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 Press, Crawl! 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, whilst Crawl! No. 6: Classic Class Collection presented some interesting versions of classic Dungeons & Dragons-style Classes for Dungeon Crawl Classics, though not enough of them. Crawl! Issue No. 7: Tips! Tricks! Traps! is a bit of bit of a medley issue, addressing a number of different aspects of dungeoneering and fantasy roleplaying.
Published in November, 2013, as its title suggests, Crawl! No. 8: Firearms! is another focused issue, and that focus is on guns and adding guns to your Dungeon Crawl Classics roleplaying game campaign. Guns are something of a difficult subject when it comes to Dungeon Crawl Classics because it is a fantasy roleplaying game and guns, whether because of their history or their technology, do not belong in a fantasy roleplaying game. Much like firearms historically negate the degree of training necessary to wield a bow effectively on the battlefield, in fantasy, they negate the years of study and training necessary to become a wizard, as well as being easier and faster to reload. They are in the main, the province of roleplaying games and campaigns set in the modern day or the future, although historically, the modern day begins in the seventeenth century when armies and individuals wield arquebuses, flintlocks, wheellocks, and the like. Historical precedent aside, this does not mean that a Dungeon Crawl Classics Judge cannot include or add them to her campaign, and well as providing rules for their use, Crawl! No. 8: Firearms! gives at least one way in which they can be added to a campaign.
Crawl! No. 8: Firearms! opens with Reverend Dak’s ‘Firepower!’. This gives a quick discussion of how and why firearms might be introduced into a campaign before providing rules for their use. Should they be powerful and rare or mundane and not much pop? The advice for power and rare at least is to build limitations into their use, whether that includes limiting them to black powder or non-automatic, or using the optional rules included. The basic rules include their being fast and that they can be aimed, so that the user gains Die Bump up to a bigger die for the initiative, attack, and damage rolls. Damage is always the one die, except when it is doubled for aiming. Taking cover is an action and increases Armour Class, and duels are extremely deadly, inflicting a number of dice’s worth of damage equal to the Level of the Player Character or NPC. Since the duellists will be standing facing each other, this seems fair enough—if nasty! 
Optional rules include making Critical hits deadly, firearms complicated—giving users a negative Die bump to rolls until they are properly trained, and automatic weapons can be used to attack everyone in a ten feet area. Actual stats for guns are given in ‘From Gold to Guns’ by Mike Evans with the Reverend Dak. This covers weapons across four eras—of powder and smoke, gear and bullet, destruction and calamity, and lasers and rockets. The latter group is where the article strays into the realms of Science Fiction, but its contents are very easy to use.
Reverend Dak provides a reason for the inclusion of firearms in a campaign with ‘Invasion!’. This sets up an invasion by an alien species, the reasons why it is invading, and so on, with a series of tables. Thus, who they are, where they are from, what they want, and who and what they brought with them, whilst stats are provided for all of the given invaders in a separate appendix. This is the first of several appendices which round out Crawl! No. 8: Firearms!. ‘Appendix R: References’ lists other roleplaying games where firearms play a role, whilst ‘Appendix S: Submissions’ collects the best submissions to the editor’s blog, and notably adds explosives and bombs to the mix. Lastly, ‘Appendix T: Firearms Critical table’ and ‘Firearms Fumble Table’, both by S.A. Mathis, provide exactly what you expect.
Physically, Crawl! No. 8: Firearms! is decently presented. The writing and editing are good, and artwork, if not of highest quality, is all very likeable. The wraparound cover is a nice touch. The subject matter—and thus the whole issue—is going to be a hit or a miss for most Judges, players, and campaigns. It all boils down to whether or not they want to include the use of firearms alongside their fantasy. If they do, then everything is here in a handy fashion to include it. If not, then the issue will be of little interest, though this does not mean that the issue is by any means a bad one. Even if a Judge has no plans to add firearms to her campaign, there is nothing to stop her reading the issue to find out how it might be done, and Crawl! No. 8: Firearms! certainly provides that. Overall, Crawl! No. 8: Firearms! is a solid, serviceable treatment of its focused subject matter which is easy to bring to the table if that is what a Judge wants for her game.

Pursuing the AD&D Monster Manual back in 1979 I could not help to notice that while most of the monsters were obviously mythology in origin, one stood out.  There are on the next to last entry stood tall and proud, the Yeti.

Now you have to remember what the late 70s were like.  Bigfoot fever was all over the place then, there were no less than a dozen movies about Bigfoot in the 70s alone. Only the 2010s exceed it.  So seeing a Yeti, who I knew was a relative, was very interesting.  At first I didn't want to use him, it seemed so "off" to me.  But over the years I have changed my mind and now I use all sorts of hominid cryptozoological creatures.   But one of my favorites might just be the Almas.

The Almas featured in my first Ghosts of Albion adventure, Almasti, found in the Ghosts RPG core rule book.  I spent a lot of time with them and decided I needed to port them over to D&D.   This version is different than the Ghosts version, but still compatible.

Yeti, Almas
Medium Humanoid (Cold)

Frequency: Very Rare
Number Appearing: 1d4 (1d8)
Alignment: Neutral [True Neutral]
Movement: 120' (40') [12"]
  Fly: 240' (80') [24"]
Armor Class: 7 [12]
Hit Dice: 3d8+6** (20 hp)
THAC0: 11 (+8)
Attacks: 2 fists or by weapon
Damage: 1d6+2 x2 or by weapon type +2
Special: Fly, immune to cold, spells
Save: Monster 3
Morale: 8 (10)
Treasure Hoard Class:  None
XP: 100 (OSE) 135 (LL)

Str: 16 (+2) Dex: 14 (+1) Con: 16 (+2) Int: 13 (+1) Wis: 15 (+1) Cha: 11 (0)

Almas are the smaller, more intelligent cousins of the Yeti. Due to their smaller size, they do not have the yeti’s hug attack.  For every group of six Almas, one will be a shaman who has the spellcasting ability of a 2nd level winter witch.

With the aid of the shaman, an Almas can fly on the boreal winds, but only after the sun has gone down.

They are immune to normal and magical cold.  Almas speak their own language and that of giants.

Almas are usually found in lower parts of the same mountain ranges one will find the yeti.  The two groups will avoid each other, mostly due to the fact that interactions between them have caught the attention of humans and that is a far worse out for them.

--

Simple monster with plenty of role-playing power.  Plus they are fun to pull out when the players are expecting a yeti and these guys just fly away.

Sam Moore / April 28, 2021

One of the first, most potent images in Wakefield Poole’s groundbreaking 1971 adult film Boys in the Sand is that of Casey Donovan emerging from the waves before making his way onto the beach. The image feels like a queering of a common cultural touchstone: a figure of great beauty surrounded by water, as if the waves and sea came together to create it. From Botticelli’s Birth of Venus to Ursula Andress in 1962’s Dr. No (subverted decades later by Daniel Craig in 2006’s Casino Royale), there’s something about the water as a site of (re)birth that’s full of power and myth. This idea of a loaded geography, at once physical and representative of something greater, runs deep in the DNA of Boys in the Sand; the film wouldn’t exist without the Fire Island locale that it calls home. 

Poole’s film explores both the reality and mythical unreality of New York’s Fire Island, a place that’s taken a heightened place in queer art and culture for decades now—a kind of sanctuary, a place of freedom, one made all the more tempting by the fact that it isn’t available for everyone. In the director’s commentary for Boys in the Sand, Poole says that when it came to Fire Island, “a lot of people had heard of it, but never seen it.” Boys is a kind of strange travelogue, capturing both the island’s reality—how elemental it is, the heat and the water—and also imbuing it with a kind of magic, helping to turn the place into a myth. The film is a perfect escapist fantasy: there are no straight people, there’s no violence, all the men are beautiful, and the sex is plentiful. It becomes something utopian, the kind of gay-only place that people might normally have only dreamed of. The nature of queer life at the time, the extent to which it was something that had to be kept secret, is one of the things that’s gone on to make Fire Island such a staple of queer culture, an iconic part of its history. This idea—attractive men bathed in a sunlight so bright that it seems almost unreal—is echoed in a lot of art that explores the Fire Island milieu, perhaps most explicitly in the images detailed in Tom Bianchi’s 2013 Fire Island Pines: Polaroids 1975-83. 

Bianchi’s images echo the aesthetic of Boys in the Sand, and looking at Donovan in the film alongside some of the men who appear in Bianchi’s Polaroids, it becomes clear that they share the same approach to Fire Island: both artists echo the same Arcadian myth of the pines. A certain type of body populates the vast majority of the snapshots: buff, gym-going, masculine, tanned—the tan lines on Bianchi’s subjects, in fact, are often vivid in contrast to their sun-kissed bodies. Poole’s actors fall into a similar camp, and this creates the sense that Fire Island is a place that’s by and for a narrow group of people within queer communities: conventionally attractive men. The prevalence of these images inverts similar ideas in a straight tradition: tempting women on distant islands, stretching all the way back to the sirens in The Odyssey. From a queer perspective, this idea is both new and old all at once; while it changes the ways in which male bodies are viewed—and challenges mythical traditions that often only frame female bodies in this way—it continues to show that only certain kinds of bodies are worth immortalizing via images. 

For all of the possibility in the air, the bodies that occupy these spaces make it clear that the Fire Island that exists in queer art is a place to showcase a certain type of body, a way to look and a way to live that’s the price of admission for this very specific utopian escape. Boys in the Sand finds power in these bodies as objects of desire—a magical pill literally causes a boyfriend to materialize out of thin air in the film’s “Poolside” section—the currency with which the place is navigated. This is echoed in some of the queer art that comes in the wake of Boys in the Sand. The Andrew Holleran novel Dancer from the Dance (which uses one of Bianchi’s Polaroids as a cover photo in a recent reprint) is obsessed with the mythical image of Fire Island, populating it with characters who exist through gossip and assumption as much as through their own lives, much like the island itself, so it makes sense when Holleran writes: “we queens loathed rain at the beach, small cocks, and reality, i think, in that order.” None of these things exist in the images of Fire Island put forward by Poole and Bianchi; the sun is always out, and the real world is always on the other side of the water. 

How one stayed at Fire Island is one of the other great dividers of the place. Poole himself acknowledges this in his Boys commentary, where he argues that the economics that defined much of the island came down to whether you came in on the ferry or owned your own boat. None of Poole’s characters seem to be on the lower end of the economic spectrum; the houses they stay in are nice, and the integration of domesticity—a lot of the characters in Boys want relationships beyond a sexual fling, and there’s an air of loneliness that exists in a push-and-pull dynamic with the possibility inherent on the Island—carries with it the idea of a kind of ownership that not everyone can afford. The idea of loneliness—both on and beyond Fire Island—is echoed in an interesting way in Bianchi’s Polaroids: it’s rare for any of his subjects’ faces to be seen, as if the specter of the world beyond the island stops them from revealing all of themselves to the camera. 

This is one of the things that makes Fire Island such a strange, liminal place in queer art. It exists in a singular way, unlike anywhere else, and also unlike a real place. There’s a scene in Boys where a door is opened to seemingly nowhere, a sort of non-space that’s divorced even from the rest of the island. The episodic structure of the film—”beachside,” “poolside,” and “inside”—break the place down into a series of fragmented landscapes, at once connected and not connected to one another. This is never a place that people will stay in for the long-term, we know. Even if the domestic moments suggest some kind of future, it isn’t a future that’s possible here.​

​And yet, queer art keeps returning to Fire Island, this place that’s at once impermanent and inescapable. For Poole, much of the drama in Boys is the act of cruising itself: the slow-moving camera that follows the movements of his lonely lovers, the immediacy and intimacy that’s only available on Fire Island. For Bianchi, it’s a bright escapism, even if his images don’t always show all of their subjects—that incompleteness allows viewers to fill in the blanks, imagining their own dream man.

Holleran’s novel makes for a fascinating contrast with both Poole and Bianchi. He seems more willing to engage with the idea of the myth, where the others, knowingly or not, contributed instead to the act of myth-making. The echoes of Fire Island also echo some of the problems inherent in the ways that queer culture is understood. There’s a reason that the bodies across all these different media are so uniform, and one of the strangest, most compelling parts of the Fire Island myth is how explicit it is about the fact that freedom and joy won’t be offered to everyone who arrives. The thing that most clearly, most viscerally ties together the film, the photographs, and the novel are these bodies—their conventional, masculine attractiveness serving as a kind of shorthand for the acceptable face/facelessness of Fire Island, a small sample of the kind of men who are most likely to be accepted here. Even though the entrance to Fire Island is restricted—by how you look, by how much money you have—the return, season after season, still seems inevitable. It makes sense. All of these people, fictional or otherwise, escape here because the island offers them something that the real world won’t.

Sam Moore‘s writing on queerness, politics, and genre fiction in art has been published by the Los Angeles Review of Books, Little White Lies, Hyperallergic, and other places. Their poetry and experimental essays have been published in print and online, most recently in the Brixton Review of Books. If their writing didn’t already give it away, they’re into weird stuff.

I have another water-spirit/fey today.  Unlike the undine, this one was on my list from day one. These creatures are from the Asturian area of Spain. I will admit, there are not a lot of X monsters out there. 

Xana
Medium Fey (Water)

Frequency: Rare
Number Appearing: 1 (2d6)
Alignment: Neutral [Neutral]
Movement: 90' (30') [9"]
  Swim: 240' (80') [24"]
Armor Class: 8 [11]
Hit Dice: 4d8* (18 hp)
THAC0: 17 (+2)
Attacks: None
Damage: None
Special: Charm potion, invisibility, witch spells
Save: Witch 4
Morale: 6 (6)
Treasure Hoard Class:  X (M)
XP: 125 (OSE) 135 (LL)

Str: 8 (-1) Dex: 13 (+1) Con: 10 (0) Int: 10 (0) Wis: 10 (2) Cha: 20 (+4)

Xana are a type of water faerie that lives in cool rivers, streams, and freshwater ponds. They are described as beautiful with long curly brown or blond hair.   They are similar to other water faeries in that they prefer to spend their time in their watery lairs. 

They are social creatures, with several living in an area.  Their lairs are under the water where they are 100% invisible. 

They will leave their lairs to seek out mates.  They can take their waters and make a weak love potion that will affect one male of her choice. They get a saving throw vs. poison. If they fail they are treated as if they have a charm person spell on them.  A successful save means the potion had no effect.   The children they have from these encounters, xanín, can’t be cared for by the xana.  They will sneak into homes at night and leave their children in place of human babies.

Xanín will grow fast. The girls will seek out their mothers and join them.  The boys will tend to grow up to become sailors.

Xana can cast spells as a 3rd level witch.  They however will not attack physically. They will swim to the deepest part of their watery lairs. 

