RPGs

Class Struggles: The New* Basic Classes

The Other Side -

2019 was the start of my Back to Basics theme here at the Other Side.  I have covered a LOT of Basic-era/BX/BECMI/RC type products.  It got me thinking. In addition to the the base four human classes and three demi-human classes how many classes have been added to Basic D&D?

Answer. 113*
This includes at least four kinds of Barbarians, Bards and Paladins.  Three types of Rangers and Gnomes and duplicates of many others such as necromancers and illusionists.
*There are likely even more.

I am not sure if all of these are needed, but I am glad they are here.  Variety is the spice of life after all and these classes are all about variety.

The trick now is, can they all be played in same world? OR maybe a better question.  Is anything missing?

Basic Classes
Cleric, Fighter, Magic-user, Theif, Dwarf, Elf, Halfling

ACKS Player's Companion
Anti-paladin, Barbarian, Dwarven Delver, Dwarven Fury, Dwarven Machinist, Elven Courtier, Elven Enchanter, Elven Ranger, Gnomish Trickster, Mystic, Nobiran Wonderworker, Paladin, Priestess, Shaman, Thrassian Gladiator, Venturer, Warlock, Witch, and Zaharan Ruinguard.

Advanced Labyrinth Lord
Assassin, Druid, Illusionist, Monk, Paladin, Ranger

OSE (Advanced)
Acrobat, Assassin, Barbarian, Bard, Drow, Druid, Duergar, Gnome, Half-elf, Illusionist, Knight, Paladin, Ranger, Svirfneblin

BX RPG
Druid, Gnome, Half-elf, Monk, Necromancer, Paladin, Ranger

Mazes & Perils Deluxe Edition
Enchanter, Shaman

Psionics Handbook
Monk, Mystic

Class Compendium
Acrobat, Alienist, Angel, Automation, Bandit, Barbarian, Bard, Berserker, Bounty Hunter, Burglar, Commander, Cultist, Damphir, Dark Elf, Death Knight, Dragon, Dragon Slayer, Eidolon, Explorer, Fairy, Familiar, Feast Master, Fortune Teller, Friar, Gladiator, Goblin, Greensinger, Half-Elf, Half-Ogre, Half-Orc, Huckster, Inquisitor, Investigator, Knight, Lost Boy, Lucky Fool, Metaphysician, Pirate, Raging Slayer, Rune-Smith, Samurai, Shootist, Sword Master, Sylvan Elf, Tavern Singer, Thopian Gnome, Treant, Undead Slayer, Wanderer, Warchanter, Watchman, Wild Wizard (That's 52 classes!)

The Complete B/X Adventurer
Acrobat, Archer, Barbarian, Bard, Beastmaster, Bounty Hunter, Centaur, Duelist, Gnome, Mountebank, Mystic, Ogre-Kin, Scout, Summoner, Tattoo Mage, Witch, Witch Hunter.

Magical Theorems & Dark Pacts
Cleric, Wizard, Elven Swordmage, Elven Warder, Enchanter, Fleshcrafter, Healer, Inquisitor, Merchant Prince, Necromancer, Pact-Bound, Theurge, the Unseen.

Odysseys & Overlords 
Bard

Theorems