft No. 12

Reviews from R'lyeh -

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 & DragonsRuneQuest, 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.

After a four-year gap between the publication of The Undercroft No. 10 and The Undercroft No. 11 in August, 2020, it was something of a surprise to see the publication of The Undercroft No. 12 the following October. Although previous issues provided support for Lamentations of the Flame Princess Weird Fantasy Roleplay, the new issue continues the move by the fanzine away from that retroclone towards a neutral position with regard to any one retroclone, such that its contents can be used with Old School Renaissance fantasy roleplaying game. Unlike the previous issue, The Undercroft No. 12 does not include any content for use with Dungeons & Dragons, Fifth Edition. It does though, include four articles which are interesting and easy to adapt to the setting or retroclone of your choice.
The Undercroft No. 12 opens with ‘The Mountain That is a Man and Also God’ by Chance Philips. This really stands out in being in verse form, a format rarely employed in gaming. It describes a mountain that is between slumber and death, worked over and within by machine men, copper-wire brained and regimented into a strict hierarchy, who send out agents to walk among normal mortals, dressed in Halfling skin and hefty wigs, claiming to be Dwarves. It is a weird, ultimately creepy piece of verse, suggesting that all Dwarves might not be what they seem or at least, some of them, from this one single living mountain, are not what they seem.
Luke Le Moignan’s ‘The Legacy of Vazimak the Thanaturge’ introduces a new type of spellbook—the ‘Mnemocrypt’. This is a device or artefact which predates the use of spellbooks, an externalised memory palace which encodes and encrypts spells in a highly personalised fashion and dates from an ancient age of powerful arcane warlords. The Mnemocrypt of Vazimak the Thanaturge takes the form of a finely etched black sphere which can be studied. As the student learns more and more of its secrets, it increasingly becomes a burden and his mind becomes paranoid and he comes to see patterns in everything. The spells that the Mnemocrypt of Vazimak the Thanaturge grants all of a necromantic nature, such as Dreadful Osseous Vitality which animates and awakens the skeletons of the living, forcing the target to make a Consitution check lest his skeleton tear itself free and Bone Grenado which makes a nearby skeleton explode and potentially other skeletons explode in a chain reaction. Some nine spells are included along with notes on the Mnemocrypt of Vazimak the Thanaturge and others. The spells are all enjoyably inventive and nasty, especially for a villainous necromancer, and so could easily be added to his spellbook even if the Dungeon Master is not using Mnemocrypts. However, they are a clever idea in themselves, adding elements of longevity and research to an artefact. Hopefully, there will be more of them detailed in future issues of The Undercroft, or even more collected in a supplement from the publisher.
Daniel Sell’s ‘Dwarfen Trinkets and Artifacts’ is a table of one hundred items that might be found in a Dwarven home or purchased from a deal in such things. They include a lock of your mother’s beard, a Dwarven novel, a nest of copper and steel wires that is in fact a Dwarven map of the region, a bar of extra strong hair wax, and more. It is all rather mundane and intentionally so. These are a hundred mundane and ordinary items, diverse and engaging in nature, good for adding colour to a campaign with Dwarves, but at the same time, it does feel like filler—a bit.
‘Gallowsport’ by Sándor Gebei describes a dark and unforgiving harbour area beset by poverty, squalor, and organised crime, but contrasted by oddities that have come from abroad. Beginning with the features—sights, sounds, smells, buildings, and activity day and night—of the neighbourhood, it is detailed in table and bullet point fashions. There are tables for ‘Curios From Dark Seas and Distant Shores’, ‘Encounters’, ‘Rumours’, and more, as well as thumbnail descriptions of various landmarks and interesting places. So a curio might be a stiletto used in thirteen successful royal assassinations, an encounter with two beggars brawling whilst sailors look on and place bets, a rumour that a nearby abandoned lighthouse holds cursed treasure protected by giant crabs, and a ship in port might be the Venus, an infamous pleasure boat decorated in bawdy style. Together, the format and the fact that it is systems-neutral, make ‘Gallowsport’ very easy to use. A Dungeon Master can easily take this as is and drop it into the port city or town of his choice, using the roleplaying system of his choice.
The Undercroft No. 12 needs an edit in place, but is otherwise neat and tidy, and enjoyably illustrated. The cover, wraparound in full colour, is weird and creepy, full of eyes and eye-people as a thief looks on. 
The Undercroft No. 12 feels slighter because of the long list of gewgaws and knickknacks to be found in the centre of its pages. This is not to say that this list is not useful, but it is not necessarily as interesting or as immediately useful alongside the rest of the issue. The other entries in the issue are more engaging and will likely support play in a long term. Overall, The Undercroft No. 12 is a solid, serviceable issue.
The return of The Undercroft No. 11 is certainly welcome, and despite the shift to support for Dungeons & Dragons, Fifth Edition for some of its content, it still presents oddities and weirdness just as the previous issues did. Thus Dungeon Masters can use the oddities and weirdness just as much as Referees can for the Retroclone of their choice. 

Reviews from R'lyeh Post-Christmas Dozen 2020

Reviews from R'lyeh -

Since 2001, Reviews from R’lyeh have contributed to a series of Christmas lists at Ogrecave.com—and at RPGaction.com before that, suggesting not necessarily the best board and roleplaying games of the preceding year, but the titles from the last twelve months that you might like to receive and give. Continuing the break with tradition—in that the following is just the one list and in that for reasons beyond its control, OgreCave.com is not running its own lists—Reviews from R’lyeh would once again like present its own list. Further, as is also traditional, Reviews from R’lyeh has not devolved into the need to cast about ‘Baleful Blandishments’ to all concerned or otherwise based upon the arbitrary organisation of days. So as Reviews from R’lyeh presents its annual (Post-)Christmas Dozen, I can only hope that the following list includes one of your favourites, or even better still, includes a game that you did not have and someone was happy to hide in gaudy paper and place under that dead tree for you. If not, then this is a list of what would have been good under that tree and what you should purchase yourself to read and play in the months to come.