There is a rumor of a smaller xana that feeds on children.  These creatures are indistinguishable from other xana and are chaotic evil. 

--

There are a lot of water spirits and water fey out there.  How to make them all different from each other will be my goal.  

It would be disingenuous to claim that Greek and Norse Mythology were my only gateways to my obsession with Dungeons & Dragons. No. Like so many gamers before and after me my D&D games were heavily fueled by my love for Tolkein. I discovered the Hobbit around the same time I discovered D&D. So naturally while my games had a mythic feel, there was also a feeling of "leaving the Shire" to them. 

It also doesn't hurt that I am listening to Led Zeppelin while working on this.

So much of Tolkein's DNA is threaded throughout this game, Gygax's testimonials to the contrary.  

One of the most memorable creatures to me were the Barrow Wights from Fellowship of the Ring.  The Wight from Basic and Advanced D&D was a thin imitation of those creatures in my mind.

Dante and Virgil observe a wight

Wight, Barrow
Medium Undead (Corporeal)

Frequency: Very Rare
Number Appearing: 1d4 (1d4)
Alignment: Chaotic [Chaotic Evil]
Movement: 120' (40') [12"]
Armor Class: 3 [16]
Hit Dice: 6d8+6* (33 hp)
THAC0: 11 (+8)
Attacks: 1 touch + ability drain or weapon
Damage: 1d6+2 or weapon type
Special: ability drain, undead
Save: Monster 6
Morale: 12 (12)
Treasure Hoard Class:  XXI (B)
XP: 650 (OSE) 680 (LL)

Str: 16 (+2) Dex: 14 (+1) Con: 13 (+1) Int: 12 (0) Wis: 10 (2) Cha: 6 (-1)

Barrow-wights are greater undead of fierce warriors. They remember their lives from before and are fast, dangerous, and particularly deadly. They are usually encountered in the ancient burial mounds that give them their name, barrows.  Wight is an older word for a man, or more commonly, a fighting man.

The most horrific attack of these creatures is their ability to drain the life force of their victims. A successfully hit a target loses one point of the Constitution. This incurs a loss of any bonus hit points, as well as all other benefits due to the drained ability. A person drained of all constitution becomes a wight  (common wight) in 1d4 days, under the control of the barrow wight that killed them

As undead, these creatures make no noise until they attack. They are immune to effects that affect living creatures (e.g., poison). Additionally, they are immune to mind-affecting or mind-reading spells (e.g., charm, esp, hold, sleep).

Barrow-wights can only be harmed by magic. They are turned as 6 HD creatures, or as Spectres.

--

This is closer to the creature I remember fighting in my summers of the 80s.  

Like many of my undead, I have done aways with "level drain" and replaced it with ability drain. I just like the feel of it better and it is a threat to both low-level and high-level characters.  Undead should always be scary.

Image by Rondell Melling from PixabayAs of this writing, I have 292 monsters written and complete for the Basic Bestiary I.  I have about 10-12 more that are mostly done.  Of the total 355 entries I have, a full 43 of them are Vampires. 

Yeah. That's a lot.

I have said it before but long before I was known as "the Witch guy" I was known as "the Vampire guy." 

I have talked about my origins of the Basic Bestiary before. My love of Greek, Norse, and Celtic myth, old "monster movies" with my dad, and the day I picked up the AD&D Monster Manual for the first time.  BB is my love letter to the MM.  But it is not my first monster book, it is just the first one I am going to publish.  I have sitting on my hard drives monster books that go all the way back to my earliest days.  Some of these monsters have been revived in my various witch books.  Many have been posted here. Among the files I have here and there there is one that is really old. 

File "necro.txt" contains all the undead monsters I hand-typed from the Monster Manual, Fiend Folio, and Monster Manual II plus all the undead I could get from Dragon magazine and all the ones I made up.  There are over 150 creatures in that file.  Many of them are vampires.

Now the issue I have now is not whether to stat up all these creatures (I already have in some places) but how many to include as full monster entries and which ones are just AKAs.

So instead of posting a monster today (I did Vampires in the 2015 A to Z) I thought I might instead post the list of possible ones and see how I might combine, rearrange or otherwise categorize.

When I talked about the Undine on Saturday I mentioned large categories. Vampires will be a category in BB1.

Vampires

Vampires are among the most fearsome and feared of the undead.  Unlike most undead creatures the vampire can often pass for a living creature. Moreso they charming, both in terms of personality and in magical ability, they are physically strong (19+) and difficult to kill. Vampires exist for a long time so many are also quite intelligent (16+) and have mundane and supernatural protections in place.

As undead, the vampire has all the following features of a corporeal undead creature.  They do not need to check for morale and are immune to fear effects from spells or other creatures.  They are susceptible to the Turning effects of clerics or other holy warriors.  They are immune to the effects of  Charm, Sleep and Hold spells or other mind-affecting magic.

Vampires take 1d6+1 hit points of damage from Holy Water and it is treated as though it were acid. As corporeal undead slashing and piercing damage of weapons are largely ineffective since their damage is done to vital organs or blood loss. Vampires take no damage from mundane weapons.  Silvered piercing or slashing weapons only do 1 hp per hit. Magic weapons calculate damage per normal.  Vampires only take half damage from electrical or cold attacks. They are immune to paralysis, poison or any gas-based weapon. 

Most vampires drain blood to survive. This is done at the rate of 2 Constitution points per attack unless otherwise stated.  Vampires also regenerate 3 hp per round.

Many vampires have alternate shapes they can assume. Most common are animals of the night and gaseous forms. Others may become moonlight or stranger things. All vampires need to rest at some point.  Many are vulnerable to the light of the sun and all have at least some sunlight weakness.  VAmpires also have common items that will repel them, such as garlic, a mirror, or rice, and nearly all will be forced back by holy symbols. 

All vampires have a unique means to kill them these are detailed in each entry. Often this is what sets one type of vampire from the other.

Unless otherwise noted, all Vampires turn as Vampires.

Vampire (Base)
Vampire Lord
Vampire, Alp
Vampire, Anananngel
Vampire, Asanbosam
Vampire, Astral
Vampire, Aswang
Vampire, Berbalang
Vampire, Blautsauger
Vampire, Brukulaco
Vampire, Bruxsa
Vampire, Burcolakas
Vampire, Ch’ing-Shih
Vampire, Children of Twilight
Vampire, Dearg-Due
Vampire, Ekimmu
Vampire, Eretica and here
Vampire, Estrie
Vampire, Farkaskoldus
Vampire, Gierach
Vampire, Hsi-Hsue-Kue
Vampire, Jigarkhwar
Vampire, Kathakano (Catacano)
Vampire, Krvopijac
Vampire, Kyuuketsuki
Vampire, Lobishumen
Vampire, Moroi (Living Vampire)
Vampire, Mulo
Vampire, Neuntöter
Vampire, Nosferatu
Vampire, Ovegua
Vampire, Pĕnanggalan
Vampire, Rolang, Demonic
Vampire, Rolang, Personal
Vampire, SoucouyantVampire, Spawn
Vampire, Strigoi
Vampire, Tenatz
Vampire, Upierczi
Vampire, Vrykolakas (Burcolakas)
Vampire, Wurdalak (Vourdalak, Vlkodlak)
Vampire, Xiāng-shī
Vampire, Yara-ma-yha-who
Vampire, Zburător (Zemu, Zmeu)

--

And there you go! Clicking on the links above is like doing archeology into my ever-changing and adapting stat-block.

I did include some AKAs in the list above and those will likely just be a paragraph in the main entry of what makes them different.  AS I work the remaining monster up I am likely to discover more.

This list though makes me wonder if I need yet another Basic Bestiary just for the undead. I know I have enough.  But will it make my first book too light?

Here is where I am at right now.  Aberration (0), Beast (24), Celestial (9), Construct (12), Dragon (5), Elemental (7), Fey (73), Fiend (0), Giant (4), Humanoid (45), Monstrosity (8), Ooze (0), Plant (3), Undead (71), Vermin (0), Total (261).

Removing the 71 undead would make the book stand at 190 monsters right now.  I still have to add all those vampires, so 120+ undead creatures total?  Would make for smaller books, and thus cheaper ones. Fiends are already going into their own book, Basic Bestiary II.

What do you all think?

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 Fantasy Games Unlimited in 1981, Merc: A modern Roleplaying Game of Counter Insurgency was one of the first military themed roleplaying games. It had been preceded by The Morrow Project from Timeline, Ltd., although that was a post-apocalypse roleplaying game, and would be followed by FASA’s Behind Enemy Lines and Role Playing Games, Inc.’s Recon: The Roleplaying Game of the Viet Nam War, both in 1982. The genre would arguably reach its apotheosis in 1984 with the release of Twilight 2000 from GDW. Of course, the earlier Traveller Book 4: Mercenary from 1978 from GDW would cover some of the same subjects and situations as Merc, but being a Science Fiction roleplaying game, it would avoid some of the real-world issues that Merc deals with. What is interesting about the titles in this genre is not that they were published at all, but rather that it took so long for the roleplaying industry to publish straight, non-fantastical treatments of military subjects given that hobby had essentially come out of the wargaming hobby and that many of its designers and players had military experience. 
The designers of Merc set out their stall with, “Think of the possibilities: go back to 1954 and go on patrols with the Legion in Indo-China, or search the countryside of Ireland for I.R.A. terrorists, join 5 Commando in 1964, or even lead a patrol of Soviet 103 Guard Army Airborne into Afghan hill country. With these rules and your imagination you can visit Rhodesia, Chad, Angola, El Salvador, Panama, or even Cuba. Of course, your accommodations won’t be first class and you’ll have people shooting at you, but we guarantee lots of excitement.” Thus, Merc is a role-playing game of modern mercenaries in action, carrying out missions for their employers anywhere in the world, being employed as Soldier of Fortunes operating in small teams. Missions will be covert or overt, and range from assassinations and search and destroy to sweeps and reconnaissance.
Merc comes as a boxed set, which contains a thirty-six-page book, four cardstock reference sheets, plastic transparent overlay, and two six-sided dice. The book covers character creation, including former service and why the Player Character decided to become a mercenary, rules for movement and stealth, small arms combat, vehicles, experience, and a short mission. The reference sheets reprint various tables from the book, whilst the plastic transparent overlay has a target which is placed over the silhouettes of vehicles and men on the other reference sheets and the hit location rolled for. This is likely one of the first uses of a transparent overlay in a roleplaying game, and would most notably be seen again in 1991’s Millennium’s End from Chameleon Eclectic Entertainment and 2007’s Aces & Eights: Shattered Frontier from Kenzer & Company.
A Player Character in Merc is defined by his Physical Appearance, Physical and Mental Attributes—Strength, Agility, Intelligence, Knowledge, Intuition, and Prior Military Service, and one or more Military Specialities. The latter two will be defined by a mercanary’s Physical and Mental Attributes. Physical Appearance values are rolled on three six-sided dice. All Physical and Mental Attributes are measured as percentile values, but range from eleven to sixty-six. These are all generated by rolling two six-sided dice and treating one as the tens dice and the other as the ones dice, again one of the earliest uses of the ‘d66’ in a roleplaying game. The process is relatively straightforward and a player is free to assign the rolls to the attributes as he likes, primarily to be able to select the ‘Military Occupational Specialty’ of his choice.
Name: Ernest LuddeAge: 31Height: 5’ 9”Weight: 170 lbs.
Hair Colour: BlackEye Colour: BrownComplexion: AverageVoice: AverageHandedness: Ambidextrous
ATTRIBUTESStrength 62 – Strong (+5 Test Modifier)Agility 63 – Nimble (+5 Test Modifier)Intelligence 24 – AverageKnowledge 54 – Knowledgeable (+10 Test Modifier)Intuition 61 – Primordial (+5 Test Modifier)Prior Military Service 44 – Extended Service (+10 Test Modifier)
MOS #1: Heavy Weapons ExpertMOS #2: Martial Arts Expert
Frame: MediumCarrying Capacity/Build: Above Average (125 lbs.)
MAJOR TESTSStress Test: 46Dexterity Test: 46Command Control: 51
Mechanically, Merc uses two core mechanics. The first is Major Tests, of which there are three—Stress, Dexterity, and Command Tests. The first is rolled when a Player Character is in a tight situation, under sniper fire, in a minefield, and so on, and can result in him freezing, bolting for cover, or blindly opening fire. The second covers acts of agility and athleticism, whilst the third is how well troops follow a Player Character’s command. All are rolled as percentiles on ‘d66’, the aim being to roll under. The second type of test is the Skill test, and there are nine of them—Detection, Evasion, Pathfinder, Stealth, Intercept Messages, Decipher, Concealment, Set/Disarm Explosive Devices or Traps, and Set/Disarm Non-Explosive Devices or Traps. All are rolled on two six-sided dice, the aim being to roll under a target of six or less, though this target can be modified by the situation and the Merc’s Primary and Secondary MOS.
As a military game, Merc recommends that it be played using 20 mm miniatures. It covers just about everything you would expect—types of movement, terrain, vehicles, types of opponents, combat, ambush, traps, and equipment. Movement is by type, cross-referenced with terrain and how far a mercenary can get in thirty seconds. The vehicles tend to be light and relatively small, so trucks and jeeps, no more than armoured personnel carriers, scout cars, and light tanks, plus limousines and private jets. Opponents include government troops, terrorists, guerrillas, and natives. The list of equipment is exactly that, and anyone expecting something more complex or detailed is likely to be disappointed. Combat uses three different mechanics. Unarmed combat is a standard Skill Test, as are use of grenades and mortars, though with higher targets. Small arms fire though, is rolled on three six-sided dice, the aim being to roll under a target of twelve or less, though this target can be modified by the situation. Sniper shots use the transparent overlay placed over a silhouette. Two six-sided dice are rolled, modifiers are applied, and the result compared to the number on the transparent overlay. The aim is to roll as low as possible to get closer to the aim point. Rolls of zero or below are considered to be on target.
There is not a huge amount of depth to Merc, but damage is where it definitely feels underwritten. Located in the section for the Corporation—the name for the Referee in Merc, and also the employer for the teams of the Player Character mercenaries—it is handled on a single table which with a roll or two, determines hit location, severity and damage inflicted, and effect. Typically, this includes the initial damage, the ongoing damage, and whether or not the damage inflicted is a mortal wound. There is no effect from skill or weapon type as such. The rules also state that Body Points are lost, when in fact they are not. Rather they are gained, whether from the initial damage, from wounds, and ongoing damage, such as internal bleeding. As a mercenary gains more, the greater the chance of his falling unconscious or dying from his wounds. Similarly, the rules for medical care are also underwritten and undeveloped.
Also, for the Corporation, there is a guide to mission types and how many Experience Points a mercenary will earn from successfully completing it. A mercenary will earn more if his MOS is pertinent to the mission and he performed it well, so a medic will earn more for keeping a hostage already known to be seriously wounded, alive long enough to bring him back after being rescued. Experience Points are then divided in two, one half being paid as money to the mercenary and the other awarded as actual Experience Points, and these are split between Attributes and MOS. Exactly how that works is not quite fully explained. Ultimately, should a mercenary acquire enough Experience Points, he is hired by the corporation and retires.
The Corporation is provided with an example of play, which is definitely of use when trying to understand the rules and how the game is meant to be played. There is also a scenario set in Rhodesia in 1975. The Player Characters are mercenaries hired by the White minority government to strike at a village harbouring ‘terrorists’ who have crossed the border with Zambia and begun operating in the area. It comes with a couple of maps and six pre-generated mercenaries. There is a distinct anti-Communist tone to some of them and in comparison, to the pre-generated mercenaries, the scenario does not even name any of the terrorists, give them any personalities or motivations, or backgrounds—and the villagers are ignored all together. The orders for mercenaries are to eliminate the terrorists—and if necessary, the village. Much more of a wargaming than a roleplaying scenario, would anyone really want to roleplay such a mission? There is no denying the historicity of the situation, but that does not make it any less abhorrent.
—oOo— 
It would be at least a year before Merc: A modern Roleplaying Game of Counter Insurgency was reviewed at the time of its release. In the January 1983 edition of The Space Gamer (No. 59), Brian R. Train thought that the game suffered from a lot of ambiguous rules, saying, “This is quite a good game for an (assumed) first effort – I feel its flaws are due basically to not enough development time and design limits. If a later, revised edition of Merc were put out, I would heartily recommend it. As it is, though, I would warn the buyer to ‘approach with caution’ unless he is already quite familiar with the subject matter, in order to fill in the numerous holes.”
Paul Cockburn gave Merc only a thumbnail review in Imagine No. 9 (December 1983), alongside reviews of other Fantasy Games Unlimited titles—Daredevils, Daredevil Adventures, Vol 2, No. 1 & 2, Merc Supplement 1, and Swords & Sorcery for Chivalry & Sorcery. He wrote, “Merc is clearly designed for the gun nut, the sort of role-player who likes to know just how much of a mess his assault rifle will make of a ‘soft’ target.” before concluding “The book is dedicated to ‘Mad’ Mike Hoare, (Mercenary Extraordinaire)—and I’m sure he’ll be delighted.” In comparison, William A. Barton, writing in Different Worlds Issue 32 (Jan/Feb 1984), gave Merc and its first supplement a more detailed review, in the process identifying several issues with the rules which felt should have been caught in the editing and playtesting stages. He stated that, “If the thought of going into corporate employ for combat missions in third-word countries on a regular basis is appealing to you—or if you desperately need additional information to bolster campaigns based on systems such as Traveller’s Mercenary, which lacks data on most of the situations covered by Merc—FGU’s little game of modern counter-insurgency situations might not prove a bad buy for you at all.” However, he thought that the price was “…[j]ust a bit steep for those not thoroughly committed to modern merc role-playing.”
—oOo—
When it was published in 1981, Merc: A modern Roleplaying Game of Counter Insurgency was a very contemporary roleplaying. After all, Colonel ‘Mad’ Mike Hoare would attempt a coup d’état in the Seychelles in November of that year, the film The Wild Geese and the book it was based upon appeared in 1978, and The Dogs of War, the film based upon the book by Frederick Forsyth, had been released the year before. The concept of mercenaries conducting small unit operations in faraway countries was common, and as Soldiers of Fortune, such men were revered and reviled in equal measure. It is rare that a roleplaying game can be or would be as contemporary. Forty years on, and both Merc and the world it depicts are very much a piece of history—and a troublesome one at that. Today, mercenary work has been corporatised as security work and is rarely in the news as it was then, but the world of Merc is one of post-colonial intervention, even meddling, in Third World countries, and it feels, and is, distasteful. As is mention of the fact that mercenaries served with the Nazis in World War II, as is having to determine height, weight, build, and so on, according to ethnicity, as is the scenario being set in Rhodesia (now Zimbabwe) and being employed by the White government to prevent ‘terrorists’ sneaking over the Zambian border and attacking the railway. This was the situation in Rhodesia, but having to roleplay that now as well as the other elements, means that it is horribly dated, and feels at least horribly inappropriate, if not actually racist. And that is not even mentioning that all of the Player Characters are meant to be male. Of course, it depicts what was a male world, but again, it feels unintentionally misogynist.
In some ways more a military skirmish wargame than a roleplaying game, Merc: A modern Roleplaying Game of Counter Insurgency has not dated well in the forty years since it was originally published. At best, it showcases why sometimes the contemporary is not always the best realm for a roleplaying game to be exploring. It might be serviceable for what it is, and arguably not even that in some places, but the world it depicts and what it involves the Player Characters doing is most definitely a different country, and beyond its limited historical significance as a roleplaying game, perhaps Merc: A modern Roleplaying Game of Counter Insurgency should stay there.

