Another creature from the stories and myths of Scotland.  This time a creature that is either a faerie or a ghost.  While the desire is there to classify everything, sometime the creature in question has many properties and game designers do the best they can.  So today I am presenting the Glaistig; the Woman in Green or the Witch of the Wood. 

Like the Banshee, the Glaistig is one of many different types of faerie women that might also be ghosts that inhabit the stories, myths, and legends of the British Isles. While the Banshee can be slotted, game-wise, as a ghost, the Glaistig makes more sense as a living faerie creature.

Woman in Green by Gary Dupuis

Glastig
aka Witch of the Wood, Green Lady
Medium Fey

Frequency: Very Rare
Number Appearing: 1 (1)
Alignment: Neutral [Chaotic Neutral 75%, Chaotic Good 20%, Chaotic Evil 5%)
Movement: 120' (40') [12"]
Armor Class: 7 [12]
Hit Dice: 9d8+9** (50 hp)
THAC0: 12 (+7)
Attacks: 1 slam or spell
Damage: 1d6+2
Special: Witch spells, Fey qualities, become ethereal at will. 
Save: Witch 9
Morale: 10 (10)
Treasure Hoard Class: None 
XP: 2,300 (OSE) 2,400 (LL)

A glastig is a green-skinned woman with the legs of a donkey. She will often hide these in long dresses. Since she has the ability to become ethereal she is often thought of as a ghost. 

She prefers not to attack physically but can do so by launching herself with her powerful legs to slam into a creature. Otherwise, she can cast spells as a Witch of the 7th level and make herself ethereal at will.

As a fey creature, she is immune to the effects of a ghoul's paralysis. Silver or magic weapons are required to hit. Cold iron weapons can be used and will do double damage.  

The glastig protects her lands and area fiercely. She will attack invaders but can aid those that also protect her lands. Glastigs will work with other fey creatures to keep their lands safe.  For this and her magic use, they are often called "the witch of the woods." They are also known as "The Green Lady" due to their skin color and the color they are favored to wear. 

To appease a glastig it is common to leave a bit of milk in a bowl on a rock near where the glastig is believed to live.  When no one can see the glastig will drink the milk and add whoever left it out to her circle of protection and be inclined to be Good towards them.  If the milk is spoiled when left out the glastig will disfavor the humans and become Evil.  Most times the glastig is neutral to humans. 

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She is a bit like a dryad and a bit like a nymph but a lot more powerful.  This is not the first monster I have made that uses witch magic, nor will it be the last.

My interest in RPGs and D&D, in particular, came from my love of Greek myths.  I was already a fan of Greek myths when I first picked up a copy of the AD&D Monster Manual all the way back in 1979.   So I could not in good conscious even think about bringing a new monster book to life if it did not somehow honor both my love for those old myths and that original book.   So to that end, here is the Faun, a creature from Greek/Roman myths and related to the satyr of those myths and the Monster Manual.

Faun
Medium Fey

   Faun  Greater Faun Frequency:   Very Rare  Very Rare Number Appearing:   1d4 (1d8)  1d2 (1d6) Alignment:   Neutral (Chaotic Good)   Neutral (Chaotic Neutral) Movement:   120' (40') [12"]  180' (60') [18"] Armor Class:   6 [13]  4 [15] Hit Dice:   1d8+1* (6 hp)
 4d8+4* (22 hp) THAC0:   18 (+1)  15 (+4) Attacks:   1 weapon, song  1 weapon, song Damage:   1d6  1d6+1 Special:   Song, fey qualities   Song, fey qualities Save:   Elf 1  Elf 4 Morale:   8 (8)  8 (10) Treasure Hoard Class:   XVI (G)  XVI (G) XP:   15 (OSE), 15 (LL)   200 (OSE), 215 (LL)

Fauns are fae people of the forest who love to entertain guests and go on dangerous quests. They can be rash and temperamental, and sometimes are reckless with the powers of their music. They are friendlier to men than most faeries, though are quickly angered by the destruction of woodland.  Fauns, like satyrs, are the male counterparts to nymphs and dryads.  When not playing music or drinking they are usually found chasing after nymphs.  The offspring of a faun and nymph is a satyr if male and a nymph if female.  As a creature of the fey, the faun is vulnerable to iron. They take double damage from any weapon made from cold iron.  Additionally, they are immune to the effects of charm, sleep or hold spells unless they are cast by another fey creature of greater level/HD.

Fauns are the wilder cousins of the satyr.  Like satyrs, they are rarely surprised (1 on a 1d8).  Fauns all play musical instruments like pan pipes, flutes, or drums.  If a faun plays everyone that hears must make a save vs. Spells or be affected by an Irresistible Dance spell. If the faun is with a mixed group of satyrs then their song of charm, fear, or sleep can also be in effect, with separate saves.  

A faun will engage in combat to protect their lands, their fellow fauns, and nymphs or their herds of goats.  Typically a faun is very much the stereotype of a lover and not a fighter.  They can be bribed with wine, the stronger the better.  

A faun appears to be much like a satyr.  They are medium-sized with human-like broad hairy chests and muscular arms.  Their lower half is that of a goat.  Their faces are a combination of elf and goat with elongated faces, goat-like years and horns, and a beard. 

Greater Faun:  Greater Fauns are the larger and wilder varieties of fauns and satyrs.  They are stronger and tougher than normal fauns and will act as leaders.   Greater Fauns will claim descent from some god, typically Pan or some other primal nature diety. 

Each greater faun has a True Name. Anyone that knows the True Name of a greater faun has power over him as per the spell Suggestion. 

Some greater fauns are shamans and can also cast spells as a 2nd level druid.

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So a tabled monster block today with two varieties.  These are proper fae creatures so they have the vulnerability to iron. 

Doing this table has pointed out some deficiencies in my approach though.
For starters, my Treasure Type/Horde Class needs some work.  While XVI (G) makes sense to anyone that plays Labyrinth Lord and/or OSE, it is fairly inelegant. One, XVI or G would suffice.  I guess I could just put the treasure types in the back of the book and work it out that way. 

Secondly, and this is related to the same larger issue, my XP values are also a bit of an eyesore.  Yes I am happy with the numbers I am getting.  But while OSE and LL are covered this does nothing for the GM using say Swords &Wizardry or AD&D.  I could just leave it blank, but XP listings are one of the really great things about later books and editions of the game.

Likely there will be a table in the back of the book with all the monsters listed with their XP values for various systems.  That makes the most sense.  But likely I will leave at least one there. 

Back in September, I did a Shadow Week where I looked at various types of Shadow Elves for the various editions of the game.  I mentioned then I had my own in the works.  Well, it took me a bit, but here they are.  Meet the Shadow Elves.  Masters of their arts, but their art can kill you.

Elf, Shadow
aka Umbral Elf
Medium Humanoid (Fey)

Frequency: Very Rare
Number Appearing: 1d8 (2d8)
Alignment: Neutral [Chaotic Neutral]
Movement: 120' (40') [12"]
Armor Class: 8 [11]
Hit Dice: 1d8+1* (6 hp)
THAC0: 18 (+1)
Attacks: 1 weapon or special
Damage: 1d6
Special: See below; Fear immunity
Save: Elf 1
Morale: 8 (10)
Treasure Hoard Class: XX (C) 
XP: 19 (OSE) 21 (LL)

Shadow Elves trace their ancestry back to the sundering of the elves and the elvish diaspora.  Where some elves fled to the forests of the mortal world, some to deep underground, and others back to their ancestral lands in Faerie, these elves fled to the in-between planes of shadow.  Here they changed and became something different than their kin. Like the Ranagwith or "Free Elves" they are rarely encountered. 

The Umbral Elves as they are also known are tall, 6 to 6 1/2 feet tall, but thin, weighing only 150 lbs.  Their skin is pale white to pale blues. Their hair varies from white to pale blonds to dark blacks.  Redheads are rare and are taken as a great omen of change.  They speak Elven and any other languages their intelligence scores allow.   Due to their life living in the shadowy planes the shadow elf can also see the spirits of the dead and can speak to them (per the Speak to Dead spell).  Shadow elves have infravision to 90' and low light vision to 120'.  They are not unduly affected by sunlight as the dark elves are but they still do not prefer it.  Umbral elves are not just immune to the touch of ghouls they are also immune to the touch of ghasts as well. 

These elves are like other elves in that they produce great art, but their art, songs, and poems are all of a melancholic sort.  It is said that listing to a Shadow Elf aria can move one to tears. Listing to an opera can move one to suicide.   Suicides among shadow elf opera singers are so widespread it has become part of their cultural history. After a perfect performance, knowing they can never achieve more the singer will end their life.  Likewise, all their art is breathtakingly beautiful but heartbroken.  This has had an effect on the shadow elves as a people. They are completely immune to all fear.  Even magical fear, such as from dragons or various fiends, has the effect of angering shadow elves.  A failed save on any fear effect only causes them to pause for around. Then they react with anger.

Shadow elves do not have clerics. They feel the gods have forsaken them so they no longer offer them worship or devotion. They do have witches and warlocks that have patrons of primal forces, as well as wizards.  For every group of 8 or more shadow elves, one will be a wizard or warlock of the 2nd level.  For every group of 12 or more, there will be a wizard or warlock of 3rd level or higher.  Shadow elves can take any class elves can save for cleric or paladin. Shadow elves find the "light" elves too frivolous and the "dark" elves too brutal.  They do get along well enough with the Ranagwithe (Free Elves) as they see them as fellow outsiders. 

Shadow elves, like all elves, are excellent archers, but most prefer not to use missile attacks if they can avoid it. Shadow elves have strict rules of honorable combat.  They use specially designed short swords that they dedicate their lives to mastering.  The shadow elf warrior prefers hand-to-hand combat.  He considers combat to be the highest form of his art and his opponent should not be considered his enemy but something more akin to a dancing partner.  Combat without a combatant is only practice.  To this end, despite their chaotic alignments, the shadow elf will fight with honor.  For example, if their opponent drops or breaks their weapon they will wait till they gain a new one.  If they are fighting with a shield and their opponent does not have one the shadow elf will drop their shield as well.  Older (higher level) shadow elves will be covered with scars from practice and previous battles. Shadow elves have even been known to weep openly at the death of a particularly powerful combatant; knowing in the pursuit of their own "art" they have destroyed another "artist."

Shadow Elves are found living in underground lairs, particularly dense and dark forests, and in the lands that overlap the Faerie World, the mortal world, and the shadow worlds.

--

Elves are as ubiquitous to the game as dragons are.  I wanted an elf that was not something we have seen before.  These are not the light elves of Tolkien or the dark elves of myth or even the Drow of Gygax or Salvatore.  But they are not the Shadow Elves of Mystara either. 

Elves in D&D are immune to the touch of ghouls.  Shadow Elves, because part of their origin is the Plane of Shadow, extend that to Ghasts as well. 

Since they are elves and not faerie creatures proper their type is Humanoid (Fey).  They have some fey properties, but not all.  For example, there are no hospitality codes for these creatures and they can handle iron with no issues.  

Tomorrow I'll post a proper Fey creature, or maybe two!

I am SO glad I watched Dragonslayer over the weekend because it really puts me in the mood for today's monster.  

Dragons are a huge part of the games we play at home. My oldest son LOVES dragons and has, well, I have no idea how many, scattered all over the place. His games are filled with dragons.  So when I want to add new dragons to my games or books, I first turn to him.  Especially if I want a fresh take.

I remember the Purple, Yellow, and Orange dragons from Dragon Magazine 65 and then updated in Dragon magazine 248.   I included my own take on an Orange dragon in my Pumpkin Spice Witch book.   This dragon was originally conceived for my High Witchcraft book.  This is the dragon that has given us so many draconic bloodline sorcerers.

Dragon, Purple
aka Draco Arcanis Occultis, Arcane Dragon
Huge Dragon

Frequency: Very Rare
Number Appearing: 1 (1)
Alignment: Chaotic [Neutral Evil]
Movement: 180' (60') [18"]
  Fly: 240' (80') [24"]
  Burrow: 90' (30') [9"]
Armor Class: 0 [19]
Hit Dice: 10d8+20* (65 hp)
  Huge: 10d12+20** (85 hp)
THAC0: 11 (+8)
Attacks: 2 claws, 1 bite, + special
Damage: 1d6+3x2, 2d8+3
Special: Breath weapon (magical energy), dragon fear, low-light vision (120’), magic use
Save: Monster 10
Morale: 10 (10)
Treasure Hoard Class: XV (H) 
XP: 2,300 (OSE) 2,400 (LL)

Habitat: Underground or Urban areas
Probability Asleep: 25% 
Probability of Speech: 100%
Breath Weapon: 75’ long, 5' wide beam of magical energy
Spells: First: 3, Second: 3, Third: 3, Fouth: 2, Fifth: 1

Purple dragons are a very rare mutation among prismatic dragons.  They are born mostly to red, blue, or black dragons and rarely among green or white. Even then only 5% of all dragon births can result in a purple dragon.  It is believed they are born most often in areas of high magic.  Since all of the prismatic dragons are very vain, the wyrmling purple is often abandoned. Green dragons usually kill them outright.  The ones that survive learn that their most important weapon is guile, trickery, and deceit. 