—oOo—
Ancestry & Culture: An Alternative to Race in 5eArcanist Press ($24.95/£18.50)There can be no doubt that 2020 has been a fractious year and a year in which no subject matter has been more contentious than that of Race. So it was inevitable that questions about ‘Race’ and the stereotypes that the concept of ‘Race’ in roleplaying games such as Dungeons & Dragons enforces would be asked. Does a Gnome always live the forest and have an affinity for illusion magic? Does a Dwarf always have a beard, hate Goblins, and be trained as a smith, stonemason, or brewer? Why are there only Half-Orcs and Half-Elves? On the one hand, the answer is ‘yes’, because that is the way that it has always been—and in your Dungeons & Dragons campaign, there is nothing wrong in keeping it that way. On the other hand, the answer is a firm ‘no’. If you want your half-Orc to grow up amongst Halflings and have led a gentler life, or your character to have an Elf father and a Tielfling mother, than that is equally as acceptable. Ancestry & Culture: An Alternative to Race in 5e is a supplement which explores and addresses the issue of ‘Race’ in Dungeons & Dragons, Fifth Edition, providing options for you to create and play the types of characters that not only break the mold set by almost fifty years of Dungeons & Dragons history, but are the types of character you want to play.
Alien The Roleplaying Game – Starter SetFree League Publishing ($54.50/£39.99)Few starter sets for any roleplaying game come as packed as that for Alien The Roleplaying Game, the ‘Blue Collar’ Science Fiction-Horror roleplaying based on the films Alien, Aliens, and more. A rulebook, a complete scenario in ‘Chariot of the Gods’, a full-colour double-sided map showing charted space and starship plans, plus reference cards and counters, everything necessary to play a game of existential dread and horror in the isolation of deep space, all complicated by the personal agendas of the crew. Not only is the Alien The Roleplaying Game – Starter Set well appointed, it is superbly illustrated, in turns creepy and horrifying, and its mechanics—a variant of Free League Publishing’s Year Zero system—are designed to drive Player Character Stress up and up, first into hypercompetence, and then into panic and dread. Panic and dread that can spread and escalate… Lastly, the Alien The Roleplaying Game – Starter Set can be used to run Destroyer of Worlds, a scenario involving the Colonial Marines.
Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in GloranthaChaoisum, Inc. ($39.95/£29.99)2020 was a great for the Jonstown Compendium, Chaosium, Inc.’s community content programme for RuneQuest: Roleplaying in Glorantha and other roleplaying games set in Glorantha. One of the best is Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha, a complete introductory campaign set in Glorantha designed to take characters from children through initiation and into their first few seasons as adults among an isolated clan in Sartar. It is also a complete description of this clan and the Player Characters’ place in it, an initiation for the Player Characters, their players, and the Game Master into the mysteries of Glorantha, and more. Fundamentally though, it is a campaign which takes the players and their characters step-by-step into the setting of Glorantha before forcing them into a confrontation with events from wider world beyond their vale. Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha is a fantastic introduction to a fantastic world, one of the first titles a prospective Game Master of RuneQuest: Roleplaying in Glorantha should purchase from the Jonstown Compendium.
FATE of CthulhuEvil Hat Games ($39.99/£29.99)The influence of the Cthulhu mythos continues to ripple through the gaming hobby to spread and warp the options available when it comes to Lovecraftian investigative roleplaying. When it reached FATE Core, it did something completely different. It combined the Cthulhu Mythos with a ‘going back in time to save the world’ plot a la The Terminator not once, not twice, but five times! In FATE of Cthulhu, the End Times have come about and the survivors have made sacrifices to Yog-Sothoth to be able to go back before the disaster which befell humanity and perhaps foil its most twisted members in their attempt to welcome their inhuman masters back into the world. Whether it is Cthulhu, Dagon, Shub-Nigggurath, Nyarlathotep, or the King in Yellow, FATE of Cthulhu includes five timelines—or campaigns—which the investigators must go back to and disrupt the five events of which lead up to each of the Old One’s calamitous appearance, in the process facing not just the sanity-draining revelations of the true nature of the cosmos and mankind’s place in it, but also the potentially, physically corruptive effect of being exposed to it. FATE of Cthulhu is a more action-orientated, more direct, and more upfront about its confrontation with the forces of the Mythos and all the more refreshing for it.
Cyberpunk REDR. Talsorian Games Inc. ($60/£45)Forty years after the publication of Cyberpunk 2.0.2.0., the classic Cyberpunk roleplaying game returns in the form of Cyberpunk RED, set three decades before the computer roleplaying game, Cyberpunk 2077, also released this year. As well as improving and streamlining the mechanics—still familiar from the previous editions of the game—Cyberpunk RED pushes the timeline on two decades, into a post-mega-corp future where nation states are pushing back against rampant corporate influence, but the world, and the punk on the street, still has to deal with the fallout (sometimes literally)  from the Fourth Corporate War. Solos still provide jacked up, cybered muscle and cyber-eye targeting handguns to bring force and leverage to a situation, Media reports and now ‘makes’ the (fake) news, Execs represent cooperate interests, and Netrunners jack in and hack the post-NET world to steal data, sabotage, monitor, and more. Cyberpunk RED provides background, cyberware, streamlined and updated rules, solid advice on running the game and game types, and more to run a campaign on the edge, in a book which will look as good on the coffee table as on your shelf.
MÖRK BORG Artpunk RPGFree League Publishing ($39.99/£27.99)Stripped back to a stark brutalism, MÖRK BORG is a pitch-black pre-apocalyptic fantasy roleplaying game which brings a Nordic death metal sensibility to the Old School Renaissance. At the end of the world, there is one last dark age before all of the miseries come to pass as predicted by The Two-Headed Basilisks in which Fanged Deserters, Gutterborn Scum, Esoteric Hermits, Heretical Priests, Occult Herbmasters, and Wretched Royalty pick over the last remnants of civilisation on an island surrounded by an icy sea and as rotten as they are, make last grasps at heroism and their humanity, undertaking strange missions and tasks from the high and mighty, from The Two-Headed Basilisks’ gothic cathedral in Galgenbeck and Blood-countess Anthelia’s limestone palace, to the fields of death in Graven-Tosk and the barren wastes of Kergüs. From the doomed setting to the ultra-light mechanics, all of MÖRK BORG is wrapped up in vibrant washes of neon colour, splashes of sticky red blood, and stabs of polished silver, in what is an anguished scream of a game.
An Inner Darkness: Fighting for Justice Against Eldritch Horrors and Our Own Inhumanity is a Call of CthulhuGolden Goblin Press ($35/£25.99)Like the superlative Harlem Unbound: A Sourcebook for the Call of Cthulhu and Gumshoe Roleplaying Games—arguably the best supplement of 2017—before it, An Inner Darkness is a supplement for Call of Cthulhu, Seventh Edition which explores the darker side human history during the Jazz Age. Thus, the anthology’s subject matters include child exploitation, sexual assault, mob violence, nativism, religious persecution, and racial discrimination, which is why it carries a Reader Advisory and that despite the fact that it also deals with cosmic horror which can drive the Investigators mad. This is an undeniably an adult, or at least a mature, gamer’s book and is unflinching in its treatment of its subject matters. Never more so that in ‘A Fresh Coat of White Paint’ which draws parallels between the treatment of immigrants now and then, ‘A Family Way’ which forces the investigators to confront the terrible consequences of sexual assault, and in ‘Fire Without Light’ that explores the aftermath of the Tulsa Race Riots of 1921. All six scenarios are uncomfortable to both run and play, forcing Keeper and player alike to confront the horror of our actual history as well as the horror of the Mythos. They should be no less memorable for either the history or the horror.
Mausritter*Games Omnivorous ($25/£20)Mausritter is a little game about little heroes in a big world. In this rules-light fantasy adventure role-playing game, each player character is a brave mouse adventurer, faced with a dangerous world in which there is threat to mouse-kind under every log and in every bush. Rush nose-first into every situation, and a mouse is sure to come to a short, but nasty end. By being clever and brave and lucky, a mouse can overcome the dangers the world presents to him, find a solution to the problem threatening his community, and perhaps become a hero in doing so. Mausritter is fast to set-up and fast to play—all too fast if a mouse is foolish, or just plain unlucky—and presents a world we recognise from above, which become a big challenge from below when faced at mouse scale. As well as simple mechanics, Mausritter employs an innovative inventory system which streamlines what and how many things a mouse is carrying and brings a clever mechanical effect into play when a mouse suffers from conditions such as Hungry or Injured. The Mausritter book also includes an adventure location to explore and a mouse kingdom base a campaign in. All wrapped up in a totally charming little book.
* (In the interests of transparency, I did edit the new edition of Mausritter.)
Valley of PlentyChaosium, Inc./Troupe Games ($35/£25.99)2020 was a great for the Jonstown Compendium, Chaosium, Inc.’s community content programme for RuneQuest: Roleplaying in Glorantha and other roleplaying games set in Glorantha. One of the best is Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha, a complete introductory campaign set in Glorantha designed to take characters from children through initiation and into their first few seasons as adults among an isolated clan in Sartar. However, the Jonstown Compendium was so good that it did it all over again with Valley of Plenty, a starter campaign not for RuneQuest: Roleplaying in Glorantha, but for QuestWorlds (previously known as  and compatible with HeroQuest: Glorantha), but very much still set in Sartar. The first part of The Jaldonkillers Saga, which will take the player characters from the idyll of their childhood through the sundering of their tribe and beyond to its reconstitution in exile and then the efforts made to retake both their tribe’s lands and glory. Use of the QuestWorlds mechanics enables the campaign to narratively scaled to the characters and the campaign is very well supported in terms of its background and setting. This is another great introduction to roleplaying in Glorantha, which takes both players and their characters step-by-step into the setting, its mythology, and drama.
Aliens: Another Glorious Day in the CorpsGale Fore Nine, LLC ($60/£44.99)Aliens: Another Glorious Day in the Corps—or just another bug hunt—puts the players in command of Vasquez, Hicks, Ripley, and others, colonial marines or civilians as they land on and then investigate the strangely empty facility of Hadley’s Hope, looking for survivors, and answers… All too quickly they find out what happened as swarms of relentless monsters from hell which capture you for who knows what reason, have acid for blood, and if not capturing you, then ripping you apart, erupt from the walls and swarm towards you. The colonial marines are trained for anything, but not this and they had better keep their cool and stay frosty in this tense, co-operative, tactical standoff against an implacable, alien foe. The players work together against the board, whether on a bug hunt, or one of several missions which form a campaign. Aliens: Another Glorious Day in the Corps is richly appointed with reversable maps, character cards for members of the Aliens cast, equipment, and more, including miniatures for Ripley, Newt, five of the colonial marines, and xenomorphs. Aliens: Another Glorious Day in the Corps brings the science fiction-horror of Aliens to the table and lets you play out the tense standoff and cat and mouse action horror of the film.
Vaesen – Nordic Horror RoleplayingFree League Publishing ($55/£39.99)Based on the work of Swedish illustrator and author Johan Egerkrans, Vaesen – Nordic Horror Roleplaying takes you into a dark Gothic setting of the nineteenth century, one steeped in Nordic folklore and old myths of Scandinavia. Long have the vaesen—familiars, nature spirits, shapeshifters, spirits of the dead, and other monsters lived quietly alongside mankind, for mankind knew their ways and the vaesen understood ours, but as the century wanes, the Mythic North is changing. The young are moving to the cities, the cities are industrialising, and the old ways are being forgotten, but not by the vaesen—and they are becoming unruly and dangerous. As members of the newly refounded The Society, the player characters have the gift of the Sight, able to see the vaesen and despite all possessing their own dark secrets have decided to band together and protect mankind against the threat posed by the vaesen. Whatever mystery presents itself to them, whatever horror or suspense they must suffer, the player characters must find a solution to the disruption caused by the vaesen, a solution that requires means other than brute force. Vaesen – Nordic Horror Roleplaying is a beautiful game, oozing atmosphere and hiding secrets for the player characters to discover, secrets forgotten in this very modern, industrial age.
Dissident WhispersThe Whisper Collective/Tuesday Night Games ($30/£25)Dissident Whispers is an anthology of fifty-eight two-page adventures for roleplaying games as diverse as Basic/Expert Dungeons & Dragons, The Black Hack, Dungeon Crawl Classics, Dungeons & Dragons, Fifth Edition, Electric Bastionland, Mausritter, MÖRK BORG, Mothership Sci-Fi Horror RPG, Trophy Gold, Troika!, The Ultraviolet Grasslands, and more, including many systems neutral adventures. It has been put together by an international and diverse range of authors, designers, editors, and illustrators. So it includes ‘Graktil – The Citadel that Crawls’,  a hallowed scorpion corpse turned mobile goblin fortress; ‘Snake Temple Abduction’, the partly flooded dungeon home to a medusa queen; and ‘Necropolis of Pashtep’, an Aztec-themed puzzle dungeon. For the Mothership Sci-Fi Horror RPG, ‘Hideo’s World’ turns the player characters virtual, whilst ‘Flails Akimbo’ for MÖRK BORG has the player character wake up with their weapons nailed to their hands, and… There is so much to dig into in Dissident Whispers, in truth not all of it necessarily the best quality. However, there are plenty of adventures here that are worth the price of admission and of the adventures that are not worth that, there are many here that are worth rescuing or plundering for ideas. Last and best of all, every purchase of Dissident Whispers goes towards the support of the Black Lives Matter movement.

[Fanzine Focus XXII] Crawl! No. 6: Classic Class Collection

Reviews from R'lyeh -

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. Another choice is the Dungeon Crawl Classics Role Playing Game.

Published by Straycouches PressCrawl! is one such fanzine dedicated to the Dungeon Crawl Classics Role Playing Game. Since Crawl! No. 1 was published in March, 2012 has not only provided ongoing support for the roleplaying game, but also been kept in print by Goodman Games. Now because of online printing sources like Lulu.com, it is no longer as difficult to keep fanzines from going out of print, so it is not that much of a surprise that issues of Crawl! remain in print. It is though, pleasing to see a publisher like Goodman Games support fan efforts like this fanzine by keeping them in print and selling them directly.

Where Crawl! No. 1 was something of a mixed bag, Crawl! #2 was a surprisingly focused, exploring the role of loot in the Dungeon Crawl Classics Role Playing Game and describing various pieces of treasure and items of equipment that the Player Characters might find and use. Similarly, Crawl! #3 was just as focused, but the subject of its focus was magic rather than treasure. Unfortunately, the fact that a later printing of Crawl! No. 1 reprinted content from Crawl! #3 somewhat undermined the content and usefulness of Crawl! #3. Fortunately, Crawl! Issue Number Four was devoted to Yves Larochelle’s ‘The Tainted Forest Thorum’, a scenario for the Dungeon Crawl Classics Role Playing Game for characters of Fifth Level. Crawl! Issue V continued the run of themed issues, focusing on monsters, but ultimately to not always impressive effect.
As the title suggests, Crawl! Issue No. 6: Classic Class Collection is all about Classes in the Dungeon Crawl Classics Role Playing Game. One of the interesting aspects of the Dungeon Crawl Classics Role Playing Game is that Goodman Games has supported it with scenarios and campaign settings, but not with expansions to the core rules. So no new volumes of monsters, character Classes, spells, and magical items, thus giving scope for the community to create this content, for example in fanzines such as Crawl! and the Gongfarmer’s Almanac. However, this does mean that in coming to Dungeon Crawl Classics Role Playing Game there are fewer Classes to choose from, certainly in comparison to classic Dungeons & Dragons. The choices include Cleric, Thief, Warrior, and Wizard, plus because Dungeon Crawl Classics Role Playing Game does ‘Race as Class’, then Dwarf, Elf, and Halfling each as a Class. Which means that there are some classic Dungeons & Dragons Classes omitted, and these omissions are what set Crawl! No. 6: Classic Class Collection sets out , if not to rectify, then at least, give the options if a playing group wants to rectify them. Crawl! No. 6: Classic Class Collection does not provide the playing group with all of the ‘missing’ character Classes, but just four of them, plus options for a standard Class in the Dungeon Crawl Classics Role Playing Game.
The first Class in Crawl! No. 6: Classic Class Collection is the first of two by Jose Lira and is the ‘Bard’, possibly one of the most contentious Classes in Dungeons & Dragons. Like the Cleric, Thief, Warrior, and Wizard, it is a Human-only Class, this version of the Bard being a knowledgeable performer, able to cast limited magic spells, and has a number of Bardic Talents. How the Bard performs depends on his Alignment. So the Lawful Bard is typically found as a village or town entertainer or historian, perhaps even a heard for royalty; the Neutral Bard is common, a travelling entertainer, collecting tales and songs, sometimes in a troupe; and the Chaotic Bard puts on challenging performances, such as walking on a tightrope over a waterfall or dancing around swords, and they might even be spies or con-men. The Bard’s spells are randomly gained from a limited list which changes and grows smaller as the Bard gains Levels from a limited list. The Bardic Talents are Call to Arms, Challenge, and Calm, and can be used in and out of combat, but all require a roll on the Bardic Talent Checks Table with the Bard’s Talent Die plus Personality modifier to give results ranging from ‘Failure’ and ‘Boo, Hiss’ to ‘A Noble Performance’ and ‘A King’s Show’. Overall, it is nicely playable, but stripped back version of the Class which retains its major features.
Jose Lira follows the bard with a version of the ‘Paladin’, the classic, holy warrior. Key to the Class is his Alignment. So Lawful Paladins follow gods of good, harvest, light, and protection, Chaotic Paladins worship dark gods of war and destruction, and Neutral Paladins adhere to a balance between the two. A Paladin has access to divine magic, use Smite to add a bonus or Smite die to his attack and damage rolls made against his god’s enemies, and can do Holy Deeds, such as Lay on Hands, Instil Bravery, and Cause Fear. These require a roll on the Paladin Holy Deeds Table, with a chance of failure. When that happens, the Paladin gains his deity’s disapproval and his Disapproval rating is raised by one. The greater a Paladin’s Disapproval rating, the greater the likelihood of his Holy Deed failing and the greater the act of attrition necessary. Lira’s version of the Paladin follows that of the Bard not feeling overly complex, but retaining the Class’ notable features and their potential for roleplaying.
The only non-Human Class in Crawl! No. 6: Classic Class Collection is the ‘Gnome’ by Yves Larochelle. Consisting of just five Levels, the Gnome is generally a Neutral Class and although a spellcaster, has access to a limited number of spells. Most of the Class’ spells consist of illusion, deception, and trickery magic, such as Charm person, Colour Spray, ESP, Mirror Image, and the like. The Gnome also has the Trick die, added to the roll to determine the outcome of a spell check, instead of the Gnome’s Level. The Gnome is also resistant to magic and can detect gems and precious stones, but more importantly, a Gnome can create sturdy illusions that can cause damage or even instil fear. It is accompanied by a new spell, Scripted Illusion, which enables the caster to build a programmed response into the illusion. This enables the caster to be inventive in setting up traps and effects, adding another engaging element to the Gnome Class. 
The last Class in Crawl! No. 6: Classic Class Collection is the ‘Ranger’ by Raskal. Another Human-only Class, it is again flavoured by a Player Character’s Alignment. A Chaotic Rangers is a fearless raider, dedicated protector of nature, or obsessive trophy hunter and a Lawful Ranger is likely to be an army scout, frontiers patrolman, or bounty hunter tracking down criminals, but most Rangers are Neutral, lone wanderers in the wilderness. Mechanically, the Ranger receives a Deed die instead of a fixed bonus to attack, can either become an Archery or a Two-weapon Expert, and gains various wilderness skills. It is a decent adaptation of the Class to Dungeon Crawl Classics Role Playing Game, but does not feel as inventive or as interesting to roleplay as the other Classes in Crawl! No. 6: Classic Class Collection
Lastly, Colin Chapman offers ‘My Thief, My Way! Custom Thief Skills in the DCC RPG’. It decouples Thieves’ Skills from the core tables in the Dungeon Crawl Classics Role Playing Game and thus Alignment. It instead offers the player with a Thief character more options in how his character’s skills progress. It is a small change, but gives reasons to look at the most skill-focused Class in the roleplaying game.
Physically, Crawl! No. 6: Classic Class Collection is neat and tidy. The few pieces of artwork are decent and the issue decently written. All four Classes basically do a good job taking traditional Classes from Dungeons & Dragons and mapping them onto the Dungeon Crawl Classics Role Playing Game. In many cases, there is an element or two of inventiveness that will encourage interesting roleplaying, such that Classes such as the ‘Gnome’ and the ‘Bard’ look interesting and fun to play. In fact, the four ‘new’ Classes feel lonely, as if there should be more of them to round out those missing from the Dungeon Crawl Classics Role Playing Game, as if Crawl! No. 6: Classic Class Collection should have been either longer or actually a supplement in its own right rather than just an issue of a fanzine. However, as an issue of a fanzine, Crawl! No. 6: Classic Class Collection is a solid edition, its contents easy enough to add to a Dungeon Crawl Classics Role Playing Game campaign and hopefully to be further explored in future issues.