Got a nice treat in the mail last week.

Rahasia is one of the next adventures I will be running in my War of the Witch Queens campaign for Basic-era D&D.  I have a copy of the original B7 version, but I thought a Print on Demand would be nice to have as well.  

I was not wrong.

As with all the PoD modules from the TSR era the maps are not printed on the inside covers but rather as pages.  Not a huge deal to be honest, just make sure you buy the PDF as well and print them out at home.

I had hoped that Rahasia's letter had been cleaned up.  It hasn't. But the source version was difficult to read as well.  I had to retype it so I could have it ready for my War of the Witch Queens game.  

To get this once rare and hard-to-find adventure for just under 12 bucks (I paid $11.99 total) is a really great deal, to be honest. 

Rahasia Links

• Review: B7 Rahasia (BECMI Special)
• A to Z of Adventure! B is for Basic Adventures
• A to Z of Adventure! R is for RPGA Adventures
• Rahasia, Ravenloft and Witches (with witch stats for Karelena, Solorena & Trilena)
• Class Struggles: The Basic/BX/BECMI Witches
• Rahasia's Letter

“Good evening, and once upon a time…” What if these were the opening words of the six o’clock news? What if the news was not only of the latest government initiative, a war in a faraway country, threat of famine in another, a new economic report, a celebrity’s scandalous activities, and all you would expect, but also of Gods walking the Earth, their cults proudly and joyously celebrating festivals dedicated to them, of myths being enacted and reinforced? What if corporations and celebrities and politicians purposefully align their brands with the Gods in the hope gaining their patronage, the love affairs and scandals of the Gods are the subject of the magazines at the supermarket checkout, Valkyries and Amazons work as mercenaries, Satyrs make for the greatest party hosts and revellers, and victorious sports teams give praise to Nike? And not millennia ago, but yesterday, last week, and tomorrow? This is The World, which is just like ours except that the Gods are real, their faiths accepted alongside the more modern monotheistic faiths of ours, and the supernatural is real, but occluded rather than hidden.

The World is one with multiple pantheons—the Aesir, Manitou, Theoi, Netjer, Kami, Tuatha Dé Danann, Óríshá, Devá, Shén, and Teōtl pantheons—often rivals and competitors for the same myths, legends, artefacts, and aspects of The World. As much as they are idolised, it is rare for any one of the Gods to walk the Earth or directly intervene in the affairs of mortals, primarily because they need to maintain a balance between the human belief and worship in them which forms both their personalities and their roles and the danger that the fickle nature of that belief and worship will drastically change their personalities and their roles. Instead, they reside in Overworlds and Underworlds from which they project Terra Incognita, lands of myth once removed from The World, but accessed via Gates such as Bifrost or Fengdu Ghost City, or Axes Mundi, like travelling the aether or sailing the ocean to reach the River Styx. Many of these Terra Incognita parallel real-world locations in The World. For example, Boston’s Catholic churches double as Tuatha sancta, whilst its city parks are strewn with fairy mounds from which lead stray paths where tolls must be paid or riddles answered to again access dreamlike gardens. Sailors carrying a piece of wood or stone from Ireland may find themselves voyaging into Tir na nÓg rather than docking in Boston Harbour. The shining metropolis of Memphis in Egypt with its skyscrapers and maglev mass transit is contrasted with the ancient and macabre necropolis of Saqqara next door, where with the right spells, entry into the Duat, the realm of the dead, may be found.

The feuds and rivalries between the Gods are not the only sources of conflict in The World. The primary conflict is between the Gods and the Titans. The Titans are also deities, but are archetypal embodiments of a particular purview whose pursuit of their primal urges tend to have destructive effects, especially on the mortal realms. Consequently, the Gods, many of them children of the Titans, imprisoned the Titans, who have rattled their chains ever since, more recently weakening them and allowing their more monstrous offspring to enter The World and threaten humanity. Into this conflict step the Scions. Each is the half-divine child of one the Gods and humanity. Many do not know the true nature of their parentage and so explain their amazing abilities and skills as being due natural talents, others have undergone the Visitation, the moment when their true nature and divine lineage is revealed and they are granted their Birthright, gifts from their godly parent.

This is the set-up for Scion: Second Edition, published by Onyx Path Publishing. Inspired by The Wicked + The Divine by Keiron Gillen and Jamie McKelvie, Roger Zelazny’s Lord of Light, American Gods by Neil Gaiman, the television series Carnivàle, and others, this is a contemporary roleplaying game of modern myth and epic heroism in which not only do the gods walk amongst us, they often have children too. These children, the Scions of the gods, born to the magic of yesterday and the promise of tomorrow, are caught up in a war with the Titans, elder beings who rage against the human world and its wayward gods. As children of the gods, the Player Characters protect the interests of their parents on Earth whilst protecting humanity against the ravages of the Titans. It is explored through not one book, but four, each book representing a different Tier. These are Scion: Origin, Scion: Hero, Scion: Demi-God, and Scion: God, which explore the Scions’ growing ties to their own myths and legends and to the mortal world, the latter weakening as the former strengthens, as they become increasingly involved in divine conflicts.

Scion: Origin is the starting point. The Player Characters are mortals, not yet aware of their true nature, even though divine ichor flows through their veins. They might be a faith healer whose powers are truly divine in nature, a stuntman whose physical prowess enables him to throw himself into any situation, a gambler whose luck truly shines, a mercenary for hire always able to get the job done, but part of that will be their unknown divine mature. Alternatively, a Scion may not be the son or daughter of a God, but a Supernatural being. These include Saints, Kitsune, Satyrs, Therianthropes, Wolf-Warriors, and Cu Sith, who may in turn achieve true divinity like the sons and daughters of the Gods.

A Player Character in Scion: Origin is first defined by a Concept and three Deeds—short-term, long term, and band-term—which combine the Scion’s aims and what his player wants. He has three Paths, one each connected to his Origin, Role, and Society/Pantheon, representing decisions the Scion has made or experiences made, the Origin his background, the Role his occupation or area of expertise, and Society/Pantheon his connection to an organisation, cult, or pantheon. Origin Paths include Adventurer, Life of Privilege, Military Brat, or Child of the Street; Role Paths include Charismatic Leader, Detective, and Technology Expert; and Society/Pantheon the Aesir, Manitou, Theoi, Netjer, Kami, Tuatha Dé Danann, Óríshá, Devá, Shén, and Teōtl pantheons and one of its Gods. In the long term, a Path also provides a route along which a player can develop his character, and will be rewarded in doing so with slightly reduced Experience Point costs. He also has Skills and Attributes, and lastly, a Calling and Knacks. The Calling is an archetype such as Creator, Guardian, Hunter, Lover, and so on, each of which has several associated natural or supernatural benefits, or Knacks. For example, ‘The Bare Minimum’ for the Healer Calling, enables a Scion to tend someone safely even without the right tools and ‘Experienced Traveler’ for the Liminal Calling lets a Scion quickly pick up social cues and language even in the remotest of locations, and is unlikely to be seen as out of place. Some Knacks require the expenditure of Momentum—acquired from failed dice rolls, and whilst a Scion can know multiple Knacks, at the Tier of Scion: Origin, he can only have the one active.

Creating a Scion is a matter of making choices building upon the Concept and selected Pantheon, the player deciding which of his Scion’s Paths is primary, secondary, and tertiary and assigning dots to skills based on each Path’s skills. Attributes are divided into three arenas—mental, physical, social, and are assigned dots based whether they are primary, secondary, or tertiary. The Scion’s Approach, how he prefers to act, whether through Force, Finesse, or Resilience, grants further dots in the three associated attributes. The process is not complex, and whilst it is supported by a solid example, it could have been eased with a clearer summary at the start of the process.

Our sample Scion is the Pre-Visitation Elias Castro who made it big as a successful lawyer defending even bigger-name clients, some of whom were guilty and he managed to get off. He made himself rich and famous—even infamous—and then his conscience got to him. Elias began to drink and gamble, putting himself in debt, leading to a vicious circle of terrible clients, drinking, and gambling. Part of him wants to be off the rollercoaster, part of him continues to enjoy the ride.

Name: Elias Castro
Concept: Off-the-deep-end Gambler
Parent: Hermes
Origin Path: Surburbia – Everybody’s gotta grow up somewhere
Role Path: Charismatic Leader – Honey tongued lawyer
Pantheon Path: Hermes – Caught between two worlds
Calling: Trickster (1)

DEEDS
Short-Term Deed: To take one more risk (Courage)
Long-Term Deed: To get sober (Conviction)
Band-Term Deed:

SKILLS
Culture 3 (Rough & the Smooth), Empathy 5 (I can see through you), Integrity 3 (I stand by everything I say), Leadership 2, Persuasion 5 (Would I lie to you?), Subterfuge 4 (God of Gamblers), Technology 1

ATTRIBUTES
Intellect 3 Might 1 Presence 3
Cunning* 4 Dexterity* 2 Manipulation* 5
Resolve 2 Stamina 1 Composure 3

Movement: 2
Defence: 1

KNACKS
Aura of Greatness, Rumour Miller, Wasn’t Me

Mechanically, Scion: Origin employs the Storypath system, which can be best described as a distillation of the Storyteller system—the mechanics of which date all of the way back to Vampire: The Masquerade—and certainly anyone familiar with the Storyteller system will find that it has a lot in common with the Storypath system, except that the Storypath system is simpler and streamlined, designed for slightly cinematic, effect driven play. The core mechanic uses dice pools of ten-sided dice, typically formed from the combination of a skill and an attribute, for example Pilot and Dexterity to fly a helicopter, Survival and Stamina to cross a wilderness, and Persuasion and Manipulation to unobtrusively get someone to do what a character wants. These skill and attribute combinations are designed to be flexible, the aim being any situation is to score one or more Successes, a Success being a result of eight or more (this can be lowered as Scions become more powerful). Rolls of ten are added to the total and a player can roll them again.