Like all dragons, the purple can fight with its claws and bite. Their breath weapon is a 75' long beam of magical energy. They will also fight with spells in any form. 

The purple dragons are among the smartest of all dragon-kind. They will always speak and use magic. They can cast spells as a magic-user/wizard of 9th level. These dragons are fond of casting Polymorph Self  (fourth level) and masquerading as a human.  In this form, they will be found living in cities where they will often study magic and accumulate wealth.  Their lairs will have an underground area where they will keep their treasures and sleep in their dragon form.

These dragons are very solitary in regards to other dragons, but they do keep humanoids nearby. These are often servants, slaves, thralls, and the occasional victim.  They have been known to also become the patrons of Draconic Warlocks and Witches.  Wizards will also seek them out for advanced training in the magical arts.  A purple dragon can speak draconic, common, its alignment language, and up to four more languages.  Typically elven is learned. 

--

This block has the extra details needed for dragons.  Additionally, we see our first Huge creature.  It can use the normal d8 for hp if you wish to stick to the rules of your particular Basic game, or you can use a d12 instead to reflect its larger size. In the case of this 10 HD monster, the difference is 20 hp.

AND

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

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 be 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. However, fantasy is not the only genre to be explored in the pages of the fanzine renaissance.
Just as a number of fanzines have appeared to support Goodman Games’ Dungeon Crawl Classics Role Playing Game, such as Crawl!, a number have also appeared to support Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic and the Post-Apocalypse genre. For example, Bunker, Gamma Zine, and Meandering. The latest is Scientific Barbarian, its content written for use with the Mutant Crawl Classics Roleplaying Game and published by Mudpuppy Games. Edited by Jim Wampler, designer of the Mutant Crawl Classics Roleplaying Game, its contents can of course, be adapted to other Post-Apocalypse roleplaying games.
Scientific Barbarian #1 was published in the autumn of 2020 following a successful Kickstarter campaign. As you would expect, it comes full of robots, mutations and maladies, and monsters aplenty, as well as a sizable techno-dungeon. With its excellent cover aping the look of Scientific American, Scientific Barbarian #1 is cleanly laid out, illustrated with a range of decent artwork, and is an easy read. It opens with ‘Bunker Briefings’, an editorial in which Wampler sets out his stall, stating that the fanzine is designed to support the ‘Mutant Murder Hobo’ style of play and welcomes those who have come across the fantasy genre to this one. The latter theme is continued with ‘Apocalyptic Visions – It’s Okay to have 87 Eyes’, in which Tim Kask extolls the virtues of mutations in Post-Apocalypse roleplaying games, particularly the joy of playing and roleplaying defects.
The contents get a proper start with Levi Combs’ ‘Ecology of the Crater Mutant’. This describes the barbarous, hardy mutants who worship and are mutated by a great source of radiation located at the heart of the crater where they live. Their faith in The Gospel of the Glow drives them to kidnap others and expose them to the radiation and so transform them into members of the ‘family’. The Crater Mutants are cross between Orcs and hillbillies and definitely support the ‘Mutant Murder Hobo’ style of play. It does feel overwritten, as if it could have been shorter, but that tends to be the way of such ecology articles. It is followed by ‘S.A.B.L.E. Rangers – Security Automations for Basic Law Enforcement’ by Michael Stewart and Elizabeth Stewart which details a law enforcement initiative begun in the ‘before times’ of the thirtieth century, aiming to combine the impartial judgement of A.I. law enforcement with the moral oversight of a human partner, thus mitigating human prejudices and sympathies. The programme developer, Automates, Inc., built several prototypes before the Great Disaster which buried its manufacturing complexes. Recent tectonic shifting has exposed the complexes, allowing the prototypes, each in the friendly form of a robotic horse, to escape and begin their duties as law enforcement devices. A S.A.B.L.E. Ranger unit—of which three types are detailed in the article—might already be found with a partner sitting astride it, but the obvious option and the one explored more fully is ‘A Sentient and the Horse’, in which the robot teams up with a Player Character. In addition to the obvious nod to A Dog and his Boy, the article nicely explores the idea and sets up great roleplaying potential between the Player Character and the S.A.B.L.E. Ranger unit, effectively giving the Judge a Player Character of her own to play. This would lend itself to play with just the Judge and a single player, but it could also work with another player roleplaying the S.A.B.L.E. Ranger unit too, although that is not supported in the article. Which is a pity as it is a missed opportunity. There is a Saturday morning cartoon and very American Wild West feel to the article, but otherwise an engaging piece.
‘Mutant Maladies’ by Skeeter Green is a preview of a forthcoming supplement of the same name which adds diseases and contagions to the Post Apocalypse. It gives stats and effects for several diseases, including AMD-6 or ‘Marrowblight’, which hardens the bone marrow of Pure Strain Humans, or Ultra-Coagulation or ‘Thickblood’, which turns the liquid blood of its sufferers into goop. The three diseases are described in some detail, but whilst their utility is obvious, it may be limited, since the Judge may not want to expose her Player Characters to such maladies too often, since their debilitating effects may impede game play. This is not to say that the diseases are not well designed or that the article is not decently written, but of limited scope. More useful then, is ‘Glowing Good Looks’ by James M. Ward, the designer of both Metamorphosis Alpha and Gamma World, which presents a set of three tables to be rolled on whenever a saving throw versus radiation is missed or fumbled. There are tables for humanoids, winged-folk, and four-legged mutants, all of which provide minor mutations. As promised, these are quick and easy, and sufficiently utilitarian that they work with any post-apocalyptic roleplaying game.
Pride of place in Scientific Barbarian #1 goes to Jim Wampler’s ‘The Gene Looms of Janeck-Vac’. Designed for Player Characters of Fourth and Fifth Levels, this scenario has a traditional set-up—a village suddenly imperilled by a rash of strange creatures with new mutations appearing from the nearby jungles and the Player Characters ordered by the tribal elders to investigate and put a stop to it. After a few encounters in the jungle with these strange creatures—swarms of Batslugs, Spiderhogs, and Cobrapedes—they come upon a caldera and below that a facility of the ancients full of strange devices the interfering of which will have unfathomable consequences for the Player Characters, but then again, they are Player Characters and this is the Mutant Crawl Classics Roleplaying Game, so of course they will interfere. As the title of the scenario suggests, the underground complex is a genetics laboratory, and if they are careful, there are lots of secrets to be discovered and even the real Janeck-Vac to be encountered. If they are really lucky, there are some singular artefacts of the Ancients which would make fine additions to the Player Characters’ equipment and provide some excellent roleplaying opportunities into the bargain. As well as a decent set of floorplans for the facility, the scenario is accompanied by stats and write-ups for all eight of the weird mutant strains that the genetics laboratory has released to date, which of course, could appear elsewhere in the Omega-Terra of the Judge’s own campaign. The structure of the scenario does feel familiar, having been seen in multiple scenarios for Mutant Crawl Classics Roleplaying Game and other Post-Apocalypse roleplaying games before, but it is nicely detailed and adds a twist or two on the threat from the past coming back to haunt the future.
The monsters found in ‘The Gene Looms of Janeck-Vac’ are not the only ones to be found in Scientific Barbarian #1. ‘Creature Cryptology’ provides a half dozen new creatures which the Judge can include in her campaign. Some, like the ‘Eye-Cap’ is a weird variation upon a Dungeons & Dragons-style monster, the occasionally mobile, sentient fungus covered in chitinous plates and eyestalks which grant it 360° vision and which can launch a cloud of tiny flying eye spores each capable of firing an infrared laser beam! This is a nasty creature whose main means of attack can only be targeted by area effect attacks. Others are particular to the genre and the setting, such as the ‘Gem Thief’, a holographic data crystal which attempts to mind control its current possessor and subtly directs him to where others of its kind might be found. In fact, each ‘Gem Thief’ once belonged to a lost A.I. deity and seeks to find others of its kind to resurrect the A.I. deity. The nature and identity of the lost A.I. deity is left up to the Judge to decide. Overall, the selection to be found in ‘Creature Cryptology’ is variable in terms of quality or usefulness, but that is the nature of the fanzine, plus the Judge can easily adjust any one of the new creatures in the issue.
Rounding out Scientific Barbarian #1 is a ‘Retro-Review’ of Jack Kirby’s Kamandi, the Last Boy on Earth. Written by Scott Robinson, the review focusses mainly on the reviewer’s personal reaction to the collected omnibus—now and original issues when he was thirteen years old. The result is oddly uninformative and so not all that helpful to the reader when determining his interest in Kamandi, the Last Boy on Earth. This could have been addressed by the editor as well. The review is followed by a pair of cartoon strips, one an excerpt from the comic strip, Knights of the Dinner Table, the other entitled ‘Onto the Wasteland…’ Together they bring the first issue of Scientific Barbarian #1 to an entertaining close.
Scientific Barbarian #1 is something of a curate’s egg—partly bad and partly good. Or rather partly merely adequate and partly good. There are perhaps a few too many monsters in the issue, what with monsters in both the scenario and their department, the review could have been much tighter, and other articles shorter. Oddly, for a fanzine dedicated to Mutant Crawl Classics Roleplaying Game, there is a lack of new technology described in its pages. However, the table of new mutations is efficient and useful, the write-up and development of the S.A.B.L.E. Ranger unit concept is nicely done, and of course, ‘The Gene Looms of Janeck-Vac’ is a decent scenario with some hidden depths to it. Overall, the good definitely outweighs the not so good and just like the magazine it pastiches, Scientific Barbarian #1 is the first issue of fanzine which should be worth subscribing to, whatever Post-Apocalypse roleplaying game you already have a subscription for.

On the tail of 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 Dungeon Master 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.