A Year in the Iso-Cubes: The Mutants Recap 2020

We Are the Mutants -

Recollections / December 31, 2020 TELEMMGLPICT000137577656_1_trans_NvBQzQNjv4Bq0TrNspzLiqItVcUZLpZHegLAO3oYeUItLnNLiuBiSoY

2020 in action

MCKENNA: Christ on a bike, it has been a year. Who would have imagined back when we started 2020 with a frivolous piece on little plastic spacemen the grim turn things were about to take? And to think, back in a previous end-of-year mutants communiqué, we were hubristic enough to say that 2018 had been punishing, jejune fools that we were! 2020 didn’t like that and decided to show us what punishing really meant: an appalling bastard physically, mentally, and financially that has put immense numbers of people through nightmarish shit. So what better way to indulge in a bit of propitiatory magic in the hope of a better 2021 than by quickly listing a few of the gems your faithful muties have been fortunate enough to find embedded in the continent-sized turd that has been the year? So Mike, Kelly—what have you two stumbled across in the last twelve months that’s given you a glimmer of optimism?

GRASSO: Richard, first things first: when Jenny and I were going through our own presumed COVID infection back in the spring, one of the things that kept me going was chatting with you early in the mornings, whinging about symptoms, lamenting my suddenly swiss-cheesed brain, worrying about… well, nearly everything. So friends have absolutely kept me going this year, and having you and Kelly as comrades and creative partners for a fifth year has been the lifeline that’s largely kept me going.

Like I may have mentioned, much of everything before our recovery in about June is a bit of a blur, sadly. I did stay sane like many people during the first months of the pandemic by watching, yes, Tiger King, which, by the time it was over, got me wanting to watch an earlier, much better Netflix documentary on the tension created by the collision of cultic belief with American capitalist culture, Wild Wild Country. Both of these, though, paled in comparison to the recent release of Heaven’s Gate: The Cult of Cults on HBO Max, a terrific and nuanced look at the individuals who found themselves so damaged by a society that denied them wonder and companionship that they marched off to their deaths for beliefs that seemed insane to everyone outside the group. People were talking about it around the election for precisely the wrong reasons, I found.

Honestly, though, I haven’t had the attention span for much visual media this year. I’ve been doing far more reading and listening. I’ll start with Carl Neville’s fascinating novel of a sideways Earth where an out of control right-accelerationist America faces off against a mostly-Communist rest of the world (including the UK), Eminent Domain. Its deep, detail-packed examination of a “utopia with dystopian characteristics”—a largely post-scarcity “People’s Republic of Britain” where a 1990s revolution against the CEOs and toffs has allowed an ostensibly classless technologically-driven society to flourish—is a political thriller, a spy novel, an exploration of alternate-history culture and art, and in the character that I identified with most—a young American college student who falls in love with the PRB thanks to its cultural products, art, and music—a simultaneous celebration and warning about falling in love with a place you’ve never been. It changed my life in a lot of ways and I’m unimaginably proud I got together with Carl to talk about it back during the summer.

ROBERTS: A blur is right. It’s almost like I’m existing in somebody’s demented time-lapse photography experiment. These (so far) nine months have been hard and they have certainly changed my life—the extent of that change won’t be clear to me until some sense of normality (what does that word mean anymore?) reasserts itself (or my mind inserts it). With a full-time-plus job in a public university health system and two kids at home who are deeply bored and sometimes furious at the inadequacies of Zoom, I haven’t had a hell of a lot of time or energy for discoveries. But I did re-watch a lot of disaster movies, a genre we subsequently (and rather angrily, on my part) wrote about here.

And we did get some great news in 2020: we signed a contract with Repeater to do a book exploring the themes of reaction and resistance in American film from about 1967 through 1987, and it’s been a lot of fun, as well as a welcome distraction, watching so many films from the era and finalizing the chapter list with you guys. It’s also been really hard, because we have no choice but to leave out so many movies we love and admire. I’m really excited about the final list, though, a mix that’s heavy on genre but also includes a few blockbusters, a couple of documentaries, some exploitation classics, and some absolute gems that have all but disappeared from the public eye. The idea is that each chapter will pair two films that may not have much in common on the surface, but connect profoundly on a deeper level.

This project, as well as the videocasts we’ve done, has gone a long way in keeping me sane.

MCKENNA: Yes, having you two to shoot the breeze with has been good—well, those of you two that aren’t a grumpy, monosyllabic Californian. Naming no names. But this year’s definitely brought home how fortunate I am. Work’s been tough but at least there’s been some, which is more than a lot of people have had. I was sick in March—fuck knows what it was but I’ve never had such weird symptoms (annotated list available on request—really). It only lasted a week, but I was still in a weird state when it finished, because work was at a complete standstill, I spent it in bed, and for some reason it seemed to make sense to devote the time to watching or re-watching a lot of Bela Tarr films. At the risk of sounding a bit precious, it was an oddly therapeutic experience that I’d recommend, if you’re lucky enough to have the time. And even though I’m sick to the back teeth of Lovecraft, have had enough Nic Cage to do me for the next few decades and never had much time for Richard Stanley in the first place, I actually found myself quite enjoying 2019’s The Color out of Space.

Despite the numbing effect of events, one thing that did make a big impact on me was James Cawthorn: The Man and His Art. There’s so much beautifully rendered art around nowadays, but (and it may just be because I’m getting older) it often seems a bit too perfect—so intimidatingly slick that it can come off as strangely impersonal and unaffecting. That’s not the case with Cawthorn’s stuff—it’s like getting zapped with a cattleprod. I read John Varley’s Gaea trilogy, which I started off thinking was everything I dislike about SF but which turned out to be a lot that I love about it, and, prompted by the website Science Fiction Ruminations, I also read Nancy Kress’s brilliant Alien Light, Suzy McKee Charnas’s brilliant Walk to the End of the World, and finally read some Tanith Lee, which was even better than I’d been hoping since I first meant to read her in 1984.

Music-wise, I fell in love with Fushigi, a 1986 album by Akina Nakamori, Caterina Barbieri’s latest, 2019 Ecstatic Computation, which is just as great as its predecessors, and Yasmine Hamdan’s Arabology (after a tip off by fellow mutant Daniele Cassandro). And of course, a shitload of Hawkwind, after a review copy of Joe Banks’s brilliant Hawkwind: Days of the Underground (review on its way, but in the meantime Joe has written us a great article on the band) spurred me to pull out all my old Hawkwind records and blast myself into the cosmos.

GRASSO: I remember finding myself, immediately after recovering from COVID, really needing music on a near visceral level, spending hours listening to NTS Radio and ordering countless vinyl and DVD compilations from Numero Group, getting into micro-genres and musical scenes I’d never really delved into before. That died off somewhere in the autumn, as I began to mourn what really always attracted me to music, and that is the communal experience of listening and talking about it, which didn’t translate into my isolated life all that well. (One of the exceptions was listening to mixes made by friends and artists I love, but I’ll come back to that in a bit.)

But there was one musical experience in that very difficult autumn that did evoke a sense of community, and that was the release of Oneohtrix Point Never’s semi-eponymous masterpiece LP Magic Oneohtrix Point Never. Given the fact that I was already acquaintances with quite a few fans of Daniel Lopatin’s work, getting to share the experience of listening to and diving deep into the themes and symbolism around this intensely personal album was a delight. Lopatin has always acted as a theorist of nostalgia and media history, and on this album, he uses the conceit of a single day on old-school terrestrial radio, replete with “dayparts” aimed at distinct audiences and demographics, to explore his own career obsessions with the bits of our lives that fall through the cracks of a lifetime bombarded by media. Lopatin’s obsessions around our once-mighty collective pop culture monoculture, its historical fragmentation, and its digital afterlife spoke to me in a year where our collective isolation grew more grim:

“There’s a kind of thesis in [album closer “Nothing’s Special”]. It was a really rough fucking year and it’s been hard for everybody. Something that’s always given me a lot of solace when I’m in a funk is that I notice that I’ve become disenchanted. The thing that can kind of re-enchant me very quickly when I get there is to remember that—like the Philip K. Dick quote said—everything is kind of divine, and everything is interesting, including the stuff between the dials. The noise.

Honestly I did find myself revisiting what you might call media “comfort food” at various points in 2020; I did a complete re-read of James Ellroy’s Underworld USA trilogy and did (er, multiple) rewatches of my favorite Scorsese filmsGoodfellas, Casino, and new entrant to the Scorsese pantheon The Irishman—all those tales of white men behind the scenes in the shadows acting badly, those paeans to what Mark Fisher called a “desensitization [to] capitalist realism.” Somehow those old-fashioned, bloody, up-close-and-personal brutalities and cruelties seemed easier to take than the impersonal mass slaughter going on outside our quarantined walls. At least in a Scorsese film or an Ellroy novel you (might) get to look in the eyes of the guy who kills you.

One other old favorite author who surprised this year was Don DeLillo, whose efforts in the ’10s have become almost like prose-poetry: spare, evocative, sketching the edges of our collective collapse. In his slim but powerful 2020 release The Silence, he imagines the loss of our digital commons on possibly the most media-laden holy day of our American calendar: Super Bowl Sunday. Given the dislocations that coronavirus has wrought on all our senses of time and place (especially in relation to using professional sports to orient ourselves in our yearly cycles and how badly COVID scrambled these collective rituals), I found DeLillo’s haunting novella to be both a valedictory for his own career and for an older world of media and parapolitical action that he has helped explain and explore.