To succeed, a player needs to roll at least one Success, and may need to roll more depending upon the Difficulty of the task. Should a Scion succeed, he can increase the number of Successes with an Enhancement, such as having a fast car in a race or the favour of a particular God, but he needs to succeed in order to use the Enhancement. Any Successes generated beyond the Difficulty become Threshold Success and represent how well the character has succeeded. These can be spent by the player to buy off Complications, for example, not attracting the attention of the Police in a car chase, or to purchase Stunts. These can cost nothing, for example, the Inflict Damage Stunt, whereas the Disarm Stunt costs two and the Critical Hit Stunt costs four. Characters in Scion: Second Edition often have Stunts due to their Birthright, such as Loki, which grants the ability to positively influence someone, but only when the character lies, but Birthrights are outside the scope of Scion: Origin.

Under the Storypath system, and thus in Scion: Origin, failure is never complete. Rather, if a player does not roll any Successes, then he receives a Consolation. This can be a ‘Twist of Fate’, which reveals an alternative approach or new information; a ‘Chance Meeting’ introduces a new helpful NPC; or an ‘Unlooked-for Advantage’, an Enhancement which can be used in a future challenge. Alternatively, a character gains Momentum which goes into a collective pot and which can be spent to add extra dice to a dice pool or used to fuel various Knacks possessed by the Scions. Scion: Origin focuses on three areas of action—Action-Adventure, Procedurals, and Intrigue. The first covers combat and is fairly straightforward. The second handles information gathering, which is divided into two categories. Leads start or continue the plot and so do not have to be rolled for by the players, whereas Clues provide extra information, are more challenging to find, and do require a roll. Intrigue covers social interaction and the reading and shifting of the attitudes of both NPCs and player characters.

Scion: Origin is a roleplaying game of supernatural and divine beings, many of varying power and scope. The mechanics cover this with Scale, both Narrative and Dramatic. Narrative Scale covers minor characters and story elements, whilst Dramatic Scale covers situations when it applies to the Player Characters. When Scale comes into play, it adds a number of Enhancements equal to the difference between the two sides involved in the scene. As with the rest of the Storypath system, Enhancements come into play as effects if successes are generated as part of a test.

The advice for Storyguide includes the general and the specific. The general is the fairly standard and includes ignoring or modifying rules she does not like, ensuring that everyone around the table is comfortable with the tone and content of the game being played, and so on. This does feel underwritten and could have included further advice and safety tools such as the X-Card. The specific discusses how to set up a campaign through steps of what it calls the Plot Engine—the seed, the pitch, and deeds and arcs. Naturally, it emphasis how to bring the myth into the game, but keep it subtle because the Scions are not truly divine, so will not be enacting the Saga of Argonauts, the search for the Golden Fleece, or penetrating the maze of the Minotaur—at least not literally. Instead, they might be enacting them with the myth alluded to, but underlying the mundane. So at the Myth Level of Scion: Origin, set at Iron Level—with the divine present in the mundane world as signs and omens which may or may not be real, bordering on Heroic Level—in which the supernatural has begun to become apparent, the search for the Golden Fleece might turn into a road trip to get a fleece jacket back , whilst penetrating the maze might mean a bureaucracy rather a labyrinth. This can be as subtle or not as the story warrants, the Storyguide advised to play with and enforce mythic tropes such as the Rule of Three, Hometown Advantage, Beauty is Only Skin Deep, and so on. To do this, the Storyguide will need to research and adapt myth upon myth, and depending upon the choices made by her players, the mythos of pantheons she is not familiar with. She is also advised to keep it dramatic, including repeating a call to adventure over and over if a Scion ignores it, slightly changing the nature of the call each time. This is delightfully unsubtle and whilst you might not do it in another roleplaying game, it is perfectly in keeping with the Urban Fantasy genre and thus Scion: Origin.

The setting to Scion: Origin is explored in several ways. This includes several pieces of fiction, all by Kieron Gillen—author of The Wicked + Divine—telling the story of Scion discovering the true nature of the world around and her place in it. Along with the sample pre-generated Scions, these a holdover from the roleplaying game’s first edition, they bring a personal perspective to the setting. One of these examples includes a God not given in the list pantheons to show other deities can be included. As well as exploring the nature of The World and its differences with ours, several cities are described, including their links to the Terra Incognito and the Axis Mundi. They include Boston and New York, Kyoto and Memphis, Mexico City and Varanasi, and more. Not all in the same detail, but they do suggest how other cities might be explored in a similar fashion. There is also a good chapter of antagonists, including archetypes, using qualities, flairs (one-shot abilities which require a cool-down period to use again), and utilities to build important NPCs, advice on creating them, and numerous ready-to-play examples. The latter are accompanied by design notes which explore the principles of each mythic creature, suggesting how they can be used and adapted from one pantheon to another.

Rounding out Scion: Origin is a set of appendices. The first explores six Supernatural Paths. These include Saints, Kitsune, Satyrs, Therianthropes, Wolf-Warriors, and Cu Sith. Of these, Therianthropes are lycanthropes, Wolf-Warriors are berserkers, and Cu Sith are fey canines. Guidelines are given on how to adjust them to model other mythical figures, such as adapting the Wolf-Warrior to be a classical Amazon, a Dahomey Amazon, and a Shieldmaiden. These shift Scion: Origin away from being a roleplaying game about the divine, and more to encompass the Urban Fantasy genre, as well as pleasingly demonstrating the flexibility of these archetypes. That said, more of them included in the book would have been nice. The second lists all of the major Gods and their Callings and Purviews for all ten pantheons presented in Scion: Origin. They include the Aesir or Norse Gods, the Manitou or Algonquian pantheon, the Theoi or Greco-Roman pantheon, Netjer or Egyptian pantheon, the Kami or Japanese Gods, the Tuatha Dé Danann or Irish Gods, the Óríshá or Yórúba pantheon, the Devá or Gods of South Asia, the Shén or Chinese pantheon, and Teōtl or Aztec pantheon. These are lists only, and whilst useful, further research upon the part of the Storyguide and her players will be needed beyond this. The third and last appendix provides a conversion guide from the first edition to the second edition of Scion: Origin.

Physically, Scion: Origin is well-written, the full colour artwork throughout is excellent, and the whole affair is attractive. Perhaps in places it feels a little too concise, especially in the examples of the rules. What Scion: Origin is lacking though, is a beginning scenario, which would suggest some idea as to how the designers intend the roleplaying game to be played. However, there is the quick-start for it, A Light Extinguished: A Jumpstart For Scion Second Edition, which could be played with the full rules using Scions of the players’ own design, rather than the pre-generated ones provided in the quick-start. More of a problem is the lack of story hooks or campaign suggestions which might have helped spur the Storyguide’s imagination. Similarly, it would have been interesting to see myths taken from the different pantheons and worked through to see how they could work in Scion: Origin. Doing so would also have been a chance for the designers to showcase some of the less familiar pantheons. Elsewhere an example of play and a full example of combat would both have been helpful.

Scion: Origin is a roleplaying game about playing Gods to be, so it is almost as if Scion: Origin is wanting to pull the Scions onto the step in their Paths to divinity, which technically would be Scion: Hero, but it never goes as far as pulling the setting of The World and the Scions over that threshold. There is a sense of the liminal to Scion: Origin which is not helped by the lack of examples and the Storyguide being left to research, adapt, and develop myths of the pantheons to really get started. This is not to say that the tools are not there for the Storyguide to get started—the Storypath system is suitably cinematic, the advice is solid, and the background is good, but Scion: Origin does not help the Storyguide make that first step into The World easy. However, Scion: Origin is a roleplaying game full of great potential and a roleplaying game in which the Player Characters are also full of great potential. For the Storyguide willing to work myths, Scion: Origin will turn into some potentially mythic stories and adventures.

Doom on the Warden is a scenario for Metamorphosis Alpha: Fantastic Role-Playing Game of Science Fiction Adventures on a Lost Starship. The first Science Fiction roleplaying game and the first post-apocalypse roleplaying game, Metamorphosis Alpha is set aboard the Starship Warden, a generation spaceship which has suffered an unknown catastrophic event which killed the crew and most of the million or so colonists, and left the ship irradiated and many of the survivors and the flora and fauna aboard mutated. Some three centuries later, as Humans, Mutated Humans, Mutated Animals, and Mutated Plants, the Player Characters, knowing nothing of their captive universe, would leave their village to explore strange realm around them, wielding fantastic mutant powers and discovering how to make use of the fantastic devices of the gods and the ancients that is technology, and ultimately learn of their enclosed world. Originally published in 1976, it would go on to influence a whole genre of roleplaying games, starting with Gamma World, right down to Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic from Goodman Games. And it would be Goodman Games which brought the roleplaying game back with the stunning Metamorphosis Alpha Collector’s Edition in 2016, and support the forty-year old roleplaying game with a number of supplements, many which would be collected in the ‘Metamorphosis Alpha Treasure Chest’.
Published following a successful Kickstarter campaign, Doom on the Warden is a special scenario. Written by James M. Ward, the designer of Metamorphosis Alpha, it is intended to be played using between six and eight characters with plenty of play experience behind them and plenty of scavenged equipment and artefacts. It can be played as a convention scenario and there are guidelines towards that end, but Doom on the Warden is definitely a scenario which experienced and long-time players of Metamorphosis Alpha will get the most out of. This is primarily for three reasons and why the scenario is so special. First, the scenario takes place on the fabled Level Zero, the equivalent of a lost Xanadu or Atlantis where some, all, or even none of the answers might be found as to exactly what is going on aboard the Starship Warden. Second, in exploring this Level Zero and discovering its secrets, one potential outcome is that Doom on the Warden could set the Game Master’s campaign on an entirely different course—literally and figuratively. Third, Doom on the Warden is inspired by another scenario all together—S1 Tomb of Horrors.
Published in 1978, and more recently in the 2013 Dungeons of Dread and Tales from the Yawning Portal from 2017, S1, Tomb of Horrors was designed by E. Gary Gygax and has always had the reputation of being the ultimate ‘Deathtrap Dungeon’, being filled with puzzles and traps which when combined with a seeming random factor makes it a challenge that is almost impossible to beat. It would be reprinted multiple times, receive a boxed sequel in the form of Return to the Tomb of Horrors, and its legendary status would ensure that it appeared at number three in Dungeon #116’s “30 Greatest D&D Adventures of All Time” (November, 2004). S1 Tomb of Horrors was always intended to present a challenge to the most experienced of players and James M. Ward has taken the same approach to Doom on the Warden. It is designed to challenge the players of Science Fiction roleplaying games, presenting difficult situations and fearsome opponents, but is different to S1, Tomb of Horrors in a number of ways. Obviously, it is a Science Fiction rather than a fantasy adventure—although buildings and bunkers to be found in the scenario could lend it the description of being a Science Fiction ‘dungeon bash’, but the puzzles and traps to found on Level Zero of the Starship Warden are less random and less arbitrary, and there is not the feeling that there is with S1, Tomb of Horrors that the Game Master—and thus E. Gary Gygax—is trying to kill his players’ characters. Lastly, where the title of S1, Tomb of Horrors suggested that as a scenario it was a combination of horror and fantasy, and was not, the title of Doom on the Warden does not suggest that it is a combination of Science Fiction and horror, but actually is. Doom on the Warden takes its Player Characters from megalophobia to nyctophobia to triskaidekaphobia to phobophobia to simply a sense of quiet dread…
Whether through discovery of their own or learning of it through a myth or legend, perhaps imparted by a tribal shaman, Doom on the Warden begins with the Player Characters at the entrance to ‘heaven’, an engineering hatch through which rises a great chimney, ascending to the home of the Ancients. Inside they discover several bodies of the Ancients—perhaps cast out of Heaven?—and as the chimney turns into a walkway, the Player Characters find themselves seemingly in a land of the giants, a forest of Brobdingnagian proportions, filled with giant trees, hornets the size of fists, and beasts such as rabbits and squirrels large enough to become beasts of burden. As with other levels on the Warden, Level Zero is a large oval shape, approximately eighteen miles across from the bow to the stern and fourteen miles from port to starboard. The level is divided into three concentric ovals or zones, working inward, a forest of giant willows, a berry plantations laid out with patches of mutant berries, and extensive flower gardens full of glens of mutated flowers, each one of different character and invoking a different sense of fear. There are plenty of encounters to be had in each of these zones, depending upon the direction in the Player Characters want to explore. They are free to wander and there is a table of random encounters included for each zone. Most of these encounters will either be dangerous or hostile, but there are plenty which are not and many of these are quite lightly done, adding an element of humour and roleplaying which nicely contrasts with the dangers and hostilities to be found elsewhere. One thing that the Player Characters will discover is that there is something or someone at work on the level—forestry robots work the forests, others work to restore the damage done by the catastrophe centuries ago, and there are transport devices readily and willing to ferry the Player Characters onward.
Ultimately, the Player Characters should make their way to the centre of the level and the island in the centre of Blume Lake—the latter a nod to the brothers who were early investors and co-owners of TSR, Inc. The island is home to a bunker, a place of the Ancients, and clearly an important one. Numerous robots protect it, but whatever intelligence is at work on the Level, it seems to want help… The final scenes of Doom on the Warden will see the Player Characters either save the Starship Warden or…?
Doom on the Warden is a difficult and challenging adventure. There are numerous encounters which will kill the Player Characters, a few simply by design, many through a player’s foolishness, but most through luck and the roll of the dice. As they proceed across this secret level, the players and their characters will be rewarded if their play is both careful and intelligent—and not just in terms of their characters’ survival, for there are plenty of artefacts and equipment to be scavenged too.
There are two ways in which Doom on the Warden can be run. One is as part of an ongoing campaign, the author suggesting that it be run as the midpoint of such a campaign. By that time, the players and their characters should have accumulated plenty of playing experience of Metamorphosis Alpha and the Starship Warden, as well as their characters having collected numerous artefacts, devices, and weapons of the Ancients. Even then, Doom on the Warden may be too challenging a scenario and its degree of lethality too high, such that it may even be a campaign-ending scenario. If so, it might be better off run towards the end of a campaign, or even as the culmination of campaign, more so because if the Player Characters are successful, the scenario sets the campaign and the Starship Warden in a wholly new (old) direction.
The other way of running the Doom on the Warden is as a tournament scenario much as S1 Tomb of Horrors was originally intended. This is run as a more linear scenario, rather than allowing the Player Characters the freedom to roam, the aim being to get them to Blume Lake and the bunker on the island at its centre. As well as advice on running the scenario, the author includes three sets of different pre-generated Player Characters and their motivations for exploring Level Zero aboard the Starship Warden. For the purposes of tournament play, each of the three groups of pre-generated Player Characters begin play with more knowledge about Level Zero than they would if the scenario is being as part of an ongoing campaign. The first group consists of Pure Strain Humans, members of the Vigilist tribe which dates back to the original Metamorphosis Alpha campaign run by James Ward. The Vigilists and their village were created by E. Gary Gygax and their inclusion is a nice tribute to him alongside the author being inspired by S1 Tomb of Horrors. The aim of the Vigilists is to ascend to Heaven and restore the Starship Warden to its original course. The second group consists of Wolfoids from Epsilon City—as detailed in the supplement of the same name—and like the Pure Strain Humans, their aim on Level Zero is to take control of the ship. Lastly, the third group consists of Mutants, drawn from across multiple levels of the Starship Warden, who also want to take control of the ship, primarily to deny control to the Pure Strain Humans. Almost a fifth of Doom on the Warden is dedicated to character sheets for the three different groups. They consist of eight Mutant, one Pure Strain Human, and six Wolfoid pre-generated character sheets, there being just the one Pure Strain Human character sheet because they are easy to roll up in comparison to Mutants and Wolfoids. Lastly, Doom on the Warden includes three pre-generated Player Characters inspired by backers of the Kickstarter.
Physically, at just forty-eight pages, Doom on the Warden is a nicely presented hardback. Both writing and editing are decent and as you would expect from a title from Goodman Games, the range of artwork is excellent. In particular, Peter Mullen’s double-page spreads inside the front and back covers really capture the scope and scale of the Starship Warden. They, like much of the artwork can be used as handouts when running Doom on the Warden.
If there is an issue with Doom on the Warden, it is perhaps that it is difficult to use, that it has the potential to end a campaign. That though is by design and by inspiration, S1 Tomb of Horrors itself suffering from both issues. Fortunately, Doom on the Warden is very much less arbitrary in its play and its design than S1 Tomb of Horrors. If there is anything missing from Doom on the Warden, it is a gallery of its artwork which the Game Master can use as handouts for her players. 
Doom on the Warden is a fantastic scenario. It is big, it is nasty, it is dangerous, and it has the scope to either end a campaign, whether as a Total Party Kill or as the culmination of an ongoing campaign, or set both campaign and the Starship Warden on a wholly new (old) course. It lives up to its inspiration, S1 Tomb of Horrors, but goes beyond it to have the Player Characters’ actions have an effect upon Level Zero of the Starship Warden, on the Starship Warden itself, and on the campaign, and is better for it. Doom on the Warden is deadly and if the Player Characters are not careful or smart, they will get killed, but not necessarily in as arbitrary a fashion as S1 Tomb of Horrors. Which means that if the Player Characters can succeed and overcome the challenges presented in Doom on the Warden, then both they and their players truly have the right to feel a sense of great accomplishment.