Echoes From Fomalhaut is a fanzine of a different stripe. Published and edited by Gabor Lux, it is a Hungarian fanzine which focuses on ‘Advanced’ fantasy roleplaying games, such as Advanced Dungeons & Dragons and Advanced Labyrinth. The inaugural issue, Echoes From Fomalhaut #01: Beware the Beekeeper!, published in March, 2018, presented a solid mix of dungeons, adventures, and various articles designed to present ‘good vanilla’, that is, standard fantasy, but with a heart. Published in August, 2018, the second issue, Echoes From Fomalhaut #02: Gont, Nest of Spies continued this trend with content mostly drawn from the publisher’s own campaign, but as decent as its content was, really needed more of a hook to pull reader and potential Dungeon Master into the issue and the players and their characters into the content. Echoes From Fomalhaut #03: Blood, Death, and Tourism was published in September, 2018 and in reducing the number of articles it gave the fanzine more of a focus and allowed more of the feel of the publisher’s ‘City of Vultures’ campaign to shine through.
Echoes From Fomalhaut #04: Revenge of the Frogs continues this focus and again keeps the article count down to just four. Published in January, 2019, the issue opens with ‘The Technological Table’, a list of futuristic weapons and gadgets, ranging from laser pistol and laser spear to the God-box and The Dark Eye. Many of these items will be familiar from Science Fiction and other gaming articles, so it is refreshing to see some interesting entries alongside the usual electro-whip and laser sword. For example, Aquastel is a liquid so weighty, that when mixed with other liquids, it separates their constituent parts into layers according to their density, so could be used to neutralise poisons or extract valuable metals. The God-box is a communications link to an information bank located deep underground which can be consulted for information, though it is likely to be out of date or phrased on language that the Player Characters do not understand. This sort of article supports a setting where the campaign planet has links to a star faring civilisation or the various weapons and gadgets are remnants of a prior civilisation, fallen long ago. There are echoes of the lost civilisation set-up in the scenario, ‘Terror on Tridentfish Island’, published in Echoes From Fomalhaut #03: Blood, Death, and Tourism.
The scenario in Echoes From Fomalhaut #04: Revenge of the Frogs is the eponymous ‘Revenge of the Frogs’. The has always been an element of batrachian horror in Dungeons & Dragons, going back to Dave Arneson’s scenario, ‘Temple of the Frog’ and creatures such as the Bullywug, as well as drawing on H.P. Lovecraft’s short story, ‘The Shadow Over Innsmouth’. Frogs can be alien and emotionless creatures, so make a weird, but worthy enemy in any Dungeons & Dragons scenario. Designed for Player Characters of Third to Fifth Levels, ‘Revenge of the Frogs’ maroons them in the mouldering port of Silvash. The winds have ceased and the local high-priest of Murtar, God of Murky Waters hires the Player Characters to locate the means to restore them in the nearby marshland and prevent the rising of a frog-cult and its dread god that in ages past was destroyed by the priesthood of Murtar. The scenario is designed as a sandbox which will see the Player Characters delving deeper and deeper into the marshland, encountering various dank dangers and independently-minded inhabitants, all of whom are nicely fleshed out and bring colour to the region. Originally written as a companion piece to ‘Cloister of the Frog God’, part of Frog God Games’ Rappan Athuk megadungeon, Revenge of the Frogs’ is a bit rough around the edges and underwritten in terms of set-up and its explanation, especially in the placement of one of its magical items needed to complete the scenario. Otherwise, the scenario has a Lovecraftian tinge combined with a pleasing sense of mouldering decay.
Echoes From Fomalhaut #04: Revenge of the Frogs comes with a map which depicts the outline of a city. This of ‘Arfel – City State of the Charnel God’, which is fully detailed in the issue of the fanzine. This is a city dominated by Ozolba the Zombie God from his labyrinth temple-complex and necropolis which overlooks the city. He and his priesthood—both undead and living—can claim what they want and who they want, and to object is a sin. The nobility of Arfel abide by the stifling Necrotic Traditions, rarely if ever leaving their mansions which are perpetually shrouded in mourning, giving parts of Arfel a sepulchral feel. In the absence of civil government, crime syndicates and gangs have stepped in to run the city, though only unofficially. Only the Outer City beyond its walls is free from Ozolba the Zombie God’s reach, though it a lawless, rough place, where protection much be bought. Meanwhile, throughout the city can be found cat after cat after cat, which hunt in packs against the cat-catchers of the Outer City and know its secret ways from one end to the other. Again, there is the sense of the Lovecraftian to Arfel, it having a Dreamlands-like feel, though heavily influenced by Clark Ashton Smith’s Mordiggian, the Charnel God.
As with Echoes From Fomalhaut #03: Blood, Death, and Tourism, the remaining half of Echoes From Fomalhaut #04: Revenge of the Frogs is dedicated to one article. In the previous issue, this was ‘Erillion, East’, in this issue it is ‘Erillion, West’. This is the second half of a gazetteer detailing the island of Erillion, previously described in Echoes From Fomalhaut #02 and for the most part completed here—there are still plenty of locations mentioned here to be fully detailed in future issues. It continues to detail numerous locations and aspects of this end of the island, some forty or more of them. There is a strand of religiosity which runs through the location descriptions, notably the ‘Lunar Path’, a pilgrimage which leads from black lunar stones to black lunar stones and which will grant those successful with access to the world of dreams, but test them mightily in the process, and the ‘Isle of Trials’, an island west of Erillion, but connected by a pirate infested bridge, which is home to numerous persecuted cults and religious movements. Here the thumbnail descriptions never get as far as living up to their promise, since the reader is left wondering more about the cult or the religious movement and what their religious beliefs are. Hopefully, these might be detailed in a future issue. Otherwise, the thumbnail descriptions are decently done, such as the band of Ogre bandits which capture children and fatten them up for the pot, the court of Lord Virguard the Besieger who keeps five chairs empty in memory of his lost adventuring companions and who will reward tales of brave adventuring, and a marble chess high in the mountains, where two legendary wizards, one transformed into a mountain, the other a cloud, play out an endless game with living figures for the Staff of Power. There are also lots of bandits and thieves and berserkers to encounter too. This western half of Erillion is even more lawless than the Eastern half, and like the earlier ‘Erillion, East’, this half consists of many locations that might be passed through or discovered rather than necessarily visited with any purpose and the Dungeon Master will want to create that purpose or use the scenarios published in the earlier issues which are set on the island.
Echoes From Fomalhaut #04: Revenge of the Frogs definitely feels all the better for having just four articles, their content being allowed to breath and not feel crammed in. It is lightly illustrated, but much of the artwork is really quite good, whether it is public domain or commissioned for the issue, it all fits the oppressive ‘Mitteleuropa’ feel of the author’s ‘City of Vultures’ campaign and is well chosen. It needs an edit here and there, but is generally well written. Of the content, ‘The Technological Table’ is the outlier. It is a good article, but it feels out of place with the rest of the content, whilst the enjoyable ‘Revenge of the Frogs’, creepy ‘Arfel – City State of the Charnel God’, and completing overview that is ‘Erillion, West’, all feel as if they are in the same world. And that perhaps is a problem too, because so far Echoes From Fomalhaut is only giving us snapshots of the ‘City of Vultures’ campaign, not quite a partwork, but getting there. Overall, Echoes From Fomalhaut #04: Revenge of the Frogs is sol'd issue of the fanzine, but it is beginning to feel as if something is wanted to begin pulling the ‘City of Vultures’ campaign together.

Since April is Monster Month here I thought it might be fun to check some monster-themed Sword & Sorcery & Cinema movies.  Up first is a classic and premiered at the height of the 80s fantasy craze. Here is 1981's Dragonslayer from both Paramount and Disney.

We are introduced to one of the most famous dragons outside of Westeros or Erebor, Vermithrax Pejorative.  Though he is mentioned among the dragons in Game of Throne's first season.  

The movie is a little slow, but on par with what was normal at the time.  Peter MacNicol is fine as the apprentice turned dragonslayer Galen, but I can't help but think if someone else would have been better in the role.  Caitlin Clarke was great as the girl pretending to be a boy Valerian.  She returned to theatre work after this and this was her only major role.  She sadly passed of ovarian cancer in 2004.

Sadly the movie under-performed in the box office and some of the reviews were not great, but the movie was fun then and to be honest the effects have held up well enough.  It has achieved "cult movie" status and that is not a bad thing.  It certainly is a great one to have on a Dragon-themed movie night.

The effects are good and the director gets away with a lot of "showing less is more."  We only see bits and pieces of the dragon until the very end when it is most effective. Sure some of the stop motion looks very stop motion-y, but Vermithrax still looks like he could go toe to toe with Smaug or Drogon.  I really can't help but think that this dragon wasn't at least some of the inspiration for the DragonRaid game. 

The musical queues in this are pure Disney so they are also very effective. 

Gaming Content

Now THAT is a Dragonlance! The Sicarius Dracorum really shows that a spear, or a lance, is the best weapon for fighting a dragon.  The forging scene where Galen heats the metal with magic is really one of the best.  If you are not forging your magic weapons like this then you are missing out!

Caitlin's dragon scale shield, while less theatric, is just as magical. 

I am sure there are those that will nitpick that the "dragon" only has two legs and not four, but I can't get worked up over that. He is still a fantastic dragon.

Another creature in the guise of an animal and we do not go too far astray from the homes of the barghest. This time the animal is a cat and creature is a Cat-sìth.   

Cat-sìth
aka Cait Sídhe
Medium Fey

Frequency: Rare
Number Appearing: 1 (1d8)
Alignment: Neutral [Chaotic Neutral]
Movement: 180' (60') [18"]
Armor Class: 3 [16]
Hit Dice: 4d8+4* (22 hp)
THAC0: 15 (+4)
Attacks: 2 claws, 1 bite, + special
Damage: 1d4+1 x2, 1d6+1
Special: Bad luck, fear, low-light vision (120’), scent, speech
Save: Monster 4
Morale: 6 (6)
Treasure Hoard Class: None
XP: 200 (OSE) 215 (LL)

Cait Sídhe or Cat Sìth (Caught SHEE) are magical cat-like creatures that populate the same lands of faeries and other woodland creatures. They appear to be large cats with black fur and a spot of white on their chest. Sometimes they have white paws or even white faces.  All cat-sìth have eyes that glow yellow, orange, or green. In the lands they call home the cat-sìth are often feared to be demons or a witch in the form of a cat. In any case, the appearance of a cat sìth is a sure sign that a witch is nearby.

Cat-sìth makes sudden sprints to bring down prey. It prefers to attack small mammals and birds and rarely physically attack humanoids, though it has been recorded of a Cat-sìth adding a pixie or brownie to their diet once in a while. When dealing with humanoids a cat-sìth can defend themselves physically but prefer to use their spell-like abilities.

Bad Luck: The cat-sìth can target one victim as a recipient of a Bad Luck curse.  This cast as a Bestow Curse spell by a 4th level witch.  The victim is at a -2 on all rolls till sunrise the next day. The cat-sìth may do this up to 3/day but multiple uses on the same target are not cumulative.

Fear: The sight of a cat-sìth is so disturbing to most that it emanates a Fear Aura that acts like a fear spell cast by a 5th level caster. The difference is that the aura is limited to 5’ and the victim must be able to see the cat sìth.

The cat-sìth has low-light vision to 120’. A cat-sìth is capable of speech and can speak any language its intelligence allows. They can speak Common, Sylvan, any local language, and the language of Cats.  

The cat-sìth makes an excellent familiar. Their association with witches is long and not without cause.  Most cat-sìth avoid humanoids, with the exceptions of the fey, so the only ones likely to be encountered by humanoids are the ones in the charge of a witch. They are all believed to be in the service of the King of Cats (Cat Lord).

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A fun little beastie.  This one adds an "AKA" line under the name, many monsters are known by other names as well. 

While this one looks like a cat it is actually a faerie creature.  Now I could have listed it as Beast (Fey) like the Barghest is Beast (Demonic), but I felt that it fit better as a proper creature of the fey.   

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 be 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.

Delayed Blast Gamemaster is a fanzine of a different stripe. Published by Philip Reed Games following successful Kickstarter campaigns, Delayed Blast Gamemaster is a fanzine dedicated to supporting roleplaying fantasy games, but a particular style of fantasy roleplaying games—Dungeons & Dragons. Yet the issues are entirely systemless, which means that their contents can be used in Dungeons & Dragons, any of the fantasy roleplaying retroclones you care to name, and most fantasy roleplaying games with a little effort. Published following a successful Kickstarter campaign as part of the inaugural Zine Quest, the first issue of Delayed Blast Gamemaster was published in September, 2019, followed by the second issue a year later in September, 2020, again following a successful Kickstarter campaign.
Delayed Blast Gamemaster #2 is as physically striking as Delayed Blast Gamemaster #1. Its graphical design is all white art and text on matt black pages (a printer friendly version is also available), the effect being striking, almost jauntily creepy and oppressive in its artwork’s depiction of mad mages, wiggle cubes, undying angers, gnashing rock beasts, and more. Again, the text is both heavy and large, so is a lot easier to read than it otherwise might have been.

As to the concept behind Delayed Blast Gamemaster it is simply that of inspiration scattered subject by subject across nine tables. So ‘OneDTen Urban Locations’, ‘OneDSix Forgotten Spellbooks’, ‘FiveDSix Unusual Treasures’, ‘OneDEight Dungeon Oddities’, ‘OneDSix Magic Shields’, ‘TwoDSix Potions’, ‘OneDSix Warped Monsters’, ‘OneDTwelve Adventure Hooks’, and ‘OneDFour Dungeon Doors’. So all that the Game Master has to do is pick a table or subject, roll the die, check the relevant entry, and use it as inspiration to create something of her or adapt the entry to the roleplaying game of her choice. The most obvious choice to adapt the entry to, is of course, Dungeons & Dragons, due to the similarities in language, but other roleplaying games would work too.
The concept behind Delayed Blast Gamemaster and thus Delayed Blast Gamemaster #2 is tables of inspiration accompanied by more tables. There are eleven such tables in the issue, ranging from ‘OneDSix Dungeon Characters’ and ‘FiveDSix Unusual Treasures’ to ‘OneDEight Dungeon Conditions’ and ‘OneDSix Pockets Picked’. Thus, all that the Game Master has to do is pick a table or subject, roll the die, check the relevant entry, and use it as inspiration to create something of her or adapt the entry to the roleplaying game of her choice. The most obvious choice to adapt the entry to, is of course, Dungeons & Dragons, due to the similarities in terminology, but other roleplaying games would work too.
For example, roll a five on ‘OneDEight Adventure Hooks’ and the Game Master has her adventurers encounter a ‘Grizzled Warrior Questioning His Career’. The veteran, the worse for wear from drink readily shares tales of his exploits, the type of exploits that the Player Characters are likely going to want to emulate, though somewhat ruefully since he seems to regret his career choice. However, his ramblings might contain a nugget of truth or two, necessitating a further roll of a four-sided die. For example, a roll of a three determines that he regales the party of the time that he and his companions were attacked by a giant whose mighty Warhammer crushed many of them, and the last time he saw the giant, it was wandering away with the possessions of those he had slaughtered. Could the giant still have their possessions, and just were they?
Alternatively, roll a fourteen on ‘FiveDSix Unwanted Treasures’—a sequel to ‘FiveDSix Unusual Treasures’ from Delayed Blast Gamemaster #1—and the adventurers find a small book bound in metal with pages of thick parchment, half full with the incomplete memoirs of a halfling merchant which tell of his life as a great lover and warrior. Similarly, ‘OneDEight Dungeon Oddities’ is another sequel to a table from Delayed Blast Gamemaster #1. It provides more monstrous encounters, such as the ‘Wizard’s Goblinoid’, a result of a roll of one on the table, which describes a goblin who really, weirdly enjoys being a Wizard’s familiar and knows a few cantrips, whilst a roll of five would give a ‘Wiggle Cube’, a very rare orange gelatinous cuboid with sufficient awareness to track down and take control of other oozes and slimes. Perhaps one of the most engaging table is ‘OneDSix Guards’, which describes the personalities of six town guards so making them more than just the local watch ready to step in when the party causes trouble!
With eleven tables, there are a lot of entries and ideas in Delayed Blast Gamemaster #2, which is the point. In comparison to the first issue, there is a better range of entries in Delayed Blast Gamemaster #2, including oddities, memorable weapons, adventure hooks, magic scrolls, dungeon conditions, and the contents of pockets picked. There are, however, a few tables and entries which are designed for single use only given their suggested rarity. The ‘Wiggle Cube’ from ‘OneDEight Dungeon Oddities’ is one such entry, whilst the ‘OneDSix Goblins’ table gives six strange, even singular goblins that it is advised that the Dungeon Master consult the table rarely lest their overuse lessen their impact. This slightly reduces the utility of Delayed Blast Gamemaster #2.
Rounding out Delayed Blast Gamemaster #2 is ‘Cave of Eyes’, a six-location set of caverns which comes with a background and some broad detail such that it needs to be fleshed out and detailed by the Dungeon Master. It is not a particularly interesting location as written and really needs that input, and perhaps it might have been more interesting if it had included suggestions as to which tables the Dungeon Master could roll on to further develop the cave complex. Otherwise, a table might have been more useful.
Once again, Delayed Blast Gamemaster #2 presents a plethora of things a Game Master can bring to her game. She will need to do some work to bring them into her campaign, but the ideas will work with Dungeons & Dragons, Fifth Edition as much as they would with Old School Essentials Classic Fantasy, Dungeon Crawl Classics, or The Fantasy Trip. Whatever your choice of fantasy roleplaying game, further inspiration is never unwanted and Delayed Blast Gamemaster #2 yet more.