But mostly what got me through 2020 were my friends. As acutely painful as it was for me to be physically separated from those friends for a full year, they invariably kept me sane, safe, solvent, and prevented the worst of the demons from knocking at my door. Whether it was gathering online to play Among Us (I have lots of thoughts on why a video game based around betrayal and suspicion became the year’s biggest hit) or just hanging out in those cursed Zoom boxes, without this minimal level of contact I would have surely lost my mind completely. I started a new tabletop RPG campaign online this year, set in the Weird Seventies, and my players have knocked me out time and time again with their own worldbuilding, character development, and exploration of the game’s themes that have been for me much like a magickal Working. This includes, yes, a mix of psychedelic rock, funk, folk, soul, and Motorik music from ’69 to ’73 contributed by player and comrade Leonard Pierce that was a delight to discover and listen to over and over this year. So thanks to the URIEL team. And yes, the planning and writing of the Mutants book (in addition to the Repeater media channel I’ve been working on) has me excited to throw myself into new projects in 2021. So to everyone who’s stuck with us through a once-in-a-century calamity, who’s submitted their own thoughts to our pages, who has shared or commented on our pieces during this difficult time—thank you, yet again. You’re the reason why we keep at it, why we keep plugging away.

ROBERTS: When I have had a couple of hours to myself, I’ve been rewatching a lot of stuff from the late ’80s and early ’90s, starting with Predator and Predator 2, inspired by Alex Evans’s great piece on the first one. And you know what? I really like 2010’s Predators too. Everybody says Adrien Brody was miscast, but that’s bullshit. He’s great in it. He’s great in everything and people are always saying he’s miscast because he doesn’t look like Brad fucking Pitt. I also love 2004’s Alien vs. Predator—no, I will not be taking comments at this time. From there I revisited a really enjoyable Predator/Terminator rip-off called I Come in Peace (1990), starring my man Dolph Lundgren and, ahem, Brian Benben, who many of you will remember from HBO’s long-running series Dream On. It’s certainly nothing you haven’t seen before, but the chemistry between Dolph, the renegade cop, and Benben, the by-the-book FBI geek, is great, and the evil alien (Matthias Hues) shooting tubes into his victims’ brains to suck out the endorphins (an addictive drug on his home planet) is a nice touch.

Another buried treasure from that high-’80s period is Cherry 2000. I saw it when it came out on video (it did not receive a theatrical release in the US) and didn’t remember much, but it’s got a lot of spirit, and the plot is, er, unique: in 2017(!), a businessman’s sex robot shorts out, and he is so in love with it/her (a Cherry 2000 model) that he hires a tracker (human tough gal Melanie Griffith) to take him into Zone 7 (which turns out to be a destroyed Las Vegas) to find and bring home a replacement. I am in no shape to take on the sexual politics right now, but the film is really colorful and uses a lot of kitschy design elements from the ’50s and ’60s to describe its post-apocalyptic setting, there are some excellent action sequences, and supporting turns from Tim Thomerson (the bad guy, who ends up crucified on a Las Vegas casino sign) and legend Ben Johnson (Shane, The Last Picture Show) make up for the stilted performances of the leads. Director Steve De Jarnatt also directed Miracle Mile (1988), another low-budget cult classic that I watched again and still love.

Aside from research on the book, I’ve read literally jack shit this whole year. My mind can’t do it. Music is an endless loop of the Charlie XCX channel (apparently there is something called hyperpop, and I dig it), New Age ’80s ambient, and anything that resembles the ’80s output of Toto, Rick Springfield, and The Cars.

MCKENNA: I Come in Peace is a fucking rocker, on that we can all agree. And I also agree that Adrien Brody deserves more credit, not least for being one of the few credibly punk faces in a film (Spike Lee’s 1999 Summer of Sam). Anyway, as Mike has so eloquently put it, thank you on behalf of all of us to all of you who have taken the time to read We Are the Mutants this year and anyone who’s supported us in any way, whether by contributing or by commenting, or retweeting, or forking out cash, or whatever—it really is much appreciated. And while I’m at it, thank you two for putting up with me too! With so many going through so much shit, wishing anyone “Happy New Year” sounds a bit empty, but fuck it, Happy New Year anyway!

The Queen is Dead! Session 1 of War of the Witch Queens

The Other Side -

After Session 0 the other day we settled on three characters each to run through the funnel of The Witch of Wydfield; or rather the Witch of Woodfield as we kept calling it.

Witch of Woodfield

The adventure went as expected. I had everyone choose one of the "Basic Four" classes; Cleric, Fighter, Magic-user, or Thief.  As they played we worked out what specific class each one would end up being.  One magic-user will become a sorcerer, the other a blood witch.  A cleric that worships the Moon might go into druid or might go into fighter, but tell everyone he is still a cleric. It's my youngest. That is what he does.

Witch of Woodfield

I had plenty of copies of Moldvay Basic so everyone had one.  I used my Old-School Essentials book and my GM1a Game Master's Screen from New Big Dragon Games Unlimited.

Since one of my goals is to use as many different kinds of OSR products I can, I think I am off to a good start. Everyone had so much fun they want to play again tomorrow.

I am likely to go with the Ruins of Ramat, this time for Labyrinth Lord. There are also versions for Original EditonCastles & Crusades, and an expanded Castles & Crusades version.  I have not decided which one to use.  Part of the fun is converting.

The characters (and the players) learn the first hint of the overall arc of the campaign; cryptic messages from a possessed girl and the moon (no, really) "the Queen is dead!"

No new hints in the next adventure, but we will see.

Monstrous Mondays: Amphicyon, the Bear-Dog (Memory and the Mandela Effect)

The Other Side -

I am sure by now many of my readers are familiar with the "Mandela Effect" or a large collective false memory effect OR example of how we, or some of us, switched over to a parallel universe.  It is named this because there are some people that "remember" that Nelson Mandela had died in a South African prison and did not later become the first President of post-Apartheid South Africa. 

There plenty of people that claim that the comic Sinbad was a genie in a movie called "Shazam" (and not the similar "Kazaam" from Shaq) or The Berenstein Bears was a book series and not The Berenstain Bears.

While it might be fun to explore the whole parallel universe or our world as a simulation narrative to all of this, that doesn't interest me as much as the truth; the collective false memories people have.  I did my Master's Thesis on Long-term memory activation, my first Doctoral Dissertation was on information processing cognition and memory.  I find memory to be a fascinating topic.  I don't want to claim to be an expert in this, but I am well informed and have done plenty of original, published scientific research on it.

So when I fall "victim" to the Mandela Effect myself, I pay attention.

At this point, you might be asking what does all of this have to do with Monstrous Monday? Well simply put, I have a creature in my memory that none of the rest of you have.

Let's go back a bit to 2002.  My oldest son was a baby, my youngest had not yet been born.  We would go to the library and pick up DVDs to watch.  One of my son's favorite was Ice Age. I have talked here before about how his love of prehistoric beasts, especially sea creatures, had been an influence on him getting into D&D.  Well this was before D&D and before his love of dragons.  I think I watched Ice Age a hundred times with him back then.  The disc we got also had a special "behind the scenes/making of" section that I would watch as well.  This section talked about all the characters that were in the movie; Manny, Sid, Diego, Scrat, and one other.  This other character was an Amphicyon or a bear-dog. They showed how the character was designed and even rough cuts of the character and a draft of the poster featuring this other character.  I remember telling my wife about it one day after we had returned the DVD to the library.

Fast forward a couple of years and we get the DVD, but no behind the scenes feature on it.  Hmm.  No problem I think, I'll just grab it from the library again.  Well, this stretches into a long period of time and I never grabbed it until a few years back.  I liked the creature and used it in a couple of games. I rewatched the DVD behind the scenes and...nothing.  No Amphicyon, no bear-dog, nothing at all.  I searched online. Nothing.  I asked my wife. She didn't remember it.  I have a very distinct memory of this short and this character.

But it never happened.

I know that over the years I have constructed and reconstructed the memory.  Memory is not a hard drive where things are stored unaltered.  We encode our memories with our surroundings; like how a smell or a song will trigger a memory, or in the case of my research in the 90s, how a word can affect which memories are retrieved.  For me, I know how my memories were altered.  At this time (2001 to 2005) I was suffering a fairly major bout of deep depression.  I have studied the effects of depression on memory.  I know what can happen.  Yet here I am, 2020, searching on the Internet for a character I *know* did not exist, but somehow I am still not 100% convinced I am wrong. (I am wrong, I know this logically)

BUT that doesn't mean I can't have a little fun with this.

Amphicyon

Amphicyon-ingens reconstructionaka Bear-Dog
Large Beast (Prehistoric)
Frequency: Rare
Number Appearing: 1 (1d4)
Alignment:
Neutral [True Neutral]
Movement: 120' (40') [12"]
  Swim: 90' (30') [9"]
Armor Class: 5 [14]
Hit Dice: 8d8+8 (44 hp); 
  Alternate (Large) 8d10+8 (52 hp)
Attacks: claw/claw, bite
Damage: 1d6+1 x2, 1d10+1
Special: Swimming, Omnivore
Size: Large
Save: Monster 8
Morale: 8
Treasure Hoard Class:
None
XP: 650 (B/X, OSE), 640 (LL)

The Amphicyon, or bear-dog, is a large prehistoric mammal that is the forerunner of all modern canines and bears. It was active some 16.9 million years ago and died out 2.6 million years ago.  

The creature appears as a large bear, 8 to 9 ft. in length and weighing 1,300 to 1,400 pounds.  Its muzzle is more wolf-like than bear-like as are it's teeth and jaw.  

Unlike wolves and modern canines, the amphicyon is more of a solitary creature. Groups greater than one and up to four are family units consisting of a mother and her cubs. Also like bears, the amphicyon is a carnivore but can survive on an omnivorous diet.  Amphicyons are good if slow, swimmers and will make a diet of fish when they can.

Generally, the amphicyon will avoid contact with humanoids, but it can attack with a claw, claw, bite routine. 

Lycanthrope, Were-Amphicyonidae
Medium Humanoid (Shapeshifter, Prehistoric)
Frequency: Rare
Number Appearing: 1 (1d4)
Alignment:
Neutral [True Neutral]
Movement: 120' (40') [12"]
Armor Class: 4 [15]
Hit Dice: 9d8*+18 (59 hp)
Attacks: claw/claw, bite, or by weapon
Damage: 1d4+2 x2, 1d8+2
Special: Shapechange, harmed by silver
Size: Medium
Save: Monster 9
Morale: 10
Treasure Hoard Class:
C (XX)
XP: 1,600 (B/X, OSE), 1,700 (LL)

Amphicyonidae Lycanthropes are similar to werebears and werewolves, likely the forerunner to both types of creatures. Like all lycanthropes, the were-amphicyonidae can shift between an animal form (an amphicyon), a human, and a hybrid creature. These lycanthropes though are found exclusively among prehistoric humans like cavemen and Neanderthals, and almost exclusively in colder climates.

Were-Amphicyonidae are affected by the phases of the full moon as are werebears and werewolves.  Like werebears they retain some human intelligence, though a primitive intelligence focused on survival.

The first were-amphicyonidae, and indeed, among the first lycanthropes ever, were shamans that had mastered the abilities of shape-shifting long before there were druids, clerics, or even witches. They passed their gift on to others and now all that remains of the great shamans of old are these creatures.

In combat, the were-amphicyonidae fight with a claw, claw bite routine. They cannot "hug" as a werebear can.   They can only be harmed by silver or magical weapons.  Their bite can transmit the lycanthropy curse but only Neanderthals will become were-amphicyonidae. Normal humans will become werebears (lawful and neutral) or werewolves (chaotic) depending on their alignment. 

Ticket to Ride?

Reviews from R'lyeh -

When it comes to horror, you can have two things which are haunted—houses and lighthouses, obviously, but in the modern age, there is the third. This is the railway train, and when it comes to haunted trains—or trains best by horror in Call of Cthulhu, it seems like there is only one train which matters, and that is the Venice Simplon-Orient-Express, as in Horror on the Orient Express. Yet there is another train which deserves to be haunted—in fact, it deserves to be haunted or best by horror infinitely more than the Venice Simplon-Orient-Express. This is the London Necropolis Railway, which between 1854 and 1941, ran from Waterloo in the heart of London to the Brookwood Cemetery in Brookwood, Surrey, ferrying the capital’s dead for burial. Given the London Necropolis Railway’s obvious connection to the dead and to cemeteries, it seems surprising that in the thirty-five years since the publication of Cthulhu by Gaslight, there has been no scenario for the roleplaying game set aboard the London Necropolis Railway.

Nightmare on the Necropolis Express is a scenario for Call of Cthulhu, Seventh Edition published by Stygian Fox Publishing. It is set during the last years of the nineteenth century, so is suitable for use in the Cthulhu by Gaslight setting, or the publisher’s own Hudson & Brand, Inquiry Agents of the Obscure campaign setting. It is short, playable in a single session—two at most, and could be played with a single Investigator and the Keeper, though it would probably work better with a few more. The scenario does not require any of the Investigators to possess a particular Occupation to complete, though perhaps a Priest might be of use.