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—


The undead have arisen and are dead set on chewing down on any still alive. A handful of Survivors are stuck in the centre of a city, but know if they can get to the helipad, there is a helicopter which they can escape aboard. Between them though, is a cadaver cavalcade with Bullets in short supply—though nearby buildings can be scavenged for further supplies and weapons, and the Survivors are as equally as desperate to escape as each other. This is the set-up for Zombies!!!, which takes a classic zombies movie plot and turns it into a board game designed for between two and six players, aged fifteen plus. Originally published by Journeyman Press in 2001—and by Twilight Creations, Inc., since 2002, Zombies!!! combines dice rolling, hand management, and take-that mechanics with the themes of exploration, combat, and bloody zombie horror!

Open up Zombies!!! and you find a lot of components—thirty map tiles, a fifty-card Event deck, Life and Bullet tokens, six human Survivor miniatures, and a hundred zombie miniatures! Yes, really. A hundred zombie miniatures! The miniatures are simple. The humans all wield shotguns, whilst the zombies are all reaching out for their next victim whilst moaning , “Brainssss…” The map tiles are each four inches square and marked with a three-by-three grid of squares. They depict the streets and buildings of the town where Zombies!!! takes place. Some have named buildings like the Toy Store, Police Station, and Hospital. Each named building indicates the number of zombies found in the building and the number of Life and Bullet tokens which can be scavenged from the building. One map tile is marked with a helicopter. This is the Helipad, the destination which is one of the ways of winning a game of Zombies!!!. The map tiles are done in grey and muted tones, reflecting that this is a town at night.

What stands out though about the production values of Zombies!!! are its Event cards. Painted by Dave Aikins these are superb slices of horror, each depicting a Survivor dealing with the zombies swarming the town. Perhaps sneaking past as in ‘Alternate Food Source’, which stop all zombies from attacking that Survivor until his next turn; confronting them like throwing a ‘Grenade’ in the Army Surplus Store, killing all zombies inside, but inflicting damage on the Survivor too; or healing from their attacks, such as applying a ‘First Aid Kit’, which prevents the Survivor from taking damage when in the Hospital or Drug Store. Many of the cards are designed to complicate the lives of other Survivors. For example, ‘Butter Fingers’ forces a target Survivor to discard a weapon or two Bullets; ‘Your Shoe’s Untied’ halves the target Survivor’s movement roll; and ‘Slight Miscalculation’ fills a target building up with zombies, up to double the amount given on the named map tile. Many of the Event cards work only specific buildings, for example, the aforementioned ‘First Aid Kit’ and ‘Grenade’. Lastly, the rules are done in simple black and white and easy enough to read and understand. The rules run to three pages, the other page devoted to a piece of fiction and a nice little foreword by George Vasilakos, publisher of the zombie roleplaying game, All Flesh Must Be Eaten.

Set-up for Zombies!!! is easy. Each player receives a Survivor miniature, three Life tokens, three Bullet tokens, and three Event cards. The Town Square map tile is placed in the centre of the table, the other map tiles are shuffled and the Helipad tile placed at the bottom. Then on each turn, a player draws a new map tile and places it anywhere on the map as long as any of its roads connect to the adjacent tiles. Zombie miniatures are added to the new tile and building on a name tile as indicated. The player refreshes his hand of Event cards back up to three, rolls a die to determine how far his Survivor can move, fighting any zombies encountered square by square. To defeat a zombie, a player rolls a die and hopes to get a four, five, or six. If he does, the zombie is defeated and added to the player’s collection. If he rolls a one, two, or three, he loses a Life token. If he loses all of his Life tokens, his Survivor miniature is moved back to the Town Square map tile to start again, and he loses any weapons he has from Event cards and half of his accumulated Zombie miniatures. Alternatively, if the player has any Bullet tokens, he can spend them on a one-for-one basis and hopefully increase the value of the roll to survive the combat and continue moving. Lastly, the player rolls a die and moves that number of zombies in any direction he likes. Typically, this will be either away from his Survivor miniature to ease his path on his next turn or towards the Survivor miniature of another player to make his next turn just that bit more difficult, or a mixture of both. During the turn, a player can also play a single Event card and also discard one.

Play continues like this until the Helipad map tile is drawn. This is always placed by the player with the least number of zombies currently in front of him. This will typically be nearer that player’s Survivor miniature than those of his rivals, but at that point, Zombies!!! becomes a race game to get to the Helipad first. The player whose Survivor gets there first wins the game. The other way to win is by defeating and accumulating a total of twenty-five zombies in front of you.

Physically, Zombies!!! is a decently produced game—at least for 2001. The rule book is a bit plain, but the zombie miniatures are fun and the tiles decent, if a little thin. The Event cards are to reiterate, fantastic. They really capture the grim, bloody nature of the situation that the Survivors find themselves in, and they are the exact reason why Zombies!!! would go on to win the 2001 Origins Awards Best Graphic Presentation of a Board Game. They are also the same reason why later editions of Zombies!!! would raise the suggested minimum playing age from twelve to fifteen.

Zombies!!! manages to be both a great game and a terrible game at the same time. It is a great game because it is pure Ameritrash. It is high on luck, it involves lots of deadly combat, has a high take that aspect as everyone plays Event cards against each other, and it does not so much ooze theme, as bash it against the nearest wall and splatter it across the room. It is also easy to learn, easy to teach, and it can be fun to play. It can also be tense because each player is desperately trying to husband both Life and Bullet tokens against the need to search for more, entering the dark confines of buildings to do so. It is a terrible game because it is pure Ameritrash. It involves too much luck and the take that value is high; many of the weapon Event cards only work in specific buildings, which whilst thematic, limits their use; there is too much combat without any real significance, which slows game play—Zombies!!! does feel as if it should be a shorter game; and ultimately, the Survivors are just waiting for the Helipad map tile to be drawn and the race for the endgame to begin, because trying to get the twenty-five zombies necessary to win is really challenging.

In 2021 Zombies!!! is twenty years old. Not only did it win an Origins award, but would receive sixteen expansions, which in turn added a military base, a mall, a school, and more, including new themed map tiles, Event cards, and zombie miniatures. As much as these added theme and further showcased Dave Aikins’ art, they did have the side effect of increasing the space and time needed to play Zombies!!!. Plus, the game received spin-off titles enabled players to play as the zombies hunting humans, deal with an alien invasion, and even have the players face skeletons rather than zombies back in medieval times. Which all serve to highlight how successful Zombies!!! was. Indeed, it would ride the wave of popularity that hit board games in the noughties all the way up to the release of The Walking Dead television series, and beyond… Notably, it would make the jump from specialist shops that supported the hobby into mainstream shops, especially ones that sold CDs, DVDs, and the like. With its eye-catching, action-packed cover, this ensured that Zombies!!! reached a wider audience that it would not have done otherwise.

It is easy to dismiss Zombies!!!, but it has been highly popular and despite its flaws, it is still playable, it is very easy to bring to the table, and it can be fun to play, even after twenty years. Zombies!!! is a still a classic ‘beer ‘n’ pretzels’ treatment of a classic horror situation.
—oOo—
Twilight Games is currently running a campaign for the Zombies!!! 20th Anniversary Edition on Kickstarter. (With thanks to Niamh for her loan of her copy of Zombies!!!, which she can definitely have back.)

Going to the other side of the world from where I have been spending most of my time in the A to Z of monsters to one that always fascinated me back in my younger days.  Flipping through the Monster Manual  I recognized many of the creatures from myth and story, but one was new to me (ok there were more than one, but this one stood out).  

The Rakshasa of Indian myth was new one.  I had read a total of two Indian myths by this time so the Rakshasa was new to me.  Looking at the entry in the Monster Manual you would be excused for thinking they were some sort of cat-headed humanoid.  Much like the similarity named Rakasta from the D&D Expert module Ilse of Dread. 

In my naïve understanding of the differences between what was Advanced Dungeons & Dragons vs to what I was playing Basic Dungeons & Dragons, I tried to reconcile many concepts, and the Rakshasa / Rakasta was one of the round peg in a square hole that got me thinking maybe these, in fact, different creatures and different games.

Now a day I just mix and match as I see fit.

But that was not the last time the Rakshasa was going vex my efforts. 

Soon after I reconciled the whole Basic vs. Advanced D&D thing the next question, and one that stayed with me for a while, is why aren't these guys Devils?  Certainly, they felt like devils, they were Lawful Evil outsiders. They liked Illusion magic.   I played around with that idea for a while but never got it right.  It wasn't until I dropped the whole "Demon vs. Devil" and embraced the "Fiend" idea did it come to me. WotC would end up doing the same thing in D&D 5 in 2014.

Back in 2013 I reclassified these creatures as Yaksas and I was pretty happy with this.   That is until I began my research for my One Man's God series.  For India, I went back and reread the Ramayana. Rakshasas in these are much more complicated. Especially named Rakshasa like Ravana and his sister Shurpanakha.  Plus I learned more about Yaksas.

So. Where does that leave me today?  Well.  I want to do more research, but I think the classification of Rakshasa as a fiend belonging to the group of Asuras, who are sometimes referred to as "anti-gods."

Is this my final take on it?  No.  I am still doing more research and going back to the myths and stories, but I feel like I am on a good path now.

Rakshasa
Medium Fiend (Asura)

Frequency: Very Rare
Number Appearing: 1 (1d4)
Alignment: Chaotic [Lawful Evil]
Movement: 150' (50') [15"]
Armor Class: -4 [23]
Hit Dice: 7d8+21** (53 hp)
THAC0: 13 (+7)
Attacks: 2 claws, 1 bite or special
Damage: 1d3+1 x2, 1d6+1
Special: Illusory appearance, special magic resistance, spell-like powers
Save: Monster 7
Morale: 10 (10)
Treasure Hoard Class: XVII (F) 
XP: 1,250 (OSE) 1,300 (LL)

Str: 14 (+1) Dex: 17 (+2) Con: 18 (+3) Int: 13 (+1) Wis: 16 (+2) Cha: 20 (+4)

Rakshasas belong to a group of evil outsider spirits known as Asuras.  These creatures are an ancient primordial race of fiends that are sometimes known as the "anti-gods".  Their main diet is human flesh and they use deception to get it.   They often appear as animal-headed humanoids, with baboon and tiger being the most common, but they and also appear as multi-headed demons with long tongues and huge tusks.  Regardless of the form they take a curiosity of the rakshasa is that its palms will always appear to be inverted; that is their palms on the "tops" of what humans would consider their hand and thus their fingers appear to bend backward. 

When first encountered a rakshasa will use its ESP to detect whomever the victim trusts, then use illusion to assume that form. Once the victim lets his or her guard down the rakshasa will reveal its true self and attack. They are immune to normal weapons and magical weapons below +3 only do half damage.  The rakshasa can’t be affected or detected by spells of 6th level or lower unless it wishes to be. It has a +2 on saving throws against all other spells and magical effects.  A rakshasa would prefer to avoid combat, but when they do choose to fight they are vicious, enjoying the taste of blood as they fight.

All rakshasa have the following spell-like abilities:

• At will: detect thoughts, disguise self, mage hand, minor illusion
• 3/day each: charm person, detect magic, invisibility, major image, suggestion
• 1/day each: dominate person, fly, plane shift, true seeing

Rakshasas are evil but not unintelligent. They will know when to attack and when to hold back.  A poisoned cup of tea takes care of an enemy just as well as claw to the neck.

Multi-headed Rakshasas: It is believed that the more head a rakshasa the more powerful it is.  Each head would increase the creature's HD by 2 levels and Intelligence by 1 point for each head.  Rakshasas with five or more heads become Large creatures.

--

There is likely a lot more I can say and do with these guys, but this is a great start.  I am pretty happy with this as it is, but I know I am going to discover more.

One of the things I want to establish in my Basic Bestiary II is there are a LOT of different kinds of "demons" out there.  In AD&D we basically had two, then three, major groups, demons (chaotic evil), devils (lawful evil), and the awkwardly named daemons (neutral evil).  When 2nd ed came around the publisher caved to the angry mom crowd the authors came up with the replacements Tanar'ri, Baatezu, and Yugoloths respectively.  While many of us chaffed under these names they did open all the fiends up to reinterpretation.  And that was a good thing.  Also, I preferred Yugoloths over Daemons anyway. 