Here is an old favorite of mine that I have done a couple of different versions of in various postings and books.  Is this the final version? No idea! But it is getting close.

This one is a nasty little beastie from English lore.

Barghest
Large Beast (Demonic)

Frequency: Very Rare
Number Appearing: 1d6 (1 or 1d4)
Alignment: Chaotic [Chaotic Evil]
Movement: 180' (60') [18"]
  Humanoid: 120' (40') [12"]
  Hybrid: 150' (50') [15"]
Armor Class: 3 [16]
Hit Dice: 6d8+12** (39 hp)
   Large 6d10+12** (45 hp)
THAC0: 13 (+6)
Attacks: 2 claws (humanoid/hybrid) or 1 bite (dog/hybrid)
Damage: 1d6 x2 claw or 2d4 bite
Special: Stare, hit by silver or magical weapons.
Save: Monster 6
Morale: 10 (10)
Treasure Hoard Class: None
XP: 950 (OSE) 980 (LL)

A Barghest is an evil shape-changing fiend that hungers for the souls of mortals. A barghest may appear as a huge demonic black dog the size of a bear, or in a humanoid form nearly seven feet tall, resembling a goblin or wingless gargoyle, or a combination of both forms. A barghest never uses weapons, even in its humanoid form, preferring to feel the blood of its enemies run down its claws. It is tenacious; if a barghest fails its morale check and flees, it will return in 1d6 turns to attack again.

Anyone who meets the gaze of a barghest will feel the heat of the monster's stare; such characters must save vs. Paralysis or be paralyzed in terror for 1d6+1 turns (or until the barghest is slain). A character is deemed to have met the gaze of the barghest if he or she faces it in combat, or if the character is surprised by the monster. Fighting a barghest with gaze averted results in a penalty of -4 on all attack rolls. Those who succeed at the saving throw are immune to the monster's gaze for the remainder of the combat (at least one full turn at the minimum).

Although it is not undead, a barghest is inherently unholy and can be Turned by Clerics (as a spectre). They can only be harmed by silver or magical weapons. A barghest generally speaks Common as well as the languages of infernals, goblins, hobgoblins, and bugbears, and can communicate with wolves. One can sometimes be found ruling over goblins or hobgoblins, but most commonly a barghest haunts a lonely stretch of road, preying on travelers.

Barghest lairs will only have a single creature or a creature and up to three whelps.  A barghest whelm is weaned at one year and kicked out of the lair.  If encountered by a parent or siblings it will be attacked. Barghests have no sense of family and hate all creatures except for themselves.

Their coats are of the darkest of blacks and often matted with blood. Their eyes burn red and it is said the fires of hell can be seen in them. 

--

What's new today?

This creature has a few more things going on.

First, it is a Large Beast (Demonic). Let's break that down.   
In my Basic Bestiary, I am going to give different HD for different sized creatures.  A Large creature will use a d10.  Medium creatures will still use a standard d8, Small a d6, and Tiny a d4.  On the other side of things, a Huge creature will use a d12 and a Gargantuan creature will use a d20.  This is much the same as D&D 5e uses. 

For the purists, you can continue to use the d8 but I will include both numbers as I am doing above.  AD&D First Edition only used Small, Medium, and Large creatures.  The vast majority will be these three sizes. 

It is a beast, but also Demonic.  So it's intelligence is higher and has some demonic traits.  In this case, it can change shape, can only be hit by magic or silver, and has a special gaze attack.

I am also including a THAC0 line with a BAB in parentheses. 

Things are shaping up.

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.

As the title suggests, 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. The issue opens with ‘Lost in Endless Corridors’ by Kirin Robinson. It contrasts the attraction and joy of the maze with the challenge of not making the play of mazes in fantasy roleplaying games, well, boring. What it highlights is the potential frustration of playing through a maze and the loss of player agency. It suggests two solutions to avoid this. The first is to set time limits on resources and character statuses during their exploration of the maze, such as their torches running out or their beginning to feel light-headed after a time. The second is move the exploration of the maze from being procedurally-based to clue-based, and so make the maze more interesting rather than an endless series of empty of corridors. This would need more work for the Judge than simply drawing out a map, but the potential pay-off would be greater and make the maze more memorable than frustrating.

Thom Hall’s ‘Roguelike Fountains’ is inspired by Roguelike computer adventure games, in particular, the fountains with their messages and effects to be found in such games. It comes with a number of tables for determining the nature of any fountain found and what its accompanying message might be. Thus magical or non-magical, and various effects and messages, with even the non-magical fountains often having some kind of effect. The use of the ‘Square’ font for tables, as used in the computer game adds to the nostalgic feel of the piece.

Sean Ellis continues his irregular Monster Column with ‘Consider the Ogre’. It points out the discrepancy between the Troll and the Ogre in Dungeons & Dragons, that the Dungeons & Dragons Troll with its rubbery skin and regenerative health is not the traditional Troll of myth and legend. That role actually falls to the Ogre. Although it does not suggest replacing one with the other, it does offer ways of making the Ogre more interesting than simply as a coarse, chaotic baby-snatching species of humanoids. It suggest the possibility that some might even be repentant and there might be multiple types of Ogre. This possibility is supported by tables for rolling an Ogre’s appearance and how different it is, and a power and a weakness, and then connecting the three together to create a cohesive design. Overall, it is a quick and dirty way of creating more individualistic Ogres.

‘Critical Table T: Traps – Traps and Crits’ by Jeffrey Tadlock details six traps ready to be placed in a Judge’s dungeon. These are simple enough—the spiked pit trap, the poison needle lock, the scythe hall, falling block, and repeating poison arrow trap—and arguably, classics of the fantasy gaming genre. Rather than have the Player Character affected by a trap make a saving throw against the effects of the trap when triggered, the Judge makes an attack roll against the Player Character for the trap. This means that traps, just as other forms of attack in the Dungeon Crawl Classics Role Playing Game, need to have a table for determining what happens when a critical result is rolled on the attack. This is rolled on Critical Table T: Traps, a table of thirty results, the die rolled for any one trap determined by the attack modifier for the trap. So on a roll of one on any die, the trap springs perfectly and inflicts extra damage, but an attack modifier of +10 or +11 and the Judge is rolling a fourteen-sided die on Critical Table T: Traps, which might give the result of eleven, the damage inflicted strikes the target’s spinal area or if poison, overwhelms her central nervous system. Either way, the player needs to make a Fortitude Saving Throw for his character to remain conscious and the character also suffers two five-sided dice’s worth of extra damage. This makes traps even deadlier and makes the Thief Class far more important in disarming traps.

The ‘Shadowsword of Ith-Narmant’ is a write-up of a demonic shadow sword by Jürgen Mayer. It was forged from the demon’s own shadow by bound shadow warlocks and artificers, and like many of their creations may be found scattered across many worlds. It is treated as a longsword, but two six-sided dice are rolled for damage and when doubles are rolled, there is an extra effect, such as on double threes, ‘Taintburst’ inflicts three extra damage on the wielder and target, this damage, if it kills wielder or target, the demonic energies in the sword fuses with them, making them rise as a demon minion of Ith-Narmant. There are six such effects, one each for the six sets of doubles, but the very first, rolls of double ones, ‘Lifesucker’, sucks permanent Hit Points from the wielder and when enough is sucked out, the ‘Shadowsword of Ith-Narmant’ gains a Level. Each Level increases the viciousness and intelligence of the blade and inflict demonsigns on the wielder, which will have deleterious effects on the wielder’s alignment, ultimately turning him into a Champion of Ith-Narmant. The sword, ‘Shadowsword of Ith-Narmant’ is by any other name, Stormbringer from the novel by Michael Moorcock—or at least is inspired by it. Even if it is a bit too obvious, the mechanics are well done and bringing the sword into a campaign should give it an epic feel.

Rounding out the issue is ‘My Gongfarmer Can’t Do Sh*t!’ by Paul Wolfe. It is a call for the Zero Level characters of Character Funnel in Dungeon Crawl Classics to have skills and to be able to do things that reflect their backgrounds and occupations rolled during character creation. Not through an extensive list of skills, but rather through player creativity and narration when his Zero Level Player Character needs to do something which does not involve fighting, running, or screaming (or dying). It will require a little extra adjudication upon the part of the Judge, but the method will add to the background of any Zero Level character who survives a Character Funnel.

Physically, Crawl! Issue No. 7: Tips! Tricks! Traps! is decently put together. The few pieces of art vary in quality, some of it being a little cartoonish. The contents though, vary in quality and usefulness. This is not to say that none of the contents of the issue are useless, but none really quite stand out as being so useful that the Judge has to have access to them. The advice in ‘Lost in Endless Corridors’ and ‘My Gongfarmer Can’t Do Sh*t!’ feels a little obvious, unless of course, the Judge is new to Dungeon Crawl Classics, and whilst ‘Critical Table T: Traps – Traps and Crits’ and ‘Shadowsword of Ith-Narmant’ both add to the game, neither feels vital to a Judge’s game. Crawl! Issue No. 7: Tips! Tricks! Traps! feels like a mixed bag, containing good content, but just not good enough to be a must have.

“El sueño de la razon produce monstruos”The sleep of reason produces monsters.Francisco Goya, 1799

It is April and that means it is time for the AtoZ Challenge for 2021. I didn't do this for a few years, but this year I wanted to give it a go again to see how it has changed, see what is new, and mostly to motivate me to get all my monsters done!

My monster book idea grew from my love of monster books in general.  I have spoken about my love for the original Monster Manual here a few times. I have talked about other monster books too.  For me it was monsters that were my gateway to D&D. I still love them.

This year is the A to Z of Monsters. I am working on completing a couple of different monster books. One focused on monsters of fairy tales, myths, and legends and in particular monsters related to witchcraft. The other is a massive tome of demons and fiends of all sorts.  The first book will feature all sorts of creatures, right now there are a large number of undead monsters.  Makes sense when you consider that I spend a lot of time writing and playing horror games.   

Some creatures have appeared in my witch books.  Some are completely new.  Many have come from challenges like this and my Monstrous Mondays posts.  Some are even like today's beastie.  A d20 conversion of a 3.5 monster to OSR-like stats.

As I have been discussing here I am working on my "universal stat-block."  Today though I am going to start with the one I have been using in my Monstrous Mondays and tweak it from here.