Nightmare on the Necropolis Express begins with the Investigators being hired by a number of workers on the London Necropolis Railway to investigate a number of unholy apparitions and unsettling occurrences aboard night runnings of the train. The London Necropolis Railway does not normally run at night, but is currently ferrying bodies exhumed from the West Norwood Cemetery in Lambeth in south London to the more capacious Brookwood Cemetery. That is when the incidents began and the train crew, led by the lugubrious Tommy Thompson are worried about them continuing and spooking everyone.

The investigation process in Nightmare on the Necropolis Express is simple, a mere matter of finding out more about the London Necropolis Railway and potentially visiting the West Norwood Cemetery. Armed with a few clues then, the Investigators are expected to join Tommy Thompson and friends aboard the late running of the London Necropolis Railway. Very little happens until the return when quite literally an Abomination appears at the rear of the train—in one of the hearse carriages—and begins to rampage back up the train, moving towards the locomotive in what is a timed event. Can the Investigators stop it and can they discover what is really going on?

Nightmare on the Necropolis Express is a short scenario, ultimately built around an ‘unstoppable’ monster and involving quite slight investigation. The four handouts, detailing various newspaper reports about the London Necropolis Railway and the London Burial Crisis are interesting, but ultimately have little impact upon the events of the scenario. In fact, there is really only the one clue which is pertinent, but it does not really matter if the Investigators discover it or not, because the clue does not really help them or provide a means to deal with the final confrontation. Either way, the events of the scenario will play out and the Investigators will still face the problem on the train.

However, Nightmare on the Necropolis Express does present the Keeper with some fun NPCs to portray—including samples of dialogue which will help her portray them immensely. The floor plans of the London Necropolis Railway are decent and the unique nature of the setting very much stands out.

Physically, Nightmare on the Necropolis Express is a neat, nice little digest-size hardback done in full colour. The illustrations are decent and the inclusion of photographs of Brookwood Cemetery a nice touch. The handouts are disappointingly plain.

Ultimately, the shortness of the scenario and the relative lack of meaningful investigation makes it debatable as to whether or not Nightmare on the Necropolis Express was quite worth publishing as a standalone product. Further, the fact that the scenario and its primary solution comes down to a single skill check—although one that all of the Investigators can make—means that in terms of the story, Nightmare on the Necropolis Express does feel as if the Investigators are along for the ride.

Blood, Blades, & Booze

Reviews from R'lyeh -

Out beyond the reach of the Emperor is a world of martial arts practitioners, bandits, criminals, and gangs, prostitutes and brothels, secret sects and societies, inns and teahouses, tales of heroism and notoriety, and more. It is a place of corruption and lawlessness and unbridled consumption of alcohol despite the best efforts of the Emperor and his officials, but it is also a place of wandering ‘knights errant’, martial artists, court officials, pursuivant detectives, and the ‘greatest’ swordsmen of the age who right wrongs, feud with rivals and lovers, dedicate themselves to their arts and their crafts, engage in fierce, determined battles with their enemies, compete in tournaments for great prizes and reputation, enter into duels for reputation and face, and more… This is the Jianghu, not so much a place as a culture, and also the setting for Ruthless Blood, Ruthless Blades – Wuxia Roleplaying, published by Osprey Games—the imprint of Osprey Publishing best known for its highly illustrated military history books. It is the fourth roleplaying game from the publisher after Paleomythic, Romance of the Perilous Land, and Those Dark Places.

Ruthless Blood, Ruthless Blades – Wuxia Roleplaying is not designed as a sourcebook on historical China, but rather presents a romanticised, even ahistorical version ancient China, one drawn from the Wuxia novels of Gu Long and the darker films of the Shaw Brothers Studio of the 1970s and 1980s to create a grimmer, more brutal, and more dangerous take upon the Wuxia genre. It comes complete with rules for both martial arts and character creation, a discussion of the genre, a lengthy reading and watching list, notes aplenty on Chinese culture for the Game Master and player who is new to it, and an extensive sample Jianghu, a sandbox with tens of NPCs, organisations, locations, and potential plots, as well as a scenario. The focus is entirely upon Wuxia and martial artists. There is no magic—except for astrology and similar forms of divination and an option allowing the Magical Arts skill to launch attacks, which requires Game Master approval, and there are no supernatural creatures—so there is scope for the Game Master to create her own or for the authors to write a supplement. Instead, players take roles such as Brave Archer, Daoist priest, Master Swordsman, Palm Master, Unarmed Boxer, and others, who all study and practice some form of martial arts.

A character in Ruthless Blood, Ruthless Blades – Wuxia Roleplaying is defined by his Signature Abilities, Counters, Special Resources, skills, eccentricities, and an occupation. A Signature Ability represents martial arts styles or talents, for example, ‘Butterfly Sword Expert I’, which means that the martial artist fights with grace and skill to easily deflect blows and slide in strikes to improve his Evade ability, or ‘Breath of Fire’, with which the martial artist can channel the fire element to scorch all of enemies around him. A Counter is a means of defence against a particular type of attack, such as ‘Bending Reed Defence’, with which a martial artist can lean out of the way when his head is targeted, and then snap back to deliver a sharp blow, or ‘Water Torrent’ with which the martial artist splashes water onto the floor and uses it to slide behind an opponent to attack with a bonus on the next round. Special Resources can be wealth and property or social resources. So an illicit business, landed gentry, or a manor, or a loyal friend, devoted ex-lovers (who feud and bicker when they meet—brilliant for roleplaying potential and comedy there), or an official post and title—though sometimes this prevents the martial artist from leaving the post, so he can send a loyal servant instead, in which case, the servant transmits the Experience Points earned to his master in his reports! Skills fall into five categories. These are Defences, Martial Arts Skills, Specialist Skills—such as Medicine and Alchemy or a particular talent like painting or poetry, Unorthodox skills such as Disguise and Drinking, and Mental Skills such as Command and Reasoning. Eccentricities are quirks and flaws, from Absent-Minded and Beautiful to Persistent Smile and Scars. They can also include Deep Eccentricities, which represent recurring problems for the Martial Artist, such as Bad Breath, In Love, or Social Climber. 

A martial artist also has a Max Wounds value—typically three for a starting martial artist, representing the amount of damage a martial artist can take before rolls on the quite nasty ‘Death and maiming’ Table, a Resist Value—the ability to absorb wounds before taking damage, and Fire Deviation and Killing Aura. Fire Deviation represents an internal imbalance in the martial artist’s Qi energy and is gained by failed meditation rolls or can even be selected to gain an extra Signature Move. However, suffering from Fire Deviation also means gaining a Fire Deviation Eccentricity, such as suffering from delusions of grandeur or your hair or eye colour changing. Killing Aura is measure of how powerful or capable a martial artist is and is equal to his Level. It can easily be detected by other martial artists. In addition, for each NPC or Player Character a martial artist kills, he increases his Killing Aura Darkness, which hangs over the martial artist like a cloud and again, is an indication of how powerful he is and to an extent, his reputation.

To create a martial artist a player chooses a Signature Ability, a Counter, a Special Resource, assigns points skills—this is done by skill type and is standard for all martial artists, an eccentricity, and an occupation, before defining a backstory and filling out secondary details. If the martial artist qualifies for it, he can also select an occupation. This primarily determines his income. The process primarily involves making a fair number of choices and is simple enough, and notably, the deadliness of the setting and rules is foreshadowed in the suggestion that a player create a backup martial artist! However, the process is hindered by the wealth of choices and everything that a player needs being spread out over eight chapters—almost half of the book—and not necessarily in the order that the checklist gives.

Wang Yimu, the Widow of the Needle is the daughter of a wealthy merchant who was forced to marry beneath her status when her father’s business collapsed. Her husband was a tailor and his mother taught and scolded her over her lack of skill as an embroiderer and seamstress. She did not love her husband, but when he was killed by bandits, she first escaped their ambush and then set out to kill them one by one, tracking them down and enticing them in her company before sewing them up and leaving them behind her… When she returned, she told her mother-in-law that she was in charge now and would be taking over the business. Free of the scolding, she flourished and her skill grew and grew until she is one of most talented women in the Jianghu with a needle.

Wang Yimu, the Widow of the Needle
Signature Ability: Needle and Thread Expert
Counter: Steel-Shattering Finger
Eccentricity: Beautiful
Special Resource: Prosperous Business
Occupation: Artisan

Max Wounds: 3
Resist: 1
Fire Deviation: 0
Killing Aura: 1
Killing Aura Darkness: 0
Drinking Limit: 1

Skills
Defences: Evade 2 (7), Hardiness 1 (6), Wits 2 (7)
Martial Arts: External 0, Internal 3, Lightness 1
Specialist Skills: Medicine and Alchemy 1, Meditation, Survival, Talent (Seamstress) 3, Trade 2
Unorthodox Skills: Disguise, Drinking 2, Gambling 2, Magical Arts 2, Theft
Mental Skills: Command, Detect, Empathy 2, Persuade 2, Reasoning 2
Physical Skills: Athletics 2, Endurance, Muscle, Ride 1, Speed 3
Knowledge Skills: Institutions 2, Jianghu 2, Peoples and Places 2, Religion, Scholarly Arts

Ruthless Blood, Ruthless Blades – Wuxia Roleplaying is a Level and skills roleplaying game. A martial artist will start play with one Signature Ability and one Counter, but will gain more, plus increases to his skill as he goes up in Level. The rate at which he rises is determined by the length of the campaign—the shorter the campaign, the faster the improvement rate, up to maximum of Level Nine, whatever the campaign length.

Mechanically, Ruthless Blood, Ruthless Blades – Wuxia Roleplaying uses pools of ten-sided dice. Typically, this will be one, two, or three ten-sided dice, depending upon the level of the skill. Rolls are made again a target number—typically six—and the single highest die is counted. If it equals or succeeds the target number, the martial artist has been successful. A Roll of ten counts as total success and gives a more specular result. In opposed rolls, the single highest die rolled is compared to the opponent’s roll, the highest roll succeeding. Penalties and bonuses subtract or add dice respectively, as do many Signatures Moves, although there is a soft skill cap of a maximum of seven being rolled for any one action.

For example, Wang Yimu, the Widow of the Needle has tracked down one of the bandits who killed her husband and attempts to seduce him. Her player declares that she will not actually seduce him, but lull him into a false sense of security and to do that, Wang Yimu will use her Persuade  skill, which gives her two dice. The Game Master gives her a bonus die because the bandit is drunk. This gives her player three dice to roll and he rolls two, six, and seven. The latter is the highest result and is definitely higher than the bandit’s Wits of six. Wang Yimu, the Widow of the Needle has him where she wants him.

Combat revolves around six skills. The three Martial Arts—External, Internal, and Lightness, and the three Defences—Evade, Hardiness, and Wits. Evade is the ability to avoid being hit, Hardiness to withstand damage, and Wits a martial artist’s mental strength. They are not rolled, but provide the target numbers when a martial artist is attacked. External Martial Arts combines physical force and explosive damage, employing a martial artist’s bodily might with either weapons or unarmed; Internal Martial Arts is fighting with internal energy or inner force, to be able to emit energy blasts, fight with energy-based weapons-play or unarmed combat; and Lightness Martial Arts is about a martial artist’s control of his body weight and speed to be able to do all of the signature man oeuvres that the Wuxia genre is famous for—running up walls, hopping over rooftops, and balancing on treetops.

Combat involves three phases. In the ‘Talking and Analysis Phase’, opponents attempt to bluff or out talk their way out of the fight, psych them out to impose a penalty, assess them to gain bonus, or learn about a Signature Ability or Counter. In the ‘Roll Turn Order Phase’, the players roll their martial artist’s Speed to determine who goes first, and in the ‘Move and Perform Skill Action Phase’, the martial artists attack each other using a combination of Martial Arts skills, Signature Abilities, and possibly weapons. If appropriate, a Counter can be used in response to an attack. Notably though, the mechanics are deadly, so the Game Master will want to be careful as to what level of opposition she wants to pitch against the martial artists.