As the editions continued on the "Species" of fiends also grew.  The official D&D products in the 3e era added the Obyriths and Loumara types of demons to represent to oldest and youngest races respectively (not subject to the OGL) and other companies began to add their own as well. 

I myself have added the Lilim, Eodemon, Shedim, Baalserph, and Calabim fiends.  I have a few more as well.  Personally, I like the idea of all these competing hordes of fiendish creatures, fighting each other as much as they want to fight the power of good. 

Some of the newer types are not included in the SRD or part of the OGL.  For example, I can't use Obyriths in my books. I can use Pazuzu who is described as an Obyrith, I just can say anything about his "species."  I do say he is an "Eodemon" or "Dawn Demon" which is what the obyrtihs are trying to do.  Pazuzu is from world mythology so he is fair game.  Pale Night, a very powerful obyrtih is not.

This brings me to the Qliphoth.  The Qliphoth is open in terms of the Open Gaming License. The term, קְלִיפּוֹת, itself comes from Jewish Kabbalah.  So I am free to use that.   The Qliphoth in Pathfinder have a particular background.  I want something a little different, though I am likely to keep them similar just to aid people moving from system to system.  Rereading "Eodemon" as "Obyrith" is no big deal.  Having a name refer to two completely different sets of creatures is something else.   

Borrowing from the Kabbalah where Qliphoth means "Peels", "Shells" or "Husks" (mostly husks) here is what I am saying the Qliphoth are.

Qliphoth

Æons before the first demons crawled out of the Primordial Chaos or the first Angel fell to become a Baalseraph there was a race of beings of surpassing knowledge, grace, and power. Akin to gods they were and like gods they wished to be.  Not for power or glory, but for the purpose of knowing the fundamental workings of the cosmos to become one with it.  Their success was gained when they came upon a plan to shed all that was impure, unholy, and evil in their natures and discard them.  They sluffed off this evil and became luminous beings of pure energy and light.  Leaving behind the husks of what they were, tainted with unspeakable evils as only an immortal race of super-beings can produce.  These husks began of a "life" of their own. Evil, knowing they had been discarded, and festering in the darkest parts of Chaos.  It took them millennia, and in that time other creatures had come to populate the sinkholes of evil they had called their prison and home.  They despised these creatures as much as they despised their former selves and their new selves.  The Qliphoth had been born.

Qliphoth inhabits the same areas that are inhabited by the Calabim, demons of destruction, the chaotic demons that call the Primordial Chaotic abysses their home.  They share some qualities, immune to poison, possessing telepathy, and darkvision. Like other demons, they take only half damage from electricity and fire, but also acid.  Their minds are so alien to humanoids that they are resistant to any mind-affecting magics like sleep, charm, and hold spells.  All Qliphoth are the stuff of nightmares and only vaguely resemble something the human mind can process, so a save vs. Petrify or Paralysis is required when they are first seen. If the subject fails they cannot attack for 1d4 rounds.

It is said that Qliphoth exists for one reason alone, to reunite with the begins that cast them off.  Each subtype of Qliphoth is connected to a particular individual.  If they can reunite then all of that type will cease to be.  Otherwise, they will attempt to kill and devour the being that abandoned them.  Until such time they will kill and devour anything else in their path of destruction.

The Qliphoth are named for the part of the Tree of Death they are said to have originated in. 

Nehemoth.  These are whisperers or the night specters.  They are the weakest of the qliphoth having only spirit forms.

Gamaliel. These are the "obscene ones" and appear as nightmarish distortions of human figures with exceptionally large and exaggerated sexual organs. They were the unnatural sexual urges cast off by the Luminous Ones.

Samael. These Qliphoh appear as beautiful humans but all their words are lies. They drip poison and are a horror to behold in their true form which takes the shape of nightmares.

A'arab Zaraq. These are the Ravens of Dispersion.  They appear as hideous demon-headed ravens with wings of molten lava. 

Tharirion. These are are the Zomiel, giant demons coated in dark black blood that burns to the touch. They constantly fight amonst themselves unless ordered by a stronger creature.

Golachab. These creatures are demons surrounded by fire. They constantly burn the exist only to cause destruction and pain.

Gha'agsheblah. These creatures are giants with the heads of demonic cats. They eat everything they can.

Sathariel. These creatures are heads surrounded by swirling black mists. Only their glowing red eyes can be seen.  Their riddles cause madness.

Ghagiel. Huge demons with serpents wound around them.  They are found of destroying libraries and other institutions of learning and wisdom. 

Thaumiel. The most powerful of the Qliphoth. The shadow of their former selves.  Appears as a towering beast of shadow and destructive purpose. 

--

Ok. No stat block on this one yes because I am not far enough along yet to merit one.  Plus I need to get these demons to really be scary. Right now they are not.  And I'll need to read some more Kabbalah to get a good feel about what these creatures do and how to tease them apart from other types of demons.

I have some time. This is just the first draft of these guys.

It began with Harvey. 

A little odd piece of trivia for you. Back in High School and College my knick-name was Harvey. Not because of the movie of the same name, but for other reasons too long to get into here. But people always asked me if it was because of the movie. I got tired of hearing about it so I watched the movie, as was my habit, with my dad.  He loved it of course, it had been a you man (younger than I am now) when it came out so he had good memories of it.  I enjoyed it too, but I enjoyed mostly because my dad did.  But that was my first introduction to a "Pooka."

Since then I have run into the pooka in other places. Robin Goodfellow of the Bard's Midsummer Night's Dream is another fine example. The creature always seemed perfect for D&D yet I can't find many examples of it outside of Celtic-focused gamebooks.

Púca
AKA Phooka, Puka, Pwca
Small or Medium Fey (Chaotic)

Frequency: Very Rare
Number Appearing: 1 (1)
Alignment: Neutral [Chaotic Neutral]
Movement: 120' (40') [12"]
Armor Class: 7 [10]
Hit Dice: 2d8+2* (11 hp)
   Small: 2d10+2* (9 hp)
THAC0: 9 (+10)
Attacks: 1 bash 
Damage: 1d6-1
Special: Fey, invisibility, shape-shifter, vulnerable to cold iron
Save: Monster 2
Morale: 10 (NA)
Treasure Hoard Class: None 
XP: 35 (OSE) 47 (LL)

Str: 8 (-1) Dex: 16 (+2) Con: 14 (+1) Int: 12 (0) Wis: 10 (0) Cha: 14 (+1)

The púca (pl. púcaí) is a shape-shifting fey creature related to both goblins and to brownies. The natural shape of the púca is debated by scholars, but it is believed to be a small fey creature with animal-like features such as rabbit years, whiskers and pronounce front teeth.  It is suggested that they even have little horns.

While not an evil creature, the púca delights in causing all sorts of mischief. They can take the shape of any animal they choose from Small to Large. They can even shapeshift into a medium humanoid creature. They will appear human, or elflike, but will have some feature of an animal such as goat legs, rabbit ears, or a tail.  A favorite trick of a púca is to shift to a magnificent horse and tempt humans to ride it. Once the rider is on they burst into breakneck speeds and give their rider a terrifying ride. They will then deposit the confused and worn-out rider miles away from where they started. Another favorite trick is to shift into a small adorable animal such a baby bunny or kitten. When a human picks them up they will begin to yell at them in common speech and shift to a small, but ugly goblin. The púca delights in these pranks and never means to cause injury or harm. 

The púca prefers to avoid all combat situations. They are not strong fighters at all and will use their invisibility to stay out of most fights. They can become invisible at will and remain invisible until attacked. If force they can usually bask with a fist or head bash. The púca's innate fear of iron prevents them from picking up and using any weapon.  Iron weapons cause double damage to a púca.

Púcaí though can be bribed and even befriended if presented with their favorite blackberry wine.  A drunk púca can foretell the future in a limited fashion, resulting in anyone sharing wine and stories with one a +1 on any roll between the sunrise the next day and the next new moon. A drunk púca though is a handful as it randomly shape-shifts throughout the night.

There are tales of evil púca the eat humans or drink their blood. But this is likely some other creature. 

--

So not a creature you are going to go out to pick a fight with.  Not that you can't but there is not much point in that.  While I am keenly aware that D&D can often devolve into a game of just fighting monsters (and I have enjoyed those games in the past too), monsters don't have to exist just to be killed by the PCs.   Our púca here is a good example of that.

The Pegasus Plateau & Other Stories: Seven Ready-to-Play Adventures for RuneQuest is an anthology of scenarios designed for use with RuneQuest: Roleplaying in Glorantha. Published by Chaosium, Inc., the septet is designed for use by a Game Master new to Glorantha and is set across the various lands of the Sartarite tribes in Dragon Pass. The scenarios will see the Player Characters attend a festival and compete in a great competition, rescue clan regalia, come to the aid of a distant village beset by a ghostly monster, help lift a curse from a village in danger of famine, search for missing children in woods infested with ghouls and a skulk, investigate a previously unknown ruin, and venture out onto the Plains of Prax to attend a wedding ceremony. In order to run any of the scenarios, the Game Master will need no more than the core rules for RuneQuest: Roleplaying in Glorantha and the Glorantha Bestiary, although The Glorantha Sourcebook may prove useful for its further information. The scenarios in The Pegasus Plateau & Other Stories do not constitute a campaign, but they can be worked into a campaign, especially one set in and around the hamlet of Apple Lane and the lands of the Colymar tribe, such as RuneQuest Gamemaster Screen Pack and The Smoking Ruin & Other Stories.

The Pegasus Plateau & Other Stories opens with the titular ‘The Pegasus Plateau’. It takes place before the Three Emeralds Temple, which is dedicated to the Ernalda and stands below the Pegasus Plateau, a few miles south of Clearwine. Pegasus Plateau is notable as having been the home to a flight of Hippogriffs, which serve as the spiritual liaison between Earth and Sky and guide the Three Winds into Dragon Pass. Recently, a flight has returned to the plateau and the priestesses of the Three Emeralds Temple have decided to reinstate the Three Winds Celebration, a three-day festival which ends in a race up the almost unclimbable plateau to locate and a chance to bond with a hippogriff and so make it a competitor’s mount. The Player Characters not only have the opportunity to participate in the Three Winds games—and very much should participate—they also have the chance to interact with a number of different NPCs. These include the priestesses at the temple, the various traders attending the festival, and their fellow competitors. This can lead the Player Characters becoming involved with local politics—the nearby Locaem tribe is currently in turmoil following the death of its leadership during the Dragonrise, as well as creating both rivalries and friendships with their fellow competitors.

Ultimately, the winners of the Three Winds games will have to ascend to the top of the plateau, locate the flight of Hippogriffs, and attempt a bonding. The ascent is difficult and involves several unexpected challenges, not least of which can come from the other competitors. Good roleplaying throughout the festival may grant the Player Characters both clues and advantages. ‘The Pegasus Plateau’ is a good scenario, one that gives the Player Characters the opportunity to shine and the chance to really begin building their reputations and legends. After all, how much greater a starting point is there than bonding with a Hippogriff? However, it is a busy scenario with lots going on and several things for the Game Master to keep track off. The Game Master will also need to work with her players to get their characters involved, as unlike the other scenarios in the anthology there is no standard reason for them to attend the festival. Consequently, it feels a little underwritten in places and too busy in others for a scenario designed for a beginning Game Master and whilst it is the anthology’s titular scenario, it does not feel quite right as the opening scenario for the anthology. However the Game Master decides to use ‘The Pegasus Plateau’, its outcome is likely to be memorable for the Player Characters and their players, there are both NPCs which can become recurring members of the campaign, and hooks the Game Master can develop into further adventures.

The second scenario, ‘The Grey Crane’, is perhaps the easiest of the entries in The Pegasus Plateau & Other Stories to work into a campaign built around the content and scenarios contained in the RuneQuest Gamemaster Screen Pack. It takes place in the lands of the Hiording Clan, part of the Colymar tribe which shares Apple Lane with the Varmandi Clan, although it could be moved to another clan altogether. Either way, the Player Characters are summoned to the clan hall of their affiliated clan along with the great and the good of the clan as the chieftain is about to receive a small delegation from Lunar Tarsh under a banner of peace. Not all of the tribe are happy to see the Lunars—and some of the Lunar delegation are unhappy to be there—but the leader of the delegation causes an uproar when he politely asks to see a set of relics, known as the ‘Grey Crane’, sacred to the clan and associated with a clan legend involving the death of an overly ambitious and misguided alchemist known as Miskander. This is a chance for the Player Characters to test out their feelings about the Lunar Empire versus the demands of Sartarite hospitality, persuading the current holder of the relics either way. Whatever the outcome, a week later, the relics are stolen, and the obvious culprits are the Lunar delegation which just visited. The chieftain charges the Player Characters with recovering it, which means travelling to the Lunar Tarshite’s camp and again testing out their feelings about the Lunar Empire, but with the situation reversed.

‘The Grey Crane’ is a much more straightforward scenario. It does the social nuances of both receiving and ‘probably’ acting as a delegation nicely, and whilst the final twist as to where the ‘Grey Crane’ actually is feels a bit like a deus ex machina, it actually works and is explained why. The scenario also does a good job of humanising the Lunar Tarshites and if used with the adventures in the RuneQuest Gamemaster Screen Pack would serve to help pull the Player Characters into their local community.

Previously released to mark the anniversary of the passing of Greg Stafford, ‘The Rattling Wind’ takes the Player Characters east to the remote Antorling Clan hamlet of Farfield in the foothills of the Quivin Mountains near the Dog-Rat Valley. Of late, the village has been attacked by the ‘Rattling Wind’, a ‘monster in the night’ which has killed locals once a week for the last three weeks, its arrival heralded by a thunderous cadence and the shaking of shutters and windows as it passes, disappearing into the night after leaving its victims crushed. The desperate villagers cannot account for what caused this, only pointing to the arrival of a family of Ducks into the area as the only recent event of note.

‘The Rattling Wind’ is a classic action-horror-mystery which uses a well-worn plot, but uses it to good effect. It comes with secrets and consequences and a handful of not always likeable NPCs, including a grumpy Duck! It is more of an investigative scenario than the previous ones in the anthology, leading to a good mix of interaction and fantastic action scenes, as the Player Characters first poke around and then are confronted by the threat as it comes rattling out of the night to take its victims. The solutions to the situation are straightforward, enabling the adventurers to tackle with either brains or brawn. The former will be required early on in the scenario and perhaps later on if the clues are not necessarily found. There is no right way to address the situation in The Rattling Wind and the adventurers are pleasingly not penalised for choosing one means of resolution over another.