Allip
Medium Undead (Incorporeal)

Frequency: Very Rare
Number Appearing: 0 (1d4)
Alignment: Chaotic [Chaotic Evil]
Movement: 60' (20') [6"]
  Fly: 60' (20') [6"]
Armor Class: 5 [14]
Hit Dice: 4d8+2** (20 hp)
Attacks: Special
Damage: NA See below
Special: Suprise, touch deals 1 point of Wisdom drain, only hit by silver or magical weapons.
Save: Monster 4
Morale: 12 (12)
Treasure Hoard Class: None
XP: 275 (OSE) 290 (LL)

Allips are shadowy, incorporeal undead that mutter and speak with the voice of madness from beyond the grave. The voice acts as a Suggestion spell upon anyone hearing the quiet mutterings: the suggestions of an allip are usually senseless but sinister.

An allip is usually only seen out of the corners of the eye.  Thus they can surprise on a roll of 1-4 on a d6. Elves are surprised only on a roll of 1-3.  Once it attacks it is visible to all. 

The allip’s touch does not deal damage but causes the victim to lose 1 point of wisdom. If a victim’s wisdom falls to 0, it dies and will become a shadow within 2d6 days. Allips can only be hit with magical or silver weapons.

It is believed that allips are caused by people who have died in a state of profound despair.  Now they seek revenge on the living for their current state. They are always found where they died.  They are turned as a 4 HD undead.

--

So here is a start! 

You can find all the other participating blogs and their social media links on this Google Sheet.

I also have a growing Twitter List here of everyone participating on Twitter.

**Please Note. I have 'Comment Moderation' turn on. I have been getting hit with a ton of spam.**

When we sit down to roleplay, the one thing we invariably have in front of us is a set of dice. We have been using dice in roleplaying for as long as we have been roleplaying and just about everyone who games has their own set. They are of course tools, tools that we use to determine the outcomes of our character’s actions. Yet we come to invest our hopes and fears in our dice as we play and we place our characters in increasingly perilous situations, but this degree of investment and how it manifests varies from player to player. One player might hold on to one set of dice which he uses for every game he plays, another might build a set of dice he only uses for one character, one player might dump one set of dice and replace it with another due to poor results or character death, and another may simply collect dice. There is an amazing array of dice available in a variety of styles and materials—metals, gemstones, wood, and even moose poop. Then there are dice sets for different games. In some cases, particular dice are required to play particular games. For example, Star Wars: Edge of the Empire from Fantasy Flight Games requires its own set of dice, as does Fvlminata: Armed with Lightning with its ‘Talia’ or knucklebone dice and Free League Publishing’s ‘Year Zero Engine’ family of games such as Mutant: Year Zero – Roleplaying at the End of Days or the more recent Vaesen – Nordic Horror Roleplaying.

In most other cases, publishers manufacture dice for their roleplaying games which are absolutely not required to play their games. If such dice are not required, then what do they add? They certainly do not add to the game itself in terms of play, any more than any other set of dice a player might have in his collection. What they enforce is brand identity, so that if a player has a set of Call of Cthulhu dice when playing Call of Cthulhu, Seventh Edition or a set of RuneQuest: Roleplaying in Glorantha dice for playing RuneQuest: Roleplaying in Glorantha, they add to the idea that the players are playing those games, encouraging a degree of immersion, but without adding anything directly to that play.

Released by The Evergreen Burrow following a successful Kickstarter campaign, the Lucky Ducks In A Row-Rubber Duckie Dice Set is a complete set of polyhedral dice. The standard set that we have been gaming with for over forty years. So a four-sided, six-sided, eight-sided, twelve-sided, and twenty-sided die, plus two ten-sided dice for percentile rolls, thus everything that a roleplayer will need to play a wide variety of roleplaying games, from Dungeons & Dragons to RuneQuest: Roleplaying in Glorantha. What sets these dice apart from any set of dice is the fact that each die is of clear resin and each one contains a single, yellow, rubber duck. In order to accommodate these ducks, the dice in the Lucky Ducks In A Row-Rubber Duckie Dice Set is larger than the ordinary set of dice. Each one is 26 mm across, which means that they feel bigger in the hand and they are easier to read with consequently larger numbers. Only the four-sided die is different. It is not big enough to be home to a rubber duck, so instead its numbers are replaced with symbols. The one with a duck and the other numbers with the webbed feet that your friendly, cute rubber duck does not actually have.

So why ‘duck dice’? There is no roleplaying game which focuses entirely on ducks, and of course, the Lucky Ducks In A Row-Rubber Duckie Dice Set can be used with innumerable roleplaying games, so there is no obvious brand identity that these dice could be enforcing. Except… there is always Glorantha, and famously (infamously?) Glorantha has Ducks. Anthropomorphic Ducks. Complete with their own culture and beliefs which you can play and encounter as NPCs. So if you are playing a Duck in RuneQuest: Roleplaying in Glorantha or 13th Age Glorantha and you bring these dice to the table, you are not only enforcing the fact that these dice are yours, you are enforcing the fact that you are playing a Duck. Duck Dice for your Duck character.

Then there is the fact that ducks are cute. Especially rubber ducks. They are yellow, bright, and cheery. Therefore, a rubber duck dice set is, by extension, also cute. Plus, you get to roll them. How often do you get to see tumbling rubber ducks? At your table? Then, they come with a bathtub display. A clear, plastic freestanding bathtub in classic Victorian style. Which means you have somewhere to store them—on the table during the game and on the shelf after the game.

Ultimately though, like so many sets of dice, the Lucky Ducks In A Row-Rubber Duckie Dice Set is completely and utterly unnecessary. If a roleplayer already has a set of polyhedral dice, arguably, she does not need another. Roleplayers are roleplayers though, and a great many of them like having more dice, different dice, and themed dice, like the Lucky Ducks In A Row-Rubber Duckie Dice Set. And yet, these dice are fun, they are silly, and they are cute, and if you have a set, there can be no doubt that the Lucky Ducks In A Row-Rubber Duckie Dice Set is your set, that they are your dice.

When we sit down to roleplay, the one thing we invariably have in front of us is a set of dice. We have been using dice in roleplaying for as long as we have been roleplaying and just about everyone who games has their own set. They are of course tools, tools that we use to determine the outcomes of our character’s actions. Yet we come to invest our hopes and fears in our dice as we play and we place our characters in increasingly perilous situations, but this degree of investment and how it manifests varies from player to player. One player might hold on to one set of dice which he uses for every game he plays, another might build a set of dice he only uses for one character, one player might dump one set of dice and replace it with another due to poor results or character death, and another may simply collect dice. There is an amazing array of dice available in a variety of styles and materials—metals, gemstones, wood, and even moose poop. Then there are dice sets for different games. In some cases, particular dice are required to play particular games. For example, Star Wars: Edge of the Empire from Fantasy Flight Games requires its own set of dice, as does Fvlminata: Armed with Lightning with its ‘Talia’ or knucklebone dice and Free League Publishing’s ‘Year Zero Engine’ family of games such as Mutant: Year Zero – Roleplaying at the End of Days or the more recent Vaesen – Nordic Horror Roleplaying.

In most other cases, publishers manufacture dice for their roleplaying games which are absolutely not required to play their games. If such dice are not required, then what do they add? They certainly do not add to the game itself in terms of play, any more than any other set of dice a player might have in his collection. What they enforce is brand identity, so that if a player has a set of Call of Cthulhu dice when playing Call of Cthulhu, Seventh Edition or a set of RuneQuest: Roleplaying in Glorantha dice for playing RuneQuest: Roleplaying in Glorantha, they add to the idea that the players are playing those games, encouraging a degree of immersion, but without adding anything directly to that play.

So, the question is, does the Travellers’ Aid Society Dice Set do the same for Traveller? Manufactured by Mongoose Publishing, this is a set of twenty six-sided dice, white with blue dots for the numbers on the first through fifth faces. The sixth face though is marked with the symbol of the Travellers’ Aid Society—the letters ‘TAS’ in a hexagon, a spaceship marking the counter or space at the top of the letter ‘A’. In Traveller, the Travellers’ Aid Society is a private organisation which maintains hostels and facilities at nearly all class A and B starports across Charted Space, providing its members with somewhere to stay, a regular means of travel, and information about worlds throughout known space. Membership can be purchased, but most Player Characters will receive membership as part of their mustering out benefits for meritorious or heroic conduct in service. Thus, the Travellers’ Aid Society is part of the fabric of the Traveller setting.

As much as the Travellers’ Aid Society is a part of the fabric of the Traveller setting, it not necessarily a brand identifier or icon associated with the Traveller setting or roleplaying game, whereas perhaps the Imperial Sunburst is, and is used across different institutions of the Third Imperium. Thus, black with a yellow sunburst for the Imperial Royal Family, yellow for the Imperial Navy, red for the Imperial Interstellar Scout Service, and so on. Could the Travellers’ Aid Society Dice Set have benefited from some variety in terms of colours and icons—perhaps those of the Third Imperium and other polities? Admittedly, that would mean that the Travellers’ Aid Society Dice Set would not be the Travellers’ Aid Society Dice Set, but a Traveller dice set. Plus, it would have made manufacturing and packaging that little bit more complex. Then there is the question of twenty six-sided dice—are that many needed? In a game like Traveller, most players will be rolling two six-sided dice at a time for skill checks and similar actions. They are going to be rolling perhaps four dice at the most to determine damage in combat, although this may increase as many to six when employing particularly heavy weapons or in starship combat. Thus, there is enough dice for a single group, perhaps consisting of a Game Master and four players with four dice each, or even more if they have fewer dice in front of them. In effect, the Travellers’ Aid Society Dice Set is not a dice set for a player or the Game Master, but for the group. Even so, there is still the matter of the price. The Travellers’ Aid Society Dice Set has a recommended retail price of £25 ($25).

Each die in the Travellers’ Aid Society Dice Set has a recommended retail price of £1.25 ($1.25).

Now of course, there are costs involved in the manufacture and shipping of any product. Of course, there are. Getting the moulds cut for the dice, designing the packaging, assembling the packaging, shipping, and so on. But £1.25 ($1.25) per die? For a set of dice that is not that interesting, does not add to the play of the game, and in play does not strongly enforce the brand?

There can be no doubt that the Travellers’ Aid Society Dice Set is nicely packaged. It comes a in neat little box. Yet it is no more than a frippery, a collector’s item that some Traveller devotees will want to have in their collection, because it does not add a great deal to the play of the roleplaying game and it is debatable whether it adds very much to the brand because the Travellers’ Aid Society icon is not as recognisable as others in Traveller. Could it be that the Travellers’ Aid Society Dice Set is just a bit dull and just a bit too expensive?

I am posting this at the end of the month instead of the first (new month, new character) since April will be full of monsters.  But in a way, today's character is a monster in his own right.

Last month I posted the stats for Twill Topknot and before that Sarana, the first main NPCs of my War of the Witch Queens campaign.   While I have plenty more NPCs to figure out and stat up, there is one that I do need to do and figure out how he did it.  That NPC is Kelek the Cruel.

I have talked about good (evil) old Kelek in the past and I think stating him out is a good idea. He has his origins in Basic/Expert D&D, Quest for the Heartstone and The Shady Dragon Inn, so Basic-era is the obvious choice.  More so since he is my Big Bad for War of the Witch Queens.

One of the things I want to do with this is pick and choose from various RPG/OSR systems.  I did Old School Essentials with Twill.  While that doesn't mean I can't reuse it, but I would like to see what is out there. I also need to figure out what sort of "magic-user" old Kelek is since I also have that choice.

Much like what I have done with Skylla (with whom he has a history with) I took her Magic-user and tried her out as a witch in various OSR style games. If she is a witch, then what is Kelek?  

He is a type of wizard to be sure.  He learned his magic, so a warlock or a sorcerer (as defined by D&D 3 to 5) is fun, but not really who he is. I need some class that also has the ability to cast gates, maybe even a way to summon a minor demon or two. But not someone interested in controlling undead. Most importantly I need someone that would be able to kill a Witch Queen.  

We know from Kelek's history that he wants some form of immortality or mastery over life and death.  To me that says Necromancer.  But I am kinda bored with necromancers.  I mean I have done necromancers so many times.  BUT this group has never gone up against one of my necromancers before.  Eric over at Swords & Stitchery also talks about Kelek and even has him becoming a lich. Eric usually has very good ideas, so I am inclined to take this as a vote towards Necromancer. 

So if it is a necromancer, then which one?

The Basic Fantasy one is nice, but not really powerful enough for what I need.  The necromancer from Adventures Dark & Deep is good. Has a lot of potential but still not exactly what I want. Astonishing Swordsmen & Sorcerers of Hyperborea also has a great necromancer, but the spell list is not 100% where I want it. Magical Theorems & Dark Pacts are getting much closer, as is Gavin's Theorems and Thaumaturgy. The one that feels the closest is the one from the BX RPG.

I reviewed the BX RPG a while back and have been wanting to do something more with it. 

If he is my big bad for War of the Witch Queens then I am going to take advantage of BX RPGs 1-20 level spread and make him 15th level.