Continuing the example, Wang Yimu, the Widow of the Needle has tracked down one of the bandits who killed her husband and has him in her sights—she is ready to strike. . In the ‘Talking and Analysis Phase’, she definitely wants to analyse the bandit for the bonus. Her player two dice for her Empathy, getting a nine and five, the nine again being higher than the Bandit’s Wits of six. This grants her a bonus dice to the attack roll and bonus to the damage done if any wounds are inflicted on a Total Success or roll of ten. In the ‘Roll Turn Order Phase’, the player rolls three dice for Wang Yimu’s Speed, getting a one, three, and seven, the latter higher than the Bandit’s four and five. Wang Yimu, the Widow of the Needle will now use her Signature Ability of Needle and Thread Expert, making an Internal Martial Arts roll against the bandit’s Evade of six. Wang Yimu’s player has four dice to roll, three for the skill and one as a result of  the successful assessment. His roll of three, seven, eight, and eight indicates that the needles hit and Bandit is snapped out of his lascivious designs upon her by the sharp points imbedding themselves in his skin. Wang Yimu’s player rolls for damage, inflicting a single wound. The bandit responds by pulling out a knife and throwing it at her. The Game Master rolls two dice for the bandit’s External Martial Arts of two, attempting to beat Wang Yimu’s Evade of seven. He rolls ten and ten, which if successful is going to hurt her. Her player declares that Wang Yimu will Counter with Steel-Shattering Finger, which requires her player to roll a success and with a five, six, and seven, she gets her fingers in the way and stops the blade dead. At the end of the round, Wang Yimu has the bandit impaled on the needles and thread and the bandit needs to find another weapon.

In the second round, the bandit attempts to Psych Wang Yimu out, telling what he has planned for if he catches her. This is a Command roll, but with a score of one, the Game Master rolls the one die and on a five, does not best her Wits. Wang Yimu responds by telling the bandit what she did his comrades and with a roll of four and eight on her Persuade, it works—the bandit will be a penalty of one die to attack. However, the bandit first has to get a weapon, so the Game Master states that this will become a bonus die on the damage roll as he moves away from the pull of Wang Yimu’s needle and thread. This is automatic since the needles are embedded and the bandit is moving. Wang Yimu’s player rolls a seven and a ten. The latter inflicts two wounds, reducing the Bandit’s wounds to zero and necessitating a roll on the ‘Death and Maiming Table I: External Injuries’. A roll of ten indicates that the Game Master needs to roll on the ‘Death and Maiming II: Internal Injuries’ and the result of four is an intestinal injury which levies an Endurance penalty. The needles are free though and the bandit is armed, but is badly torn up by the said needles…

Beyond the rules, Ruthless Blood, Ruthless Blades – Wuxia Roleplaying provides the Game Master with swathes of information, ranging from overland travel, poisons and antidotes, rare and prized objects and weapons, rules for handling alcohol—it is possible play a drunken master with some effort, and more, even before she gets to the second half of the book, which is solely for the Game Master. This covers how to referee the Jianghu and run the roleplaying game, it includes an introduction to the Wuxia genre and a good bibliography, and a discussion of various scenarios and campaign types. There are also rules for handling fated destinies, calamities, secret histories and the like for martial artists in campaigns with bigger, bolder fates.

Aspects of Chinese culture in the Jianghu are also covered, including Face—earned, lost, given, or taken, various religions, philosophies, and beliefs, the drinking culture—inhabitants of the Jianghu, especially martial artists, are renowned for capacity to drink alcohol, the imperial bureaucracy, and more. As well as suggesting ways for Game Master to create her own Jianghu, Ruthless Blood, Ruthless Blades – Wuxia Roleplaying comes with its own. From the Top Ten Fighters and Top ten Weapons to the twenty locations and organisations and ninety-five NPCs—all nicely detailed and given stats and relationships with each other, this is a rich, Soap Opera Wuzia-style sandbox of a setting with a huge wealth of information for the Game Master to delve into and draw out ideas for scenarios and encounters from. This Jianghu could keep a campaign playing for a few months, there is so much information there. To help get a playing group started, ‘The Obsidian Bat’, a short scenario is also included, which has plenty of action and doublecrosses to keep the martial artists happy. Details of another scenario, free to download from the Osprey Games website, is also included.

Physically, Ruthless Blood, Ruthless Blades – Wuxia Roleplaying is a sturdy, glossy little hardback, done in the simple style seen in other titles from Osprey Games. It is well written and both illustrations and maps are excellent. However, Ruthless Blood, Ruthless Blades – Wuxia Roleplaying is simply not as well organised as it could be. Essentially chapters feel like they are out of order and they present the reader with such a deluge of information that it is at first difficult to take in and then it is difficult to work with. The index is decent, but finding things is not easy in the book and for example, creating a character takes a lot of flipping back and forth through its first half. 

Ruthless Blood, Ruthless Blades – Wuxia Roleplaying really is a simple, straightforward Wuxia roleplaying game, one that is easy to learn and easy to play. However, its organisation hampers both that and learning the game, there being nothing wrong with the organisation of individual chapters and their content, but rather the order in which the chapters are arranged. It also does not introduce the genre and what to watch or read for the player at all, let alone before leaping into the rules and the generation of martial artists. And for that, it presents the player with such a wealth of options, it is difficult to know where to start, such that it might have been useful if some ready-to-play archetypes had been included. There are pointers to that end, but they are just that.

Ultimately just hindered by its odd organisation, Ruthless Blood, Ruthless Blades – Wuxia Roleplaying is a gritty martial arts fantasy roleplaying game which plays fast and light, if not more than a little deadly, all backed up with plenty of well written background and advice for the Game Master and a fantastic Jianghu, or sandbox, of its very own. With a little bit effort to get past its organisational issues and Ruthless Blood, Ruthless Blades – Wuxia Roleplaying is a great introduction to roleplaying in the Wuxia genre.

Boxing Day: The World of Mayhem Campaign

The Other Side -

A couple of weeks ago I posted about getting my 7th adventure from Mark Taormino's Dark Wizard GamesDread Swamp of the Banshee.  It is a great bit of fun and I can't wait to run it.  

I also know exactly what I want to do with them.


The World of Mayhem Campaign and I am going to run it using B/X rules, likely OSE Advanced Rules

OSE Advanced gives me the B/X rules I adore along with some of the rules from the Advanced era I want AND some additional options that were not available to me in either.   


Organizing the adventures from the lowest level to the highest you get a great spread from levels 1 to 14, perfect B/X and OSE levels.


I have talked about this in the past with the first five adventures, but the newer three only support this plan even more.

Arranged like this:

It makes solid coverage of levels 1 to 14.  If anything an adventure for levels 2 to 5  might be good.

With the addition of their Monsters of Mayhem #1, it makes for a full campaign.

I know the feel of these adventures is very much in the spirit of 1st Edition AD&D as well as the OSRIC rule set.  But for me, my "gonzo" gaming years were with B/X.  The rules of B/X were much looser than Advanced and these adventures really need a lighter hand on the rules.

I am thinking of also adding some material from Pacesetter's B/X RPG rules, in particular some of the classes.  Plus the B/X RPG rules play well with OSE, so that is reason enough to use them.  Plus I enjoy combining Palace of the Vampire Queen: Castle Blood from Pacesetter with Hanging Coffins of the Vampire Queen for a full saga of the Vampire Queen.


I have now run Vampire Queen for Basic, 1st Edition, and 5th Edition versions of D&D.  I think Basic was my favorite experience. 

1980: Dallas: The Television Role-Playing Game

Reviews from R'lyeh -

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

—oOo—

Dallas: The Television Role-Playing Game was published in 1980—and published by SPI or Simulations Publications, Inc., a publisher better known for its many, many wargames. Indeed, it was designed by James F. Dunnigan, the founder of SPI himself and a noted designer of wargames such as Jutland and PanzerBlitz, both for Avalon Hill. Dallas: The Television Role-Playing Game is significant because not only was it the first licensed roleplaying game, it was the first licensed roleplaying based on an intellectual property that was not based on a genre such as fantasy, science fiction, or horror. It was also a flop, and infamously, would contribute to SPI’s financial woes and ultimate takeover in 1982 by TSR, Inc. Fellow designer at SPI, Redmond A. Simonsen, later explained in Why Did SPI Die?, “As to DALLAS: we didn’t print 250,000 of them. More like 80,000 (in two runs). That was about 79,999 more than anyone wanted. DALLAS didn’t kill SPI, but it didn’t save it either (as some had vainly hoped). Essentially, anyone who is wired on DALLAS (the TV show) is not also wired on games.” However, there are some interesting elements to Dallas: The Television Role-Playing Game that would prefigure later roleplaying game designs.

Of course, Dallas: The Television Role-Playing Game is based on the Soap Opera, Dallas, which ran from 1978 until 1991, and at the time of the roleplaying game’s publication was hugely popular around the world. It revolved around the affluent and feuding Texas family, the Ewings, who own the independent oil company Ewing Oil and the cattle-ranching land of Southfork. Its most notorious character is the Ewings’ oldest son, oil tycoon J.R. Ewing, who was renowned for schemes and dirty business practices in his effort to control the family business. In Dallas: The Television Role-Playing Game, players take the roles of members of the cast from the television series, including J.R. Ewing, his wife Sue Ellen (Sheppard) Ewing, his younger brother Bobby Ewing and his wife, Pamela (Barnes) Ewing, J.R. and Bobby’s parents, Jock Ewing and Ellie (Southworth) Ewing, Jock Ewing and Ellie Ewing’s granddaughter, Lucy Ewing, Ray Krebbs, the foreman of the Southfork Ranch, and Pamela (Barnes) Ewing’s brother, Cliff Barnes. In each Episode, nine members—nine!—of the cast have their own objectives and over the course of five acts, they will negotiate with each other to achieve them, before persuading, coercing, or seducing their rivals to get what they want, or even investigating them to bring the law down upon them. At the end the five acts, the character who achieves his or her given aims, will have won the Episode, or alternatively the character with the most Victory Points wins, the latter coming into play if more than one character has achieved his or her given aims.

Dallas: The Television Role-Playing Game comes a slim box containing three booklets, fifty-six cards, and two six-sided dice. The three books consist of the Rules of Play—just sixteen pages in length, barely five of which cover the rules, the rest being devoted to the three ready-to-play Original Episode scripts, ‘The Great Claim’, ‘Sweet Oil’, and ‘Down along the Coast’; the Scriptwriter’s Guide, also sixteen pages in length, with notes on running and teaching the game for the Director, writing scripts or Episodes, plus background on the cards and Texas, and a sample of play; and the Major Characters booklet. This consists of twenty perforated sheets, one a cheat sheet for the Director, and then a character sheet for each member of the cast. Each character sheet includes full stats for all of the cast, some background, and an explanation of how Dallas: The Television Role-Playing Game is played. Each character includes some minor modifiers for affecting or resisting certain other members of the cast. The fifty-six cards consist of minor characters, organisations, and objects—the latter typically Plot Devices in the hands of members of the cast, such as Alexis Blancher, an employee of Ewing Oil, the Texas Railroad Commission, and a Saddlebag of Krugerrands. Many of these will come into play during an Episode and are essentially what the characters will be feuding for control over. The minor characters have the same stats as the members of the cast. 

Each character has four Abilities, and Power and Luck attributes. The four Abilities are Persuasion, Coercion, Seduction, and Investigation, and are divided into pairs, one to Affect another character, the other to Resist another character’s attempt to Affect them with that Ability. Power is a general measure of a character’s strength, whilst Luck is their good fortune—or lack of it—and is generally used as a last resort. The Abilities range in value between eleven and twenty-four, depending upon the cast member, and tend to be less for NPCs and organisations. Power ranges from one to nine for the cast members, or from Lucy Ewing to J.R. Ewing. Luck ranges between one and eight.

To play Dallas: The Television Role-Playing Game, the Director—as the Game Master is known—selects or writes an Episode and the players select their characters. They also receive the Plot Devices they start with at the beginning of the Episode. An Episode consists of five Acts and each Act consists of three phases—the Director Phase, the Negotiation Phase, and the Conflict Phase. In the Director Phase, the Director provides the players with new information and plot devices, and then in the Negotiation Phase, the players trade cards, information, and promises to support each other in preparation for the Conflict Phase. The Conflict Phase is the meat of the mechanics.