There is a degree of the Gothic to ‘Crimson Petals’, the fourth scenario, which takes place in the village of Greyrock, which has been forced to the edge of famine, forcing the inhabitants to wider hunting and even greater acts of raiding on nearby villages. The villagers are suspicious of outsiders and although in desperate need of help, not always welcoming of it, but astute investigation will reveal carefully hidden goat bones, a preponderance of red flowers, a blocked temple to Ernalda, and a sickness of red blotches found on men, women, and children alike. If they get nowhere, it is the children who will be able to supply the Player Characters with certain information, enabling them to investigate further. This is a lovely touch in an investigative scenario which will probably benefit from the inclusion of an Ernaldan priestess and a shaman—if not both.

‘Gloomwillow’s Hollow’ is set in the Woods of the Dead, the lands of Brangbane, the Ghoul King, between Herongreen and Alone, and includes a description of the Highwall Inn, previously detailed in Highwall Inn for HeroQuest and Questworlds to mark the first anniversary of Greg Stafford’s passing and The Coming Storm, a campaign sourcebook for HeroQuest Glorantha. The adventure, actually called ‘The Hollow’, begins with Player Characters in Alone, hired by the city’s desperate mayor to find the more than a dozen children who have disappeared into the nearby Woods of the Dead in the past few weeks—or to avenge their deaths. Harried by strange batrachian creatures, the Player Characters are drawn into the Woods of the Dead where they must explore a twisted, arboreal dungeon which almost seems to be alive as it thrashes about them. ‘The Hollow’ is a dark and twisted adventure which may well put off the Player Characters from entering another forest any time soon.

In some ways, ‘The Ruin on the Stream’ is the strangest adventure in the anthology. Whether due to rumours of strange lights, sounds, or sights or perhaps of indication of a ruin marked on ancient rather than modern maps, the Player Characters are drawn to a rich and verdant area where dinosaurs may be found as well as a set of ancient ruins. There they encounter a Dragonewt ready and willing to communicate and even teach them about the purpose of the ruins. He encourages their participation and if they do, the Player Characters are put through a series of tests, participating in his heroquest and in the process learning secrets of the past. This is a good scenario for any Lhankor Mhy Player Character, who might be nudged to investigate the site following the purchase of some maps available in the earlier ‘The Pegasus Plateau’. The Game Master will probably wants to conduct a little further information in The Glorantha Sourcebook, especially if she want to develop sequels to this scenario.

The last scenario in The Pegasus Plateau & Other Stories is ‘The Pairing Stones’, which takes the Player Characters east out of Sartar and onto the Plains of Prax. They are employed as caravan guards by a Trader Prince of Issaries who is taking a pack train carrying various trade goods to sell at a wedding. This wedding will be held at the Pairing Stones, two natural pillars of differing colours leaning towards each other, where it has become common for those of different tribes and nations to marry. The marriage in question is to be between a prince and princess of the Impala and Bison tribes, the hope being that the union will help end the ongoing feuds between the tribes. Unfortunately, when the pack train arrives at the Pairing Stones, the place is in uproar—the bride-to-be, Delenda Bretta’s Daughter, has been  kidnapped by Rhino Riders! The Player Characters’ employer quickly negotiates their involvement in the search for the missing bride. The situation is, of course, no simple abduction, and the story behind ‘The Pairing Stones’ has a familiar feel, but the scenario is nicely set up, the NPCs’ motivations well described, and the potential outcomes of the scenario explored in some detail. Overall, it is well told and the scenario will introduce Sartarite Player Characters to Prax and Praxian customs.

The Pegasus Plateau & Other Stories does not only include scenarios. In the case of ‘Gloomwillow’s Hollow’, there is extra information about the region in and around the Woods of the Dead and the dangers it contains, principally, of course, the Ghoul King and his ghoul horde. A quartet of adventure seeds provide further reasons for the Player Characters to revisit the area and perhaps put an end to the threats it is home to—though beginning Player Characters are likely to find these threats very challenging. Elsewhere, the anthology describes the Locaem, the tribe upon whose lands upon which the Three Emeralds Temple stands. The description includes its history right up to its difficult relation with the Lunar Empire, walking a fine line between deference and rebellion, until the last king and his family were killed in the Dragonrise. The tribe’s clans are also detailed as are the various places of interest on its territory. The last entry in the anthology is a write-up of ‘Renekot’s Hope’, a small village lying on the route between Tarsh and Dragon Pass. It is a community of refugees, ex-veterans, and exiles wanting to avoid the conflict between Sartar and the Lunar Empire, so is home—and a would-be home—for the disparate types which typically make up the Player Characters. Various NPCs are detailed, accompanied by some excellent illustrations, and along with the village major locations, a trio of potential threats are described, ready for the Game Master to develop. ‘Renekot’s Hope’ is designed as a starting location for the Player Characters and a campaign, though it is in a region which is not as well covered as Sartar and the area around the Colymar tribal lands currently is.

Physically, The Pegasus Plateau & Other Stories is as solidly presented as you would expect for a title for RuneQuest: Roleplaying in Glorantha. The illustrations are excellent throughout, the index good, and sections of boxed text provide supplementary information, such as a guide to the Great Winter or where to look for information about the full Draconic Creation Myth, or advice for the Game Master, such as setting the ‘Goals for this Scene’. Both provide help for the Game Master, especially for the Game Master new to RuneQuest: Roleplaying in Glorantha. Physically, there is an issue with the anthology, it is with the maps. A variety of styles is used, which gives the book a slightly inconsistent feel and the regional map, which shows the placement of the book’s content, is not necessarily an easy read. Certainly, some maps are easier to read than others.

None of the scenarios in The Pegasus Plateau & Other Stories are very long, each one needing two or three sessions to play through. This makes them easy to work into a campaign, especially one set in and around Sartar, though in some cases, they do require a degree of preparation, in some cases more than might be necessary for the beginning Game Master. Some of the stories verge on the cliché, but where this is so, the stories are well-handled, and in all cases, the potential outcomes of each scenario is usefully explored. Overall, the seven scenarios in The Pegasus Plateau & Other Stories: Seven Ready-to-Play Adventures for RuneQuest showcase the diversity of adventures and stories which can be told in Glorantha and a session or three.

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

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


—oOo—

Name: Full Fathom Five
Publisher: Chaosium, Inc.
Author: Paul Fricker

Setting: 1840s South Seas
Product: One-Shot Scenario
What You Get: Sixty page, 5.63 MB Full Colour PDF
Elevator Pitch: Moby Dick meets the Mythos (with Sea Shanties).Plot Hook:  The lure of the sea runs deep.Plot Support: Twenty-three pre-generated Investigator sheets, portraits for all NPCs and Investigators, staging advice for the Keeper, deck plans, glossary and location guide, five handouts, three Mythos NPCs/monsters.Production Values: Clean and tidy, decent deck plans, good handouts, and clearly done pre-generated Investigators.
Pros
# Nautical one-night, Blood Brothers-style one-shot scenario
# Potential convention scenario
# Different historical setting# Twenty-three pre-generated Investigators and/or NPCs
# Nasty series of deaths# Challenging switch between Investigators, victims, and/or NPCs
# Challenging roleplaying of Investigators, victims, and/or NPCs# Strongly plotted# Natty nautical X-card# Sea Shanties

Cons
# Twenty-three pre-generated Investigators and/or NPCs
# Involves whaling (animal cruelty)# Challenging switch between Investigators, victims, and/or NPCs# Heavily plotted# All male cast# Sea Shanties
Conclusion
# Different historical setting
# Challenging roleplaying of Investigators, victims, and/or NPCs# Nasty nautical one-shot# Sea Shanties

Double Feature!

Clash of the Titans (1981)

I can't talk about monsters all month and NOT pop in the stop motion masterpiece of Clash of the Titans.

If you come to this blog I have no doubt you know this move and this story.  So instead lets talk about the production.  Let's get good look at the casting for the gods. Laurence Olivier as Zeus, Claire Bloom as Hera, Ursula Andress as Aphrodite, Maggie Smith as Thetis. Seriously these WERE the gods in 1981. Add in relatively unknown (pre L.A. Law) Harry Hamlin as Perseus and the captivating Judi Bowker as Andromeda then our cast is set.  Throw in some Burgess Meredith for comic relief and a bunch of Ray Harryhausen stop motion creatures and you have a classic.

I am not sure if Medusa was ever depicted as a half snake-woman before this movie, but she sure was after it.  Maybe more so than anything outside of Tolkien has left it's stamp on D&D more than the Greek myths and no movie did as much as Clash of the Titans.  Even people that have never seen the movie know "release the Kraken!"

The film almost has a Disney quality to it with it's score and cinematography. Cinematographer Ted Moore had worked on a lot of 70s Bond films and two of the Sinbad movies, the spiritual forefathers to this one.

Re-watching now (and again) the story holds up and the special effects are more charming than dated. Even Bubo was less annoying in reality than in memory. 

Clash of the Titans (2010)

Ok. The Greek myths endure because they are stories that can be told and retold again and again.  A remake then should always be welcome.  And on paper this one sounds good.  First lets look at our Gods again. Liam Neeson as Zeus, ok do we even care who else is playing the gods at this point?  Ralph "Voldemort" Fiennes as Hades.  Luke Evans (Dracula Unbound, The Hobbit) as Apollo, Danny Huston as Poseidon and Alexander Siddig (Deep Space Nine, Game of Thrones) as Hermes. Ok so, this is all good.  Sam Worthington as Perseus. Ok a good actor, but lacks a certain Harry Hamlin-ness. Alexa Davalos as Andromeda, also good.

Plus we know the special effects were going to be better since this was the new age of CGI.

And...yet it all falls so flat.  Zues' "release the Kracken" doesn't have Sir Laurence Olivier's gravitas and we know Liam Neeson can deliver a line.  Hades...exactly WHY was Hades here anyway? The rest of the gods were blink an you miss them.

The Kracken was underwhelming, but still fun.  Medusa, well. Actually I liked this one. While the first medusa was a spectacle of stop motion puppetry the new one with the face of supermodel Natalia Vodianova seemed more human. It also was one of the first certainly not the last time the story made you feel properly sad for Medusa.  But that is topic for another day really.

The movie is all glitz and spectacle and no heart.  The sign where they toss Bubo from the original movie aside might have felt funny, but it is a good example of the entire film.

Still for a popcorn flick it is fun.  You can even see this as a prequel of sorts to the Greek gods in Wonder Woman.

--

Game Material

Pretty much the entire movie to be honest. The original is so deeply imbedded into the DNA of 80s roleplaying it would be hard to tease out today what came from the Greek myths before this movie vs. after.

Given I kicked off this whole idea with a detailed round-up of the Orc across the editions, it behooves me to at least stat one up.  But which one?  I have a few.  In truth, there is one I have been sitting on for long while now and I should pull it out for a special occasion.  I think that day is today.  Plus I have done so many water-based creatures, time for something different.  

So here is a monster that I talked about in the first days of this blog nearly 12 years ago! The Desert Orc.

Orc, Desert

He was an orc. That was obvious. Though there was something different about him and the others.  What I had originally taken to be smaller, younger orcs were in fact elves. Orcs and elves! Traveling together across this great expanse of desert. More than that, they acted as if they were kin!  They invited us to their tents where one orc and one elf who referred to each other as “brother” went about an elaborate tea ritual where we were served first. The orc and the elf then presented to each other their cups of tea in something akin to prayer or benediction. Once they drank they turned and smiled at each other. Ritual satisfied, they turned to us. The orc, Nom’dosh Thurgash and his elven brother Nom’dosh Etain, both greeted us in the most cultured elven I have heard outside of the Silver Forests.

“Welcome fellow travelers. How may the humble members of the Nom’dosh Clan aid you?” 

- From the Journal of Larina Nix

Male Orc by Jacob BlackmonMedium Humanoid (Orc)
Frequency: Rare
Number Appearing: 2d12 (3d20) with roughly an equal number of Desert Elves
Alignment: Neutral [Lawful Neutral (Good)]
Movement: 120' (40') [12"]
Armor Class: 6 [13]
Hit Dice: 1d8+2 (7 hp)
THAC0: 16 (+3)
Attacks: 1 weapon (halberd) 
Damage: 1d8+2
Special: Can move about in sunlight with no penalty
Save: Monster 1
Morale: 10 (12)
Treasure Hoard Class: I (P) 
XP: 15 (OSE) 15 (LL)

Str: 16 (+2) Dex: 12 (0) Con: 16 (+2) Int: 10 (0) Wis: 10 (2) Cha: 12 (0)

Desert Orcs appear to be normal orcs. However, these orcs have more than just a glint of intelligence in their eyes. While their faces are still animal-like, the fierce scowl has been replaced with a stoic set to their jaw, a purpose in their eyes, and a bearing that can't be described as anything else but noble.  These orcs, with their sandblasted faces and long pale hair strike you as something new and different. 

Desert Orcs are nomads, their ancestral homes in the deserts were destroyed centuries ago by humans. Though they fought back and shook off the yokes of slavery and tyranny by the humans.  They travel with the only other people that helped them in their great revolution, the desert elves.  Desert elves and desert orcs now consider themselves as one people.  They are brothers and every clan has orc and elf members that are equal in all things. 

Once united they then discovered that they had skills that were mutually beneficial to each other. Orcs are still militaristic with small war cadres connected to powerful elf families. For an orc, it is an honor to serve since the more powerful the elf family the stronger their own cadre is respected. The stronger the orc cadre, the more respected the family is and the more likely they will get goods to trade. An elf sultan will travel without his wife for example, but never without his orc escorts.

For every 10 desert orcs, there will be a cadre leader of the 2nd to 4th level.  For every 50 there is an additional war chieftain of 5th to 7th level. For every 100 there is a marshall and for larger groups a general.  Cadres will still fight against each other in mock skirmishes, and while damage will be done they are rarely fatal.  A desert orc will never raise a blade against an elf and likewise, a desert elf will never raise a blade against a desert orc.  Over 1000 years of mutual respect and fighting side by side has torn down the ancient hatred that has infected their rest of their brethren worldwide.

Tea Ritual

There is a ritual that all desert orcs and desert elves will practice.  When camp is made the sultan of the elves and the war chieftain of the orcs will meet in their open tent. The sultan will help the chieftain remove his armor while the war chieftain prepares the tea.  When both tasks are complete, and to do this correctly requires practice so both are done at the same time. The sultan and the chieftain offer each other the tea with the renewed promise that their lines will continue to fight and honor each other. Then the remaining elves and orcs will complete their camps.  If guests are present then they are served first but no elf or orc are allowed to drink until their respective leaders complete their oaths and drink.

The only species they truly distrust are humans. They both recall the tales of depredations at the hands of the Necromancer Kings.  Although humans approaching their camps or caravans with respect will be heard.

--

Ok. So yeah I did it. I made "Good" Orcs.  In fact, I made them 12 years ago.  I also did "Good" kobolds.