Get your own Kelek the Crue from HeroForge

Kelek the Cruel
Male Human (mostly) Necromancer, 15th level, Chaotic Evil

Strength: 15
Intelligence: 15
Wisdom: 13
Dexterity: 11
Constitution: 14
Charisma: 7

HD: 9d4 +6 (+9)
hp: 40

AC: 0 (Bracers AC 1, Ring of Protection +!)
Base THAC0: 14

Saving Throws (+1 for magic, +1 ring)
Paralyzation: 8
Petrification: 8
Wands: 9
Breath Weapon: 11
Spells: 8

Weapons
Dagger +1
Staff of Striking
Wand of Cold

Spells
First level: Read Magic, Sleep, Necrotic Shield, Fear, Hold Portal, Read Languages
Second level: Hold Person, Knock, Mirror Image, Wizard Lock, Necrotic Touch, Blight
Third level: Fly, Haste, Death Purge, Clairvoyance, Necrotic Blast, Dispel Magic
Fourth level: Dimension Door, Polymorph Other, Necrotic Strike, Wizard Eye, Confusion
Fifth level: Plane of Death, Magic Jar, Teleport, Life Drain
Sixth level: Abyssal Flame, Anti-Magic Shell, Death Spell
Seventh level: Astral Spell, Instant Summons
Eighth level: Clone, Gate

Scrolls*
First level: Chill Touch
Second level: Choke, Speak with the Dead
Third level: Skull Sight, Unhallow
Fourth level: Charm Monster
Fifth level: Death Spell
Sixth level: Knowledge of Life
Seventh level: Summon Demon
Eighth level: Symbol (Pain)

Height: 5'11"
Weight: 156 lbs
Age: 55

*The spells from scrolls are Necromancer spells from Theorems and Thaumaturgy. I am likely to give him other necromancer scrolls from the other necromancers out there. 

I also say mostly human since I consider Kelek to have a bit of orc in his line somewhere.  This explains his high strength and constitution, his low charisma, his pointed ears, oddly shaped head in some depictions of him.  He can also speak orc and hangs out with Zarak all the time. 

Kelek also has a large warg he rides like a horse.  In typical D&D cartoon fashion, his name is just Warg.

Kelek on Warg from HeroForge

Yeah, I have a lot of plans for this guy. 

Now I need to figure out how he killed the Queen of Witches to get us all in the current problems we are in.

So no monster today.  I am getting ready for my big April A to Z of Monsters later this week. 

I was on vacation last week and getting these "new" AD&D 2nd Edition setting books made me think a bit about what I might do with them.  But since monsters are also on my mind I decided it was high time to pull out my old Monstrous Compendiums for AD&D 2nd Ed, and finally get them organized.

I don't recall exactly when, but I misplaced, lost, or sold my original Monstrous Compendiums.  I kinda regret it really, I got them on the days they were released.  I loved the idea of them.  A monster per page full of information.  Even some bits on the ecology of each.  I had ideas of cutting out the various "Ecology of" articles from Dragon and putting them in each one for a full encyclopedic entry of every monster.

While the idea sounds great, in practice the Monstrous Compendiums were a bit of a hassle.  They were large and unwieldy and yes the pages kept getting torn.  The big thing for me was the fact I could note "really" put the monsters in true alphabetical order since they were printed back to back.  I know, gamer problems.

So I pulled everything I had, everything I have managed to round up at actions, used book stores and even a few others, and got both folders finally put together.

In addition to the first two sets (all in the first binder) I got the sets for the Forgotten Realms, Dragonlance, the Outer Planes, and my beloved Ravenloft all in the second binder.

I just need to replace my Greyhawk and Mystara ones now. 

I know I have some more in boxes somewhere, so I'll get those added as well.  Since I am not longer a transient college student with all my D&D books in a couple of milk crates they can live nicely on my bookshelves. Here they would likely to get more use and less wear and tear.

They live nicely next to my Castles & Crusades Monsters & Treasure Compendium,  Next to them is something I am working on printing out; the contents of the Swords & Wizardry versions of Monstrosities and Tome of Horrors Complete.  It is going to be about 1200 or more pages of monsters.  This time I am not printing them back to back, but a true one page per monster.  Yeah, that means a lot more paper, but also a lot more ease of use and lots of room for me to include notes. IT will also be hard on my printer.

While there is a core of about 400-500 monsters that are shared across all editions of D&D and clones, there are something like 6,000+ monsters that have been stated up in official products.  Once upon a time, I would have wanted all of them.  Today I am a bit more reasonable.  

OR at least that is what I tell myself.

The Highway of Blood: A Call of Cthulhu Scenario for the 1970s is a one-shot scenario for Call of Cthulhu, Seventh Edition, published on the Miskatonic Repository. It stands out as being different for four reasons. First, it is set during the nineteen seventies. Second, it is inspired by the low-budget horror, splatter, and exploitation films of the period, shown in a ‘grindhouse’ or ‘action house’ cinema, such as Duel, I Spit on Your Grave, Last House on the Left, Texas Chainsaw Massacre, The Hills Have Eyes, and the more recent Death Proof. Third, in doing so, the scenario involves a number of elements which the players may find disturbing. In fact, more disturbing than is the norm for a Call of Cthulhu scenario. These include drug use, sadistic violence, implied rape (against NPCs), torture, cannibalism, body horror, and violence against children. Consequently, the scenario comes with a warning and advice on how to handle such topics, including making clear to the players the nature of the content of the scenario and discussing any boundaries they may have—essentially a ‘Session Zero’, if necessary fading to black and drawing a veil in what might otherwise be a personally harrowing scene, and ultimately respecting a player’s limits. Even if that means ending the current session. So to be clear, The Highway of Blood is not a scenario for the timid or the easily offended, its content is of a grittily adult nature and so requires mature players, but it goes out of its way to be upfront about this and gives advice on how to handle it.

The Highway of Blood takes place in 1975, along The Devil’s Backbone, a scenic drive along a limestone ridge in the Texas Hill Country. It is purportedly one of the most haunted spots in the Lone Star State. The Player Characters, who might be friends on a week-long road trip through West Texas, or FBI agents from the Dallas office who are investigating a series of disappearances in the area, begin play on the road, getting low on fuel and in one of the worst heat waves the region has ever seen, also in need of a cold drink. When they see a sign up ahead promising ‘Gas & Food’, the Player Characters make the necessary right turn onto the unpaved road and find themselves in the crumbling, mouldering former uranium-mining town of Abattoir, West Texas (population of 850, but probably much less…). Unfortunately, getting into Abattoir, West Texas, is the easy part. Getting out is going to be challenging, not to say nigh on impossible, and is likely to be tortuous. In some cases, literally…

The fourth reason why The Highway of Blood is different, is the format. It is not a traditional Call of Cthulhu scenario in that it is a strong plot driven by an investigation, with layers of the mystery being peeled back layer by layer as the Investigators make their enquiries. Instead, it is written as a sandbox-style scenario in which the Player Characters are free to go anywhere they like, though they are likely to be harried and hindered by the evil inhabitants of Abattoir and its environs everywhere they go. To that end, The Highway of Blood describes the town and surrounding locations in some depth, including the inhabitants and the items which might be found there—sometimes on lengthy random tables. The locations include the gas station, the diner, the church, and the few surviving shops in the town itself. Then beyond the confines of the town, the roads which crisscross the area, the camp and mine shafts for the long since shutdown uranium mine, a horridly bloody compound, and below the mine, a series of strange caves and tunnels. All described in some detail and all sites which the Investigators can visit as part of their sojourn in and around Abattoir.

The plot—as much as there is a plot in The Highway of Blood—is primarily driven by two urges. One is the urge by the debased and often inbred townsfolk to harass and harry, even play, with the Player Characters, and keep them in Abattoir, whilst the other is Player Characters’ urge to escape Abattoir. The highlight of this—if there is one—is the set piece car chase over the roads surrounding the town. This is ‘The Hunt’, and it is very obviously inspired by the car chases seen in the Grindhouse genre. Beyond this hunt, the motivations and plans of the scenario’s antagonists are discussed in some detail, as are possible outcomes or endgames…

The Highway of Blood is supported by a number of appendices. The first provides an overview of ‘The Hunt’, including optional car rules to supplement the chase rules in Call of Cthulhu, Seventh Edition; and rules for non-lethal attacks (since the antagonists do not want to actually kill the Player Characters) and driving stunts. The second provides environment rules for the desert and various hazards; the third the full statistics and write-ups for the various NPCs; the third the monsters; and the fifth, descriptions of new spells and items, plus new rules for radioactive dust and water. The sixth gives the scenario’s various handouts, including numerous maps and floor plans, plus portraits for all of the NPCs and details of the vehicles the Player Characters and their enemies drive during the scenario. The seventh appendix provides two sets of pre-generated Player Characters. One is a quartet of twenty-somethings on a week-long road trip, whilst the other is a pair of FBI agents looking into a rash of disappearances in the area. The eighth and last appendix provides a thumbnail guide to playing in the seventies—news and pop culture in 1975, slang, and recommended films. All useful for anyone who was not born then or was too young to remember the period, or was alive back and then, and has forgotten what it was like.

So what then is The Highway of Blood actually about? It can be best described as the desert version of H.P. Lovecraft’s ‘The Shadow Over Innsmouth’. The town of Abattoir is dominated by a cult dedicated to an ancient god whose members seek victims for conception, consumption, and consecration. This is no Escape from Innsmouth though, the emphasis being on the ‘no escape’, again in keeping with the Grindhouse genre. There is a touch of Mad Max in the scenario’s set piece car chase and of Deliverance in the encounters between the Player Characters and the NPCs. Instead of hillbillies of Deliverance or the bachtrachian inbreds of Innsmouth, what The Highway of Blood has is ‘Dustbillies’. There are potential allies to be found in Abattoir, but to a man—and there are no active female NPCs in the scenario—all have either been cowed by the cult or actively choose to ignore it. This adds to the challenge of what is already a challenging scenario.

Physically, The Highway of Blood is decently appointed. It is presented in full colour with a mixture of period colour photographs and photographs, as well as black and white photographs from the nineteen thirties onwards. The floorplans are clean and easy to read, as are the maps in general. Some thought has been given to highlighting the key points in the scenario and in particular, key trigger warnings for the horrific situations in the scenario. Throughout, there is staging advice and directions for the Keeper, most notably appropriate music to play at certain points, as well as the voiceover from a state radio disc jockey. In addition to it needing an edit in places, if there is an issue with The Highway of Blood, it is that the Keeper could have been given a bigger, better map of the region and it be placed more upfront for her reference.

As a scenario, The Highway of Blood is difficult to quantify. This is because as a sandbox scenario, a form more readily seen in the Old School Renaissance rather than in Call of Cthulhu, it very much being very player driven with relatively little in the way of the plot or NPC to pull them along. In fact, the plot more pushes the Player Characters along as the inhabitants of Abattoir harass and harry them in and around, but not of, the town. In addition, the format means that unlike a traditional Call of Cthulhu scenario, there is not the readymade trail of breadcrumbs or clues for the Player Characters to follow, so that because The Highway of Blood is a sandbox, the Player Characters can more easily avoid any and all clues, run into a major threat and get captured and/or butchered in the first hour or so, or simply wander around never finding anything, just desperate to escape… So a play through of The Highway of Blood could last an hour or hours over multiple sessions. And even if the Player Characters do manage to escape, they may not necessarily succeed or find a solution which deals with the threat they face in Abattoir. That said, the players and their characters have to be both lucky and resourceful if they are to fully deal with this threat, the likelihood being that they will ultimately fail, get captured, and the scenario fades to black as the Player Characters scream in terror. Such an ending though, would be in keeping with the Grindhouse genre that The Highway of Blood is inspired by.

Ultimately, the nature of The Highway of Blood is what will make a gaming group decide whether to play it or not. The triggering issues it contains means that it is definitely one to avoid for some players, but those issues are part of the genre and the authors should be praised for addressing how to handle them as well as they do. The scenario is also less useful for a campaign, though there is advice to that end, being better suited to one-shot play. For a gaming group looking to play a grim, gritty, and gruesome Grindhouse scenario, The Highway of Blood: A Call of Cthulhu Scenario for the 1970s is the perfect choice.