The core mechanic involves the Affecting (attacking?) character using the active value for an Ability, modified by the Affecting character’s Power and any relevant factors for their relationship against the Resisting character’s defending value for the Attribute, plus modifiers. The Resisting value is subtracted from the Affecting value and if the result is twelve or more, the Affecting character succeeds. If the result, or spread, is between two and eleven, the player of the Affecting character rolls the two six-sided dice and if the result is less than the spread, the Affecting character succeeds. If the Affecting character has succeeded, then the Resisting character can make a Luck check and if his player rolls under the Resisting character’s Luck, he successfully resists the Affecting character’s attempt at Persuasion, Coercion, Seduction, or Investigation.

A successful attempt at Persuasion or Seduction will provide the Affecting character with information from the Resisting character, force the Resisting character to relinquish control of an NPC or Plot Device, control of an NPC if they are uncontrolled. Seduction attempts can only be made against members of the opposite gender who are not related to the Affecting character. Instead of providing the Affecting character with control of an NPC if they are uncontrolled, a successful attempt at Coercion can force another character to make his Affect attempt immediately. If against an NPC and unsuccessful, there is the possibility of Revenge, in which every other member of the cast can make a Persuasion attempt to control the NPC, with the players rolling to see who makes the attempt first. Lastly, a successful Investigation attempt forces the Affected character to reveal information, including the identity of NPCs and Plot Devices which are face down on the table. If a character has committed an Illegal act, another character who controls a legal authority, such as the FBI or Texas Rangers, can use Investigation to identify the suspect officially, and subsequently, use Persuasion combined with control of a legal authority to obtain an arrest, an indictment, and lastly, a conviction. Each of these steps scores a player an increasing number of Victory Points. A convicted character loses all of his Power, but is still in the game, as his conviction is, of course, being appealed.

Physically, Dallas: The Television Role-Playing Game is cleanly and tidily presented. It is clearly written, but written in the style of a set of rules for a wargame with numbered and sub-numbered sections—just as SPI would do for its other roleplaying games, DragonQuest and Universe. Internally, none of the roleplaying game’s three booklets are illustrated. All of the illustrations appear on the cover of the box—in colour, and then in black and white on the front cover of the Rules of Play. So none of the character sheets are illustrated. Overall, the black and white production values—some spot colour is used on the cards—are underwhelming and lack the glossy sheen that a product or game based on a television series like Dallas really calls for.

The rules to Dallas: The Television Role-Playing Game are decently explained and they do come with an example of play. The three pre-written episodes are also decent and the advice on creating scripts and other characters is workable. The advice on creating scripts is backed up by a list of Plot Devices and biographies of the various NPCs, all of which can be used by the Director to write her own scripts. There is also a lengthy, and quite detailed history of Texas. However, there is no background or information to the television series of Dallas itself, beyond that of the little information given on each of the character sheets. Essentially, to play a game of Dallas: The Television Role-Playing Game, the designers expect the participants to rely upon their own knowledge of the series and its characters.

As a design, Dallas: The Television Role-Playing Game is not a traditional roleplaying game and nor does it feel like one. There are no rules for creating new members of the cast, no rules for gaining experience, or improving a character as you would find in almost any other roleplaying game. And despite the fact that infamously, a big storyline revolved around the identity of who it was who shot J.R. Ewing, there are no rules for physical conflict or combat—the roleplaying game is all about verbal conflict. Then although it has a Game Master or a Director and everyone sits round the table just as in a traditional roleplaying game, the fact that a game can involve nine players and the Director, makes it feel more like a party or social game. Of course, party or social games were not a category of games as they are today, so the nearest equivalent at the time of Dallas: The Television Role-Playing Game publication would be the ‘How to Host a Murder’ type games which were popular then.

As clearly and as simply as the rules are explained, anyone coming to them without a background in wargames or roleplaying—essentially the fan of Dallas picking up Dallas: The Television Role-Playing Game on a whim or because it is clearly connected to the soap opera, is likely to feel intimidated by the procedural nature of its play and the stolid nature of the mechanics. Nor is this helped by the grey, even boring production values that might have made the roleplaying that much more enticing , something that another publisher of the time, Yaquinto Publications got right with its own TV’s Dallas: A Game of the Ewing Family board game, part of its Album series.

As much as it states that it is a roleplaying game—and a ‘family’ roleplaying game at that, Dallas: The Television Role-Playing Game lacks an explanation of what roleplaying is and an explanation of how the Director narrates the beginning of each act. Nor is there a sense of the NPCs, the minor cast members, being characters in themselves, merely pawns for the main cast to control. There is also a sense of misogyny to the roleplaying game, one that admittedly it inherits from the television show, in that the male members of the cast are more powerful than the female ones. The character sheets though advise that the male characters should not necessarily throw their weight around and that they generally have more challenging victory conditions than the female characters who instead should be working together.

—oOo—

Dallas: The Television Role-Playing Game was not well received at the time. The single notable review appeared in The Space Gamer Number 42 (August, 1981). Reviewer David Ladyman asked, “Is DALLAS a useful bridge between gaming and your “real world” friends? That might depend on how many DALLAS freaks you know that you would want to introduce to gaming. Hard core RPGers will probably want to add the game to their collection; characters' attributes and the conflict resolution system are novel enough, even if you have no interest in the television series. I wouldn’t suggest it, though, if you buy your games for long-term playability – DALLAS just doesn't have lasting entertainment value.”

—oOo—

However, as underwhelming as Dallas: The Television Role-Playing Game is in terms of presentation, theme, and rules, it is in its own way innovative. As the first licensed roleplaying game, it showed the possibility of obtaining licences based on mainstream intellectual properties and the potential of drawing the fans of those properties into gaming. Within a matter of years, for example, FASA would produce The Doctor Who Role Playing Game and Star Trek: The Role Playing Game, both well received. Most licensed roleplaying games continue to be based on fantasy, horror, or science fiction properties rather than mainstream ones—Leverage: The Roleplaying Game being a rare and more recent example, as well as a good example of how to design a roleplaying game around a television show. Which of course, Dallas: The Television Role-Playing Game was not, but it also prefigured adversarial roleplaying, that is a roleplaying game in which the Player Characters are against each other as often as not, and that there can be a clear winner in playing the game. This would really come to the fore in Phage Press’ 1991 Amber Diceless Roleplaying Game and would subsequently be seen in any number of indie roleplaying games.

Another aspect to Dallas: The Television Role-Playing Game is that in hindsight, as perhaps as underwhelming as the design is, there is huge potential for roleplaying in the game. It is not the mechanics which entice, but the opportunity to dig into the members of Dallas’ cast, a great many of them signature characters that are familiar even decades on and roleplay them around the table. Although, whether you would roleplay all nine at the same time is is another matter. Of course, Dallas: The Television Role-Playing Game does not support this, and it is only with hindsight and the experience of roleplaying that the potential can be seen. Anyone coming to Dallas: The Television Role-Playing Game without that experience or that hindsight, will ultimately be daunted by what they find in the box. 

Forty years since the publication of Dallas: The Television Role-Playing Game and the hobby is better served by roleplaying games which would emulate its genre. Dog Eared Designs’ Primetime Adventures: a game of television melodrama is an obvious choice, but Fiasco could also do it, as could Pasión de las Pasiones, the telenovela tabletop roleplaying game Powered by the Apocalypse published by Magpie Games. Further, all three of those roleplaying games would have the advice and guidance that Dallas: The Television Role-Playing Game lacks.

Dallas: The Television Role-Playing Game is significant as the first licensed roleplaying game, but not necessarily as a design. It can be seen as a venture or experiment, that in 1980, would have made commercial sense for SPI to pursue and publish because the crossover potential between fans of Dallas the television series and the roleplaying hobby could have been significant. Certainly, within a family it could have served as a means for a roleplayer to show his parents or other family members who were fans of Dallas, but likely mystified by his hobby, what roleplaying was like and how it could be fun.  Of course, it was not to be. Few in the roleplaying hobby would have been interested in a roleplaying game based on Dallas and anyone outside of the hobby would be daunted by the design of Dallas: The Television Role-Playing Game, which is more of a card game than a roleplaying game.

Dallas: The Television Role-Playing Game is an interesting, even important, curio from the dawn of the commercialisation of the roleplaying hobby. Its design though, is a hangover from the dusk of another hobby—wargaming, and that meant that Dallas: The Television Role-Playing Game was not the family-friendly—even if its cast of characters were anything but—introduction to roleplaying games it was intended to be. 

Christmas Miracle! I Started "War of the Witch Queens"

The Other Side -

It's Christmas, spent some quality time with the family yesterday and today.  We built a new kitchen cart for my oldest to keep all his cooking gear in, made a turkey, got a new laptop (using it now) oh and we started the War of the Witch Queens today!


Started with The Witch of Wydfield.  Didn't get very far though, we just started with session 0.  

We are going to use the Classic D&D B/X rules.  I didn't pick a particular flavor yet but likely go with Old School Essentials.  Right now since this is a DCC adventure for 0 level characters I had everyone roll up three characters.  All very simple. I used the classic Basic rules and had everyone choose Cleric, Fighter, Magic-User, or Thief at 0 level.  Once everyone hits 1st level, at 500 xp, I am going to allow them to specialize into OSE Advanced Classes or even something from BX RPG or anything really.  My goal is to say "yes" first and then direct them to something that works.

I had everyone roll 2d6+3 for stats. Yes that makes them all rather low on their abilities, but they are also just starting.  I am going to either allow them all a 1d6 per ability when they get to level 1 or give them 5d6 number of points to distribute amongst all their abilities.  This will in turn make their abilities a touch higher than average.  I am ok with that. I am still playing around with ideas.  I might even adopt some D&D 5 rules and let them add +1 to a stat every four levels or so.

Since they are super low level and below-average at this point I am saying they are all refugees from another village destroyed abut terrible weather.   This is of course the first "attack" of the witches with the Witch Queen now dead.  No queen so the more evil elements of the witchcraft world are running free.

This is going to be one of those only every so often games.  I am not 100% convinced everyone likes the old rules or are they just humoring me. 

I hope to pick up the next session soon.