Orcs are like Klingons.  Yes, they were two-dimensional and evil in the TOS days, but now we are in the Next Generation and Orcs can be more.  Are violent? Of course! Do they still kill people? They sure can!  Are they inherently evil?  No. Not these orcs.  I have other orcs that are every bit as evil as are demons, but individuals can and do vary.

Likewise I am almost at a point in my games where Drow are going to split off into two separate factions, the evil demon-worshipping one and a less evil faction that wants reunification with the other elves.  

So if Orcs are my Klingons, then to use a metaphor I have been using since the early 80s, elves and drow are my Vulcans and Romulans.  Just like them the Vulcans and Romulans are now a new species, the Nivar.  I don't have a name yet for my combined elves.

I am also adding an occasional bit to some entries, "From the Journal of Larina Nix." Or how these creatures are from the point of view of an adventurer.  I figure my iconic witch is as good as any to present these details.

Published in 2015, Shadow of the Demon Lord is roleplaying game which feels like a combination of Warhammer Fantasy Roleplay and the Dungeons & Dragons Ravenloft setting that is slipping towards Fantasy Flight Games’ Midnight setting by way of The Dying Earth and some steampunk elements and an unhealthy dose of Heavy Metal. Published by Schwalb Entertainment, it combines fast character generation—taking no less than five minutes—and offers a player  plenty of choices in what his character becomes; models short campaigns which take a Player Character from Zero Level to Tenth Level, a group of characters going up in Level at end of each adventure so that a campaign can be played in just eleven sessions or scenarios; and as the titular Demon Lord rattles at the last bars that keep him imprisoned in the Void, his influence continues to despoil land and mind alike, the ‘Shadow’ of the Demon Lord and its effect upon the world can be adjusted and set by the Game Master. This can be something hinted at in prophecies, a rumour threatening in the background, an imminent disaster, or a catastrophe such as a pandemic, famine, earthquakes, the dead living and walking, the Wild hunt abroad in the land, a sudden winter out of season, wild magic warping all and sundry… and more.

Tales of the Demon Lord is a campaign for Shadows of the Demon Lord. It consists of eleven adventures set in the lands of the Northern Reach, the far-flung province of a dying empire, whose capital is Crossings, a city perched on shores of the island-strewn and fae-inhabited lake known as Dark Waters. The city is best known as a fishing port and for its Academy of Engineers established by the Empire long ago and the six faerie spires which have stood since long before the city was built. Originally founded by exiles, refugees, and bandits from the Empire, but since subsumed into its borders before being ignored as a distant province, the council rather than governor-led Crossings acknowledges Sixton as the capital of the province, but otherwise ignores it and decides what is best for the citizens of Crossings. However, as the Shadow of the Demon Lord looms over the Empire, Crossings is not immune to the impending doom, an ancient cult with a branch in the city, the Brotherhood of Shadows, scrambles to find a way to bore a hole into the Void that is home to the Demon Lord, and so release both him and hordes of demons intent on destroying the world. As the Player Characters undertake one task or mission after another, they will cross paths with not only these cultists, but also rival cultists who want to take control of the Brotherhood of Shadows and so claim the glory of successfully summoning their master and doom the world…

Tales of the Demon Lord provides several reasons why the Player Characters might be in Crossings according to their Profession—Academic, Common, Criminal, Martial, Religious, or Wilderness—and quickly lays out the basics of the plot and details Crossings and various NPCs. Some of the city is described in detail, including its government, various districts, and important NPCs. The description is accompanied by a decent map and is enough for the Game Master to run the Tales of the Demon Lord campaign or any other scenarios set within its walls, whilst still leaving plenty of room for the Game Master to add her own content. Very quickly though, Tales of the Demon Lord gets into the first part of its campaign.

The first of the eleven adventures in Tales of the Demon Lord is ‘Harvester of Sorrows’. A priest from Crossings’ poorest district, Grievings, has gone missing following a series of disappearances he was investigating himself, and the Player Characters are asked to find him. A little investigation will reveal that the priest was enquiring about a nearby dilapidated house, once home to an infamous demonologist, and after a run-in with a local gang, there the Player Characters will discover that someone else also has an interest in the house and accidentally released a dread creature that is preying on the inhabitants of the surrounding the district. This is a common aspect of the scenarios which will follow in Tales of the Demon Lord. ‘Harvester of Sorrows’ gets the campaign off to a grim start just as you would expect for Shadow of the Demon Lord, but is not too challenging.

‘Born to Die’ is the first of two scenarios for Novice-level characters. The gang encountered in ‘Harvester of Sorrows’ has kidnapped the daughter of a local merchant and is holding her for ransom, and her father engages the Player Characters to see to her safe return. However, the Player Characters are not the only ones looking for the daughter and will need to deal with at least one other faction to get to her. Mostly set on an island in Dark Waters lake, the first of several scenarios which will take the Player Characters out of Crossings, this is a hostage rescue scenario, which of course, will go wrong. The second scenario for Novice-level characters, ‘The Curious Case of the Errant Swine’, takes the Player Characters truly out of the city to the farm of Farmer Ham, who recently had one of his fine hogs stolen. He wants the thieves caught and his hogs returned, if possible. Signs point towards the nearby Sentinel Wood and investigation there will locate both the culprits and the reasons behind the abductions, but has horrid secrets of his own he wants kept hidden. This scenario has a nice mix of interaction, investigation, and exploration, in particular into a partially-flooded Elvish underground shrine.

‘Temple of Shadows’ sees the Player Characters back in the city as a vile plague sweeps through Purse, Crossings’ wealthiest district, its victims descending into gibbering madness before dying and rising as demon-possessed animated corpses! In this first scenario for Expert-level characters, the fact that house of Pentachus Katandramus, a wealthy aristocrat, has been destroyed in a recent explosion surely cannot be a coincidence and Inquisitor Randolfus and his henchmen, but have not returned. When the Player Characters get past the cordon and descend into the house, they discover another factional feud, this time for control of the vile temple under the remains of the house and what might be hidden there. ‘Temple of Shadows’ is followed by ‘The Moon Spire’, which will take the Player Characters away from Crossings again, this time to the hamlet of Carbuncle, infamous for the physical oddities and infirmities of its inhabitants, and the strange Moon Spire, an elvish tower which appears at the full moon. This is a strange exploration of an even stranger building, the Player Characters needing to find portal after portal to work their way up the tower without being kicked out. Again, this is another search for a relic which needs to be denied to the enemy, but one which will require the Game Master to track carefully where the Player Characters are as there is a high chance of their being separated.

Another theme in Tales of the Demon Lord, that of others uncovering things best left covered, continues with ‘Mines of Madness’. The third scenario for Expert-level characters, this has the Player Characters sent into the Black Hills west of Crossings, where the Dwarf, Gundren the Ironmonger, operates a mine. Ore shipments have stopped coming and he wants to know why. Arriving at the mine, the Player Characters discover that the miners are missing and must descend into the mine to find out what has happened. This scenario is incidental to the campaign, as is the next, but ‘Mines of Madness’ is a decent enough dungeon-bash. The fourth, and last scenario in the campaign for Expert-level characters is ‘In the Name of Love’, which takes place in the rapidly declining town of Verge. This is a more sophisticated piece, one-part sandbox, one-part character study, in which rumours of missing villagers and strangers seen about the place should drive the Player Characters to investigate. A combination of good roleplaying and investigation will reveal that not all is well in Verge as anger has awoken a demon-tree, strangers predate on victims’ tears, and brigands pick at the bones of the settlement in this bloody tragedy.

If the Player Characters have been working to prevent the coming of the Demon Lord and thus the end of the world, if only inadvertently at this point in the campaign, then they find themselves with a rival in ‘Shadows in the Mist’ in this first scenario for Master-level characters. When they return to Crossings, they hear reports of new-borns having gone missing, a new island appearing in the lake, and then a monster haunted fog rolls in and shrouds the city. The island and its inhabitants prove unwelcoming to visitors and when the Player Characters get to close to the culprit, they become the hunted. The steampunk elements of Shadow of the Demon Lord are played up in ‘Off the Rails’, as the provincial governor recruits the Player Characters to investigate a recent train crash and recover several iron titans, prototype mechanical soldiers which might replace the Empire’s Orc soldiery and which were aboard the train. As the Player Characters are investigating the crash site, they are drawn to a nearby village by the sound of an explosion. If they race to investigate, they discover the village under attack by Orc rebels in command of the iron titans—but the villagers have their own means of defence! The likelihood is that a big battle will ensure, either against the Orcs or villagers, not both, and then there is the matter of the remaining rebels to deal with…

The penultimate scenario in Tales of the Demon Lord is ‘Prince of Darkness which brings the summoning of the Demon Lord one step closer, but for the Player Characters, help comes from an unexpected quarter—a reformed demonologist who has escaped Hell! A demon has taken possession of the demonologist’s former stronghold and is tearing open a rift to the Void. With the demonologist’s aid, the Player Characters must enter his stronghold and find a way to defeat the demon or prevent it from opening the Void. The last scenario and campaign finale is ‘The End is Near’ in which the Brotherhood of Shadows moves openly to summon its master as rivals try to take control of the cult’s efforts. The scenario begins with an investigation into the death of Crossings’ mayor, the first of several possible murders in the city, and culminates in the Player Characters confronting several factions in an attempt to bring about the end of the world!

Tales of the Demon Lord is rounded out with ‘Appendix: New Creatures’, which presents several types of an insectoid species encountered in the mines in ‘Mines of Madness’. Physically, Tales of the Demon Lord is well presented, with decent artwork and some nice cartography. In terms of a campaign, Tales of the Demon Lord lives up the grim and bruising tone of Shadow of the Demon Lord, the Player Characters being constantly assailed by demons, cultists, and other vile threats. It feels compact, there being roughly two or four pages per scenario, each of which should provide two or three secessions’ worth of gaming.

However, Tales of the Demon Lord does not quite work as a campaign as written. Some effort is required by the Game Master to provide monster statistics and magical relics when found, but further, the Game Master will need to set up and provide continuing links between the scenarios, as none are provided. A patron is required for the Player Characters at the very least, but once the campaign gets under way, this should be less of an issue. It does add to the set-up requirements for the Game Master though. Similarly, the Game Master will be on her own when comes to the outcome—successful or failed—of any scenario, plus the outcome, if successful, of the campaign. The effects of failure though, is easier to determine. The lack of connective tissue between the scenarios means that not every scenario is specifically connected to the campaign’s story line as well, and whilst in places this means that the campaign is showcasing the ongoing, dying nature of the world around the Player Characters, it also means that sometimes it feels as if they are being shunted off scene whilst other things occur. However, the lack of connective tissue between the scenarios has an advantage too, providing some flexibility in terms of the order in which they can be played—though this would have to be within the confines of the Path the Player Characters are on (Novice, Expert, or Master)—as well as making them easy to extract from the book and either replaced, added to another campaign, or run as a one-shot. With some effort, a Game Master could also adapt the campaign to the roleplaying game of her choice, whether grim and perilous, or not.

Tales of the Demon Lord is as dark and twisted and as grim and perilous a campaign as you would want for Shadow of the Demon Lord. It is a solid, intentionally short campaign, which serves up a good mix of horror and insanity, but which will require more development and set-up than another campaign might not.

Much like the Merrow, this creature has been rummaging around in the back of my mind for the better part of 25 years.  I just never could get it the way I wanted it. I think today is that day! One of the true monsters of Celtic myth and legend, I present to you the Nuckelavee.

Nuckelavee
Large Monstrosity (Aquatic)

Frequency: Very Rare
Number Appearing: 1 (1)
Alignment: Chaotic [Neutral Evil]
Movement: 90' (30') [9"]
   Swim: 180' (60') [18"]
Armor Class: 6 [13]
Hit Dice: 8d8+8* (44 hp)
   Large: 8d10+8* (52 hp)
THAC0: 9 (+10)
Attacks: 2 claws or weapon + Breath Weapon
Damage: 1d4+3 x2 or 1d8+3, 
Special: Breath weapon (fetid gas), dark vision
Save: Monster 8
Morale: 10 (NA)
Treasure Hoard Class: None 
XP: 1,200 (OSE) 1,240 (LL)

Str: 18 (+3) Dex: 13 (+1) Con: 15 (+1) Int: 10 (0) Wis: 10 (0) Cha: 4 (-2)

The nuckelavee is a monster in the truest sense of the word. It appears to be a large horse with a human rider, but closer inspection reveals the true horror of the creature.  The "rider" and "horse" are the same creature.  The "human" part has a huge grinning mouth with arms that are so long that its claws drag the ground.  The "horse" part has legs that end in both fins and hooves, giving it the ability to move about on land and the sea. The "horse" head has one huge eye in the middle of its forehead.  The entire creature is skinless and the muscles and sinew are visible. The creature is covered in black blood.

The nuckelavee hates all life and will attack anything in its path.  It prefers to stay in the salt-water sea, freshwater is treated like acid to it (1d4 hp of damage per vial), so it will not come ashore when it is raining.  It hates the smell of burning seaweed and will come ashore to put out any fires burning seaweed and kill whoever is doing the burning.

Nuckelavee will attack with their claws most times. They are capable of wielding weapons and will choose a club or spear, but they prefer to use their own claws. They are strong (Strength 18) but only average intelligence (10).  The worst attack of the nuckelavee is their fetid breath.  From their horse head, they can breathe out a fetid poisonous gas that affects all in a 60' long, 30' wide (5' base) cone. Victims must save vs. Poison.  Those at or under 7 HD must save or take 4d8 hp damage (save for half), those over 7 HD save or take 2d8 hp of damage (save for none).  Anyone failing the save will incapacitate for 2d8 rounds and unable to move or attack. 

Nuckelavee prefer the flesh of warm-blooded creatures. It ignores merrows and selkies, though they can usually out-swim the nuckelavee in the sea and outrun them on the land.  

Water Horses

The nuckelavee would be a natural enemy to the kelpie and likewise, save for the fact that nuckelavees can not enter fresh water and kelpies rare venture out into the sea. There seems to be a relationship between the nuckelavee and the each-uisge.  The nuckelavee is also related, somewhat distantly, to the nøkk, though both creatures refuse to acknowledge this.  The best way to offend a nøkk is to ask if it is a nuckelavee.  Kelpies, each-uisge, nuckelavees, and nøkks are all either descended from a common creature or have all adapted similar forms as a means of capturing prey.  

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Returning today are the Ability scores. I played around with them a bit more and have been getting some feedback so I wanted to pull them back out.  I think I am going to keep them in the stat block.

This creature is large and therefore has two lines for HD/hp.  In my games I will use the increased hp total. 

All in all I am happy with this one!

AND

If you are doing the A to Z Challenge Scavenger Hunt, you just found a Dragon!