City of Mist is a roleplaying game of neo-noir investigation and superhero-powered action. The intersection between the film noir and superhero genres has invariably derived from the Pulp fiction of the thirties and forties, with such characters as The Shadow or Batman, with generally low-key and low-powered heroes and villains in comparison to what would follow with the Four Colour subgenre. City of Mist does something different. It brings in the powers and personalities of legends and gods of different Mythos—King Arthur, Red Riding Hood, Hercules, Athena, and Bast—and then obscures them. These powers and personalities manifest through Rifts, inhabitants of The City, a fog-shrouded, corrupt, and crime-ridden metropolis which could be Los Angeles of the thirties, New York of the fifties, or London of the sixties. It is simply known as The City. As Rifts, the Player Characters investigate Cases, and if necessary, fight crime, some of it committed by other Rifts, some not. Yet as powerful as each Rift is, the ordinary citizens of The City, the Sleepers, cannot see them for what they are and never see them manifest their powers. The Mist, a strange mystical veil renders each manifestation of a power or legend ordinary. Wallcrawling? Parkour. Lightning bolt? Broken electrical substation. Each Mythoi—god or legend or even abstract concept wants to manifest itself in The City, but the Mist works to prevent this, for the result might be chaos which could rip The City apart, so instead it allows them to manifest through the Rifts. Equally, as there is a tension between the Mythoi and the Mist, there is tension between the Mythos, both the legend which wants to become more and a mystery as to why it manifested, and the Logos, the ordinary self, safe and mundane in each Rift.

The City of Mist: All-Seeing Eye Investigations Starter Set is designed as an introduction to the setting. Published by Son of Oak Game Studio LLC, it provides everything necessary to play through at least one Case. Designed to be played by five players and a Master of Ceremonies—as the Game Master is known—the starter set comes richly appointed. There are two books labelled ‘The Players’ and ‘The Master of Ceremonies’; five pre-generated character folios, one each for Baku, Detective Enkidu, Job, Lily Chow, Iron Hans, and Tlaloc; a deck of twenty Tracking cards and a Crew Card; two twenty-two by seventeen-inch poster maps; forty-one illustrated character tokens; and two City of Mist dice—one purple Mythos die and one ivory Logos die. There is a lot on the box, all of it presented in full colour and illustrated throughout with artwork which invokes the two inspirations for City of Mist.

The starting point for the City of Mist: All-Seeing Eye Investigations Starter Set are five pre-generated Player Characters or Rifts. The quintet consists of Baku, Detective Enkidu, Job, Lily Chow and Iron Hans, and Tlaloc. Baku is a monster hunter, mythological Japanese chimera who hunts ghosts and devours nightmares; Detective Enkidu is an experienced police detective who hides a creature of the wild from Sumerian myth inside her which drives her to break the rules; Job is an unkillable priest whose family was killed by The City’s criminal underworld; Lily Chow is a runaway teen able to unleash Iron Hans, a magician-giant who is her companion, protector, and big brother; and Taloc is a small time crook with a gift of the gab and the power of the Aztec god of rain and water, thunder and lighting. Each of the five character folios is done on heavy, glossy card in A3-size. This does mean that there is quite a lot of information on each folio and that each folio takes up quite a bit of space on the table.

Unlike a traditional roleplaying game, a Rift is not described in terms of skills or attributes, but rather what he can do. Each of the five has the same set of Core Moves, or actions that they can attempt. What marks a Rifts out as special is the fact that he has four Themes, represented by four cards on the folio. They are divided between Mythos and Logos Themes, the legendary and the ordinary aspects of a Rift. Some Rifts have Mythos Themes than Logos Themes, and vice versa, and it is possible to lose Themes, so that a Mythos Theme might Fade and be replaced by a Logos Theme, whilst a Logos Theme might Crack and be replaced by a Mythos Theme. There are consequences to having Themes all of one type. For example, a Rift who replaces all of his Logos Themes with Mythos Themes, becomes an avatar of his Mythos, whilst losing his last Mythos Theme means he becomes a Sleeper and denies the existence of the Mythos. Whilst each Mythos Theme has a Mystery that the Rift wants to explore, and each Logos Theme has an Identity which represents a defining conviction, belief, or emotion, all Themes have Power Tags which can be invoked to help achieve a Rift’s intended goal, plus a Weakness.

For example, Tlaloc has the Mythos Theme ‘God of Rain and Lightning’. This has the Mystery, “Who Threatens to Blot Out the Fifth Sun?”, the Power Tags, ‘Call Upon the Storm’, ‘Thunderbolt Manipulation’, and ‘Electrifying Gaze’, plus the Weakness, ‘Indoor Spaces’. He also has the ‘A Dimond in the Rough’ Logos Theme, which as the Identity, “This Will Be The Last Time, I Swear!”, the Power Tags, ‘Good, deep down inside’, ‘Relentless Schmoozer’, and ‘Sticky Fingers’, as well as the Weakness, ‘Pangs of Remorse’.

Learning the game begins with ‘The Players’ booklet. It runs to forty-four pages and introduces the concepts behind roleplaying and City of Mist, explains the character folios and how the roleplaying game is played—the ‘Moves’ or actions a Rift can take and their potential outcome, describes the various districts of The City, and provides a lengthy, eight page example of play. The latter includes two of the pre-generated Rifts in the starter set and showcases the various types of Moves that the Rifts can perform as part of an investigation and then combat scene. In general, the Moves are well explained, but do come with fine print and do require a little bit of study. The example of play though, is more than helpful in showing the prospective player and Master of Ceremonies how the game works.

Whilst the Master of Ceremonies has to read the ‘The Players’ book to understand the basics of City of Mist, the ‘The Master of Ceremonies’ book is all hers. This explains the role of the Master of Ceremonies, the Moves or actions she can take—and when, explains how to present challenges and dangers to the Rifts, and so on. A Danger encapsulates a threat to the Rifts, whether that is an NPC, a location, or a situation, which might be a crime lord’s chief enforcer, a car chase through the streets of The City, or a building on fire. The bulk of the ‘The Master of Ceremonies’ book is given over to ‘Shark Tank’, the first case for ‘All-Seeing Eye Investigations’, the crew which the Rifts in the City of Mist: All-Seeing Eye Investigations Starter Set are members of. ‘All-Seeing Eye Investigations’ has its own ‘Crew Theme card, complete with its own Mystery and Power Tags which the Rifts can invoke as part of their investigation.

Mechanically, City of Mist and thus the City of Mist: All-Seeing Eye Investigations Starter Set is ‘Powered by the Apocalypse’, which means that it uses the rules first seen in Apocalypse World in 2010. These rules are player-facing in that the Master of Ceremonies does not make dice rolls, but rather that the player do. So from the Core Moves below, a player would roll ‘Convince’ to persuade an NPC, but ‘Face Danger’ to avoid being influenced. The rules in City of Mist have eight Core Moves—‘Change The Game’ (give an advantage or remove a disadvantage), , ‘Face Danger’ (avoid harm or resist a malign influence), ‘Go Toe to Toe’ with someone, ‘Hit With All You’ve Got’ (harm someone in the worst way you can), ‘Investigate’, ‘Sneak Around’, and ‘Take the Risk’ (perform a feat of daring). When a Rift undertakes an action, his player states the Move he is using, applies any bonuses from Tags—short descriptors for a quality, resource, advantage, disadvantage, or object in the game—and applies the resulting Power value for the sum of positive and negative tags and statuses affecting an action, and rolls two six-sided (or the included City of Mist dice) dice. A player can use all manner of Tag Combos to build up the Power value, as long as the Master of Ceremonies agrees. Several Tag Combos tailored to each pre-generated Rift are listed in their respective folios.

A result of a six or less is a Miss, a result of between seven and nine is a Hit, but with complications, whilst a result of ten or more is a Hit with a great success. Each Move works slightly differently and will give different results depending upon the roll. For example, the ‘Investigate’ Move gets a Rift answers to questions. If a Hit—seven or more—is rolled, the player can ask the Master of Ceremonies a number of questions and so gain a number of Clues equal to the Power value applied to the roll. If a Hit with complications—seven or more, but less than ten—is rolled, the Master of Ceremonies can expose the Rift to danger, give fuzzy, incomplete, or partly-true partly-false answers, or have the NPC ask the Rift a question, which he must answer. The aim in many Moves is to inflict a Status such as ‘Prone-2’ or ‘Befuddled-1’ or ‘Knife Wound-3’, which will give a Rift an advantage when rolling against that NPC who has suffered such a Status and a disadvantage when suffered by the Rift. A status like this is recorded on a Status card and kept in play until it is got rid of.

In addition, the Rifts can enter a Downtime sequence between the investigation or action, and undertake actions such as ‘Give Attention to a Logos’, ‘Work the Case’, ‘Explore Your Mythos’, ‘Prepare for your next Activity’, and ‘Recover for your next Activity’. This is handled as a montage scene and the effects of each action are automatic, whilst ‘Burning for a Hit’ grants an automatic success without complications, but also makes the Tag unusable until a Downtime sequence has been completed. Lastly, there is ‘Stop.Holding.Back.’, a special Move which enables a Rift to push his powers beyond their limit, though at the cost of a sacrifice to one of the Themes in a Rift’s folio.

The Master of Ceremonies has her own Moves, divided between Soft Moves and Hard Moves. A Soft Move is an imminent threat or challenge to the Rifts and their investigation, and really only consists of the Master of Ceremonies complicating things for the Rifts as a means to spur them into action. A Hard Move is a major complication or a significant setback to the Rifts and their investigation, and includes more options for the Master of Ceremonies. ‘Give a Status’ inflicts a Status on a Rift, but this can be resisted by a ‘Face Danger’ Move. Other Hard Moves, such as ‘Burn a Tag’, ‘Complicate Things, Big-time’, and others cannot be resisted and are more narrative effects and consequences than Moves as such. Essentially, they can come into play when a Rift fails to take an action or fails—rolls six or less—when undertaking an action. The Master of Ceremonies also has Intrusions, which really codify her using her judgement when adjudicating the rules.

The Case in the City of Mist: All-Seeing Eye Investigations Starter Set, ‘Shark Tank’ is organised in a couple of ways. First, it is a pyramid diagram of scenes, arranged by depth into a series of layers, which after the briefing, the Rifts can visit and investigate. Second, it is as a series of programmed steps which take the Master of Ceremonies and her players through the process of learning to play both City of Mist and the scenario. For example, when the Rifts encounter a group of enforcers shaking down a shop owner, ‘The Master of Ceremonies’ book says, “If this is the crew’s first fight, stop the story and move over to the players’ booklet, starting at Exhibit #8: Playing Through a Conflict on page 21 (see also MC Skill: Running a Fight Scene on the next page).” At which point, the players and Master of Ceremonies can set up and run the fight scene. However, this does not mean that the Master of Ceremonies can necessarily run ‘Shark Tank’ without any preparation, but it does mean that once prepared, she really has all of the references, pointers, and advice at her fingertips, including advice specific to each of the five Rifts which come pre-generated with the City of Mist: All-Seeing Eye Investigations Starter Set. The scenario itself has the Rifts interviewing the owners of several businesses on Miller’s Square where All-Seeing Eye Investigations has its shabby office, potentially exposing police corruption, confronting villains who bring a whole new meaning to the term ‘loan shark’, and having a showdown at the chief villain’s lair. Beyond the confines of ‘Shark Tank’, there are extra scenarios available which can be played using the content from the City of Mist: All-Seeing Eye Investigations Starter Set.

Also included in the City of Mist: All-Seeing Eye Investigations Starter Set are two twenty-two by seventeen-inch poster maps and forty-one illustrated character tokens. The maps depict various locations which appear in the scenario, ‘Shark Tank’, and tokens cover all five Rifts and the various NPCs in the scenario. The single purple Mythos die and single ivory Logos die are decent twelve-sided dice marked with one through five twice, and then the domino mask symbol on the six face for the Logos die, and power icon on the six face for the Mystery die. Each icon also appears on the Themes in each folio.

Physically, the City of Mist: All-Seeing Eye Investigations Starter Set is very nicely put together. The poster maps are on sturdy paper, the counters thick cardboard, the folios on glossy card stock, and both of ‘The Players’ and ‘The Master of Ceremonies’ booklets done on glossy paper stock. Inside, both booklets are superbly illustrated in a slightly cartoonish, but suitably film noir style, and their layout is excellent. Not only designed to look like a set of case files for a crime, but also designed to be accessible with effective use of devices to highlight text and boxed text for useful information. If there is a physical downside to the City of Mist: All-Seeing Eye Investigations Starter Set, it is the box it comes in. It is not particularly sturdy and unlikely to do a good job of protecting its otherwise excellent contents.

The City of Mist: All-Seeing Eye Investigations Starter Set is at first confusing. The box contains a lot of components and it is a little difficult to quite know where to start. However, once you dig into the rules in the ‘The Players’ booklet it begins to make a little sense, but really where it comes together is in ‘The Master of Ceremonies’ booklet, especially in the scenario, ‘Shark Tank’, which gives context for the rules and whether through nudges to the Master of Ceremonies to use particular rules or direct referral back to the rules in ‘The Players’ booklet. Once grasped, what the City of Mist: All-Seeing Eye Investigations Starter Set reveals is a flexible ruleset which drives and pushes the narrative. The setting itself, combines urban fantasy with super heroics, but that combination avoids much of the trappings of the superhero genre. It shrouds them in the fog of the film noir genre just as The Mist masks The City from them. The City of Mist: All-Seeing Eye Investigations Starter Set is an excellent introduction to The City and the ‘Powered by the Apocalypse’ mechanics of City of Mist.