2010: Leverage: The Roleplaying Game

Reviews from R'lyeh -

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

—oOo—


Published by Margaret Weis Productions in 2010, Leverage: The Roleplaying Game is a licensed roleplaying game based upon the television series which ran from 2008 to 2012. In the series, a Crew of con artists—a mastermind, a grifter, a hacker, a thief, and a retrieval specialist—take on a series of heists in order to fight injustices inflicted upon ordinary citizens by corporations and the government. Each of the episodes follows a set story structure. A Client comes to the team with a problem that only its members can find a solution to. This involves researching the villain or Mark and finding a weakness which the Crew can use to undermine him, and then formulating a plan which will make use of both the weakness and the skills of individual team members. As the plan goes into action, the Mark and his henchmen will seem to gain the upper hand, but ultimately, the Crew will outwit them all. Flashbacks will reveal further clues and improvisations that helped them overcome certain complications, and so ultimately, bring justice for the Client. This is the exact format that Leverage: The Roleplaying Game follows to provide not only an excellent adaptation of its source material, but also arguably, the purest treatment of the heist genre in any roleplaying game. From the outset, Leverage: The Roleplaying Game is a simple sell. It is modern day, it is set in the real world, and the Player Characters, though highly skilled, are all easy to grasp and understand. They are all ‘crooks with a heart of gold’ or Robin Hood-types, rather than out and out criminals. The tone of the series and thus the roleplaying game is also family friendly—although there is action and there are fights, there is never gunplay, at least not on the part of the Crew. (The lack of gun play will also have an impact on game play, making carrying out a heist that much more challenging and thus more satisfying when pulled off because brute force or threat is not an option.) Plus, even if the players have never seen Leverage the television series, then they might have seen its BBC forebear, Hustle, or films such as Ocean’s 11 and the other entries in the series. Lastly, despite the fact that Leverage: The Roleplaying Game follows the formula of the television series, the formula and thus its set-up means that as a roleplaying game—especially a licensed roleplaying game—Leverage: The Roleplaying Game has not actually dated in the ten years since it was published. Leverage: The Roleplaying Game is one of five roleplaying games from Margaret Weis Productions to use Cortex Plus, the others being the Smallville Roleplaying Game, the Marvel Heroic Roleplaying, the Dragon Brigade Roleplaying Game, and the Firefly Role-Playing Game. It is both a roleplaying game and a roleplaying game, a roleplaying game in that each player is roleplaying a character and each character is playing a Role. There are five Roles—a Mastermind, a Grifter, a Hacker, a Thief, and a Hitter—and Leverage: The Roleplaying Game works best when there are five players, each of whom takes one of the five Roles and so forms a Crew. The Mastermind specialises in plans and coordinating the Crew’s activities on the Job; the Grifter gains and use people’s trust through disguises and roles; the Hacker gains, supplies, and denies information, typically using technology; the Thief steals or plants things by stealth and foiling security systems; and the Hitter supplies force and a tactical edge. There is some crossover between Roles for the Crewmembers, so the roleplaying game can be played with fewer players, but its optimal number is nonetheless five. A Crewmember also has six Attributes—Agility, Alertness, Intelligence, Strength, Vitality, and Willpower; two Specialities, each one associated with a Role, such as Driving for Hitter and Piloting for Hacker; three Distinctions or personality quirks or traits, which can work to a Crewmember’s disadvantage as much as they do advantage; and Talents, essentially tricks which related to particular roles and when activated grant a Crewmember an advantage. Roles and Attributes are rated by die type, the larger the die type, the better the ability of the Role or Attribute, both being defined by ten-, eight-, six-, and four-sided dice. A Speciality is valued as a six-sided die, whilst a Distinction can be rated as an eight-sided or a four-sided die depending whether it is in the Crewmember’s favour or not.
To create a Crewmember, a player selects a Primary Role and a Secondary Role, assigning a ten-sided die to the former, an eight-sided die to the second, and decides on two Specialities, attaching each to a particular Role. A six-sided die is assigned to a third Role, and four-sided dice to the remaining two. The size of dice types assigned to the attributes will vary depending upon if the Crewmember is focused or versatile. Lastly, the player selects three Distinctions and two Talents. Winston MoranWinston Moran used to work in financial security, preventing banks and other institutions from being robbed. He was injured in a car crash which also left his wife in coma and due to the injury was forced to take early retirement. Unfortunately, his employers defaulted and left him without pension, forcing him to turn to ‘crime’ to pay for his wife’s medical bills. RolesGrifter d8, Hacker d6, Hitter d4, Mastermind d10, Thief d4 AttributesAgility d8, Alertness d8, Intelligence d10, Strength d6, Vitality d8, Willpower d8 SpecialitiesBank Fraud, Games DistinctionsVoice of Authority, Walks with a Cane, Industry Veteran TalentsSlip of the Tongue (Grifter)Sea of Calm (Mastermind) This though, is the quick and easy version—but not the fun version. The suggested version—the fun version—is ‘The Recruitment Job’. Each player partially defines his Crewmember and together the Crew play through a simple Job designed to showcase what each Crewmember can do and define and bring into play the other undefined aspects of each Crewmember. Essentially, this is the playing group’s pilot episode or ‘Zero Session’ for their Leverage series. There are one or two quirks about Crewmember generation. The first is that a Crewmember’s Secondary Role will define how he approaches his primary Role. For example, the Grifter whose Secondary Role is Hitter, is a ‘Swashbuckler’, aggressive and challenging  with a Mark, but uses lots of misdirection and quips in a fistfight, whilst the Hitter whose Secondary Role is Grifter is a ‘Duellist’, a quick, deceptive combatant who uses feints and distractions to bait his opponents. The second quirk is that there is no Charisma attribute and this is by design. Rather, the Attributes of Intelligence, Strength, Vitality, and Willpower all assume aspects of a Crewmember’s charisma and how he uses it on the Job. Essentially, every Crewmember is charismatic, but exactly how will vary from Crewmember to Crewmember—just like the cast of a television series. Mechanically, Leverage: The Roleplaying Game uses the Cortex Plus system—in 2020 revisited with new core rulebook, Cortex Prime. The basics revolve around two opposed dice rolls, one by the player, one by the Fixer—as the Game Master is known in Leverage: The Roleplaying Game. Each dice roll consists of two dice. For the Crewmember, the dice roll will consist of a die from one Attribute and a die from one Role, both of which will vary from situation. For example, when his Crewmember is chasing a potential Mark, the Fixer might call upon the player to roll his Crewmember’s Alertness plus Hitter, or if a Crewmember is being chased by security guards and he wants to hide, perhaps on the ceiling, the Fixer would ask his player to roll Agility plus Thief. The Fixer will in turn be rolling dice which might be for the environment, such as ‘Ten Stories Up d6 plus Vibration Sensors d8’ or an NPC, which for most NPCs, such as the Client, a simple Mark, Extras, and so on, will have no more than a handful of traits, such Wannabe Hacker d4 or The Best Golfer d6. Other NPCs, including Marks, Foils, and Agents—the latter typically out to capture or beat the Crew or a particular Crewmember, can be as complex as actual Player Character Crewmembers. Although just two dice form the core of the basic roll, other dice can be added to it. The use of Specialities, Distinctions, Assets, and Complications can all add dice to the roll. In most cases, these require the expenditure of Plot Points. Plot Points—of which a Crewmember starts with one—can also be used to activate Talents and create new Assets, which last for the scene (or the whole Job for two Plot Points). Ultimately, only the two highest dice are counted and added together. This sets the stakes for the Fixer to roll her dice and attempt to roll higher. If she does, she ‘Raises the Stakes’, and it is up to the player to reroll the dice, and if add in more dice, to gain a score higher than that rolled by the Fixer. Alternatively, whomever rolled lower can back down and decide not to roll to beat the other. In which case, the Crewmember or Mark has given in and taken down, the winner of deciding the outcome. If however, one side rolls five higher than the stakes are currently set at, then they have achieved an Extraordinary Success and an automatic takedown of their opposition. Where Cortex Plus gets interesting is in the generation of Plot Points. Whenever a one result is rolled on a die by a player, it is not counted towards the two dice he keeps as his Crewmember’s total, but it does generate or improve a Complication, which adds another die to the Fixer’s dice roll. When that happens, the player receives a Plot Point. When the Fixer rolls a one on any of her dice, it generates an Opportunity and the player can bring in one of his Crewmember’s Talents, if appropriate. The fact that rolls of one generate Plot Points and Plot Points can be used to create Assets, add dice to a roll, and so on, means that players will want to be rolling ones almost as much as they high results, and the best way to roll ones, is to roll lower value dice, such as six-sided- and four-sided dice. Both of course, have higher chances of rolling ones. A Crewmember starts play with a Role set at a four-sided die, but the other way to bring in a four-sided die is to add a Distinction to the roll. If the Distinction works in the Crewmember’s favour, then it is rolled as an eight-sided die, but if it is to his disadvantage, it only adds the desired, but also the reviled four-sided die. Either way, rolls of one represent the type of setbacks that might be seen in an episode of Leverage, but at same time generate the Plot Points that will ensure already expert Crewmembers complete the Job and take down the Mark. For example, the Crew managed to plant a bugging device in the Mark’s office. However, the Mark’s security ensured it was not able to broadcast what it downloaded from his computer, so the Crew needs to get it back. Winston Moran has already been into the Mark’s office, ostensibly to talk about a bank fraud, but that was to give the bug time to work. Now he needs to get it back. He tells the security guard that he dropped his wallet in the office, so the guard lets him go and get it. The guard is diligent and comes to check on Winston. To see if Winston grabs the bug before the guard becomes suspicious, the Fixer asks his player to roll Winston’s Alertness plus Thief. Unfortunately, this is a d8 for Alertness and a d4 for Thief—the latter is so low because Winston is not as young as he was. Winston’s player rolls an eight and a one! This sets the stakes at eight because the one is set apart and further, it generates a Complication. The Security Guard has Security Guard d6 and Really Doesn’t Want Any Trouble d6, but since Winston rolled a one and generated a Complication, it adds another die to the Fixer’s roll, in this case, Suspicions Aroused d6. She rolls a four, a five, and a two! This Raises the Stakes to eleven. Winston’s player states that he is going to roll d8 for Alertness and a d4 for Thief again, but spend a Plot Point to bring in a Distinction, in this case, Walks with a Cane. As this is being used to Winston’s benefit, it adds a d8 rather than a d4. His player rolls a three, a four, and a six to give a final result of thirteen. This beats the Fixer’s stakes and she backs down as Winston allays the security guard’s suspicions with, “Found it! Sorry for being so slow—old man with a cane, you know.”Beyond the simple mechanics, Leverage: The Roleplaying Game introduces numerous elements which model the television series. For example, all of the Crewmembers are Experts and as in classic episodic television, they do not really improve, or at least they, it is at a very slow rate. Instead of the classic Experience Points, a Crewmember records each of the Jobs he completes. During a future Job, a player can have his Crewmember make a ‘Callback’ to the previous events of another Job to gain a bonus eight-sided die. This provides the Crewmember with a ready pool of bonus dice, but alternatively, a player can improve an Attribute or Role die, or purchase further Specialities or Talents by permanently marking off the Job titles. Where the television series is really modelled is in the use of Flashbacks. In an episode of the television series, the focus of the Job is all on the Mark and how he is affected by the Crew’s efforts to scam him. They come in two forms. Establishment Flashbacks add an element to a Crewmember’s backstory to bring an Asset into play, whilst Wrap-Up Flashbacks establish Assets which can aid in turning the tables on the mark and go towards the finale and Mastermind’s final roll against him. They are both a narrative device to further showcase the various Crewmembers’ Roles and other traits and a means to overcome a Job’s final hurdles. For the Fixer, there is a deep discussion of the heist genre as seen in Leverage, taking her through the process of constructing a Job—from the Client and his Problem to the Mark, a discussion of a traditional three-act structure versus the five-act structure of a Leverage episode, twists to use and twists to avoid—the latter primarily to prevent the players and their Crewmembers getting to bogged down in planning, taking inspiration from news stories, and even a ‘Situation Generator’ for creating a random Job. The Fixer can also make use of the example Clients, Foils, Agents, Locations, and more, though Locations are relatively easy to come up with given that the Leverage: The Roleplaying Game is set in the modern day and the Fixer can draw inspiration from around her. The world around the Crew is explored in broad detail, whilst the criminal and the Crew’s place in it is given more detail. With advice on subjects such as ‘Thinking Like a Criminal’, ‘Violence’, and the nature of ‘Cons’, including long, short, and classic cons. This last part is a solid introduction to grifting and running con games, and much like the rest of the chapters intended for the Fixer can just as easily be read and perused by the players. Rounding out the Leverage: The Roleplaying Game is an episode guide for the first two seasons of the television series. This either works as inspiration for the Fixer or it feels a lot much like filler content, but either way, it would have been nice to have some ready-to play-Jobs alongside it.
One issue with Leverage: The Roleplaying Game is the same as the Leverage television series. It is fundamentally episodic in nature, such that there is relatively minimal character or on-going development from one episode to the next. This is partially reflected in the slow growth and improvement of the Crewmembers through the Jobs recorded and spent as Experience Points. What this means is that the Leverage: The Roleplaying Game is not necessarily a game to play on an ongoing or even a long term basis, but since every episode of the television series and every Job is more or less self-contained, it works well for one-shots, for short seasons, and even pickup games with minimal preparation time if the Fixer uses the tables provided in the book to create a situation.
In terms of play, Leverage: The Roleplaying Game is a game which encourages player input, whether that is in the expenditure of Plot Points to add Assets to a Job or be inventive in how each player brings his Attribute and Role combinations into play. The Fixer will probably suggest combinations most of the time, but there is scope for a player to suggest his own too. This though, is also open to abuse, but a good Fixer should be able to nix that in the bud and encourage her players to play in the spirit of the Leverage television series. Physically, Leverage: The Roleplaying Game is a really clean, bright looking book decently illustrated with stills from the television series. It is both engagingly and well written, and although it lacks an index, the table of content does a reasonable job of making up for it. Neither the mechanics nor the genre of Leverage: The Roleplaying Game have dated and both are as comfortable to run in the here and now of this year or any other year, as much as they were in 2010. The focus of the design on emulating its source genre however does date it to its publication era, that of the storytelling game/indie roleplaying game movement which dominated the late 2010s, but of course, designed to a far more commercial end. As much as it is designed to emulate the Leverage television series, its treatment of its genre means that it can do other heist or con game set-ups just as easily as it can Leverage the television series. Nominated for the 2011 Origins Award for Best Roleplaying GameLeverage: The Roleplaying Game is an elegant, well-designed treatment of not just the Leverage television series it is based upon, but also of the heist and the con game genres in general.

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