Another fairly notorious one.  I can recall gamers in my Jr. High talking about how to stat up the sword from this.  The start of this one is fun, love the wall of screaming faces.

Among others, this features Richard Lynch as Titus Cromwell the evil king (naturally) and Richard Moll as Xusia the evil sorcerer.  On the side of good, we get Lee Horsley as Prince Talon just before he became Matt Houston and Kathleen Beller, the future Mrs. Thomas Dolby*, as Princess Alana.

I only mention her as the "future Mrs. Thomas Dolby" because that was my first real knowledge of her, on the cover of his "Aliens Ate My Buick" album.  

So let's get to this!

The Sword and the Sorcerer (1982)

So Richard Lynch summons Richard Moll to help him fight King Richard (Christopher Cary).  Of course, no sooner had he got help from the sorcerer Xusia, Cromwell kills him. 

We also get our first look at the ridiculous three-bladed sword. It can cut, slice, and fire blades! 

Eleven years later Talon (now looking like Lee Horsley) comes back home to avenge his father and mother. 

There is a bit with Manimal I mean Prince Mikah played by Simon MacCorkindale and George Maharis, a long way from Route 66, as Machelli.  We also get another showing of S&S&C MVP Anthony De Longis appears as Rodrigo.  

I have never watched it all the way through.  I honestly could never get past the sword firing blades.  Watching it now I remember why.

The prince is rescued but they fight their way out. There seems to be a bit of Raiders of the Lost Ark envy here; Talon's escape could be taking place in Cario, Egypt. 

Talon fights Cromwell only to have Xusia come back.  I have to admit Xusia's return is kind of fun, it would have been better if they hadn't telegraphed it. Xusia and Talon fight over who gets to kill Cromwell.  Talon kills the sorcerer and then he and Cromwell fight.

Not a great movie but a cult film all the same. I know a lot of people love it, but I could not get into it in the 80s and didn't do much better now.

Gaming Content

Seems fitting seeing how they call out D&D on the poster and there is not a dragon to be found in this.

The Triple-Sword.  This sword is +3 to hit and damage.  On striking it does 3d6+3 points of damage. 
The sword can launch one of two of its outside blades doing 1d6+3 damage.  Its range is 30/60/120 feet.  Reattaching a blade requires one round in which the wielder cannot attack. 

The Future We Saw is a near-future, post-scarcity, post-labour roleplaying game of A.I. and precognitive manipulation of politics, power, privacy, and information in a world of radical political, corporate, and social factions. This is a future in which corporations and other organisations not only have their own public relations teams to make themselves look good, but teams of undercover fixers whose task is to ensure that their employer looks good and their employer’s rival looks bad, that they have the inside information on their rivals, whilst denying inside information to their rivals. Working in small team ‘Special Forces’ style operations, these fixers will conduct acts of blackmail and kompromat, assassination and intimidation, infiltration and hacking, extraction and kidnapping, sabotage and discovery, and more. Each team will comprise combat and protection Veterans, technical Specialists, Psy-Ops who provide medical and psychological support, and Seers, precogs capable of seeing Glimpses and Gazes into the possible future, and so potentially avoid them—though not without suffering high degrees of stress such that it is not uncommon for Seers to burn out.

The Future We Saw is published by Lost Pages, best known for its Old School Renaissance titles such as Genial Jack Vol. I and the Burgs & Bailiffs series. It employs the mechanics from Dungeons & Dragons, Fifth Edition to provide four Classes—each of which goes up to Fifth Level, near-future skill and tool Proficiencies, and the spell-like Glimpses and Gazes of the Seer. In addition, it covers the types of factions found tomorrow—if not today—and the means to set up a Scheme, or campaign, in which factions will send teams on Missions against their rivals to gain or prevent leverage, perhaps discovering other information, which will lead to further Missions, and so on. Lastly it includes a campaign setting, set-up, and scenario in tomorrow’s Dublin written by the author of Macchiato Monsters: Rules for Adventures In a Dungeonverse You Build Together.

The Future We Saw is not a Cyberpunk roleplaying game. Not only does it lack the chrome and neon aesthetics, it is not about technology and our inability to integrate with it, and it is not about the masses versus megacorporations or working to bring them down. The various factions in The Future We Saw are in power, so it is about sabotaging them, manipulating them, and controlling them rather than destroying them, and all for the benefit of another faction rather than society. The Future We Saw is about the manipulation of a future that has already been lost to the control of corporations and other factions whose promises have failed to deliver as discourse polarised and technology either drove out the need for labour or began to direct it. What technology there is has been subsumed into society, whether that is robot delivery drones or mobile devices or A.I.-driven vehicles—essentially all recognisable from today, and in terms of game play there are no hacking rules. Instead hacking is handled offscreen by an NPC, if at all. However, labour is at least useful for providing a human face, or stepping in when A.I. cannot cope or needs to be repaired, but in the main, robots do much of the work. However, constant working with A.I. has caused mental illness in many, even triggering a precognitive ability in some. Typically, this comes in the form of a hallucination which suggests the best possible outcome, but not whether the action will succeed, such that the powers of a Seer are powerful, but not absolute. However, such predictions, known as Sights, can fail due to errors in belief, the blurring of details, focus upon incidental details, and personal bias as well as the Seer’s mental health.

An Agent in The Future We Saw has the six attribute scores of Dungeons & Dragons, Fifth Edition—Strength, Constitution, Dexterity, Intelligence, Wisdom, and Charisma. Each of the four Agent Classes grants various Proficiencies—Saving Throws, Armour, Weapons, and Skills, as well as a series of features. For example, the Specialist starts with Expertise—double Proficiency with two skills and Specialist Training. This can be Thug, essentially the equivalent of the Rogue’s Backstab; Contacts, which grants Advantage on Charisma checks when dealing with criminal contacts; or Meaningful Practice, which grants a bonus action with one particular tool the Agent has Proficiency with. Two means of Agent creation are given. One is an array for the ‘Typical Professional’, whilst the standard three six-sided dice are rolled for those ‘From Other Walks of Life’. An Agent then receives some bonuses to these and then selects a Class. An Agent does not begin with equipment as this is provided by his employer on a Mission by Mission basis.

Marilyn Hilliard was an actuary working for Solid Life Health Insurance supporting an expert A.I. when she began to see the times of deaths of her customers. This drove her into having a mental health episode and eventually hospital. Her policy and employment was subsequently purchased from Solid Life Health Insurance and she found herself working for an entirely different employer.

Marilyn Hilliard
First Level Seer

Strength 12 (+1)
Constitution 06 (-2)
Dexterity 13 (+1)
Intelligence 14 (+2)
Wisdom 18 (+4)
Charisma 16 (+3)

Hit Points 7

Proficiencies: Light Armour, Simple Weapons
Saving Throws: Intelligence, Wisdom
Skills: Insight, Investigation, Persuasion

Features
Stress Prevision (People)
Future Sight: Emotional Button Mashing, Evil Eye (Glimpses); Alpha-Beta Approach Pruning (Gazes)

A Seer’s capacity to see into the future is divided into ‘Glimpses’ and ‘Gazes’. ‘Glimpses’ grant visions of the future about the Seer’s immediate environment—to see how a combat plays out to pre-empt an action, to determine how a conversation might play out, or to predict the worst possible outcome from a situation. In general, this is to gain a bonus action, a reaction, and so on. ‘Gazes’ take longer, often days at a time, and grant long range predictions, perhaps about the plans of a rival faction or the best possible course of action. Although The Future We Saw does not have hacking rules or mechanics, but the difference between ‘Glimpses’ and ‘Gazes’ maps onto the shift on how hacking is handled in cyberpunk and similar roleplaying games. Originally, hacking was always handled by a Player Character working from a base or home whilst the rest of the team goes on the Mission, essentially ‘Gazes’, but in more recent iterations, hacking needs to be done on scene, that is, the hacker has to go on the Mission. Which is this case, the equivalent of the ‘Glimpses’, visions of the future which happen on site, during the Mission. Predicting the future does not come without its cost. Invoking ‘Glimpses’ and ‘Gazes’ inflicts stress and suffering stress can led to burnout and exhaustion, which can greatly impede an Agent’s capacity to operate. Combat is also dangerous in The Future We Saw as it is possible to suffer grisly wounds.

Ideally, The Future We Saw should be played with four players and thus one of each of the four Agent types in the roleplaying game, though with more players, the doubled up Agents should opt for different specialities to enable each Agent to shine in different ways during play. Doubling up with Seer Agents may set up an interesting dynamic of differing views of the immediate future, but will also complicate the efforts of the Game Master to what that ‘best’ future might be in any given situation. Even with just the one Seer in a team, determining the ‘best’ future might be in any given situation is still one of the more challenging tasks in the roleplaying game for the Game Master.

In terms of setting, The Future We Saw does three things. First it presents and discusses five Factions—Hegemon, Innovator, Movement, Rentier, and Zaibatzu—and what their objectives are, why they are hated and why they are useful, and the three perks they can grant once per Mission. For example, an Innovator represents the Power of Progress, which could be cutting edge technology, pervasive data hoarders and manipulators, and the like, such as gig economy delivery and taxi services, and political consulting firms specialising in data analysis and manipulation. It is hated because it pursues improvements without any qualms about collateral or financial damage, but useful because it is building the future. Their perks include ‘Benefit: SIGINT’—harvesting data means great briefing material, Support: Cutting Edge—new technology; and Ultimate: Hack from the Stash—the possibility that the data breaches have already made in the target of the Mission, but not yet revealed. A diagram shows the relationships between the five types of Factions, so that the Game Master can see the alliances and enmities at a glance.

Second, it examines the types of Missions and Schemes that the Agents can be sent on. Whether an Extraction, Cover-Up, or Kompromat, Missions are played out in seven phases—Briefing, Procurement (assign equipment), Deployment, Execution, Extraction, Debriefing, and Consequences. What is interesting here is that in terms of game play, failure is as interesting as success, since the target Faction (or other Faction) might be running its own team of Agents and failure means approaching the problem again, but from a different angle, even a different type of Mission. Further, throughout the Game Master has her own character to roleplay in addition to the various NPCs in situ, and that is Control, a voice in the Agents’ ears, offering advice, help, and warnings, a la Control of John le Carre’s espionage fiction.

Schemes are the overall objectives of the Faction the Agents are working for, the equivalent of a campaign in other roleplaying games, but relatively short and meant to be flexible and be developed as the Agents play through Missions, make discoveries and the target Factions acts in response. These are mapped out on a ‘FTM’ or ‘Faction Tension Map’, which sets out the specific relationships between the Factions and other organisations or persons involved in the Scheme, willing or not. The relative brevity is supported by the number of Missions the Agents go on to acquire Levels—two Missions to get to Second Level, then three to get to Third Level, and so on, for a maximum of fourteen Missions to get to Fifth Level, the maximum available in The Future We Saw.

Third, The Future We Saw presents a Scheme setting, ‘Dublin 2020’. It details a city divided by wealth and a security Fence, dominated by corporate interests, alco-tourism, and tax breaks. It is supported by complete scenario, ‘L❤VE’s Data’s Lost’, in which the Agents are working for L❤VE, an Innovator and start-up company desperately on the make whose data, much of it private and harvested from its app, has been hacked into on the servers at a nearby server farm. The Faction responsible, ZPLNTR, a radical hacker group, is holding the data hostage and the Agents’ task is to prevent further leaks and get control of the data back. Mix in rival Factions, rival events, and more, and this is a decent starting Scheme which feels just a little too real.

Currently, The Future We Saw is only available in an ‘Ashcan’ or ‘Zero Edition’. This does not mean that it is roughly presented. The layout is clean and tidy, and there is a lot of white space. This is by design, and whilst some may complain, it does give the content room to breath and it makes it easy to read. The artwork is decent and though it needs a slight edit in places, the book is well written.

The Future We Saw is a heist roleplaying game, a roleplaying of small teams of experts conducting missions in small amounts of time. It is like the television series Leverage or Hustle, but with a twist. It is like those television series, but backwards—or rather forwards. In Leverage, the team achieves its aims, playing out a con on its mark, but how the mark is played, how each switch or misdirection is made, is revealed in flashbacks, showcasing the skills and abilities of the team’s members. In The Future We Saw, there are no flashbacks, but there are flashforwards, quick peeks and squints mostly into the immediate future(s), and they occur throughout the mission rather than at the beginning or the end.

Overall, The Future We Saw is an interesting take upon the heist and the post-cyberpunk roleplaying game, set in a tomorrow that we can already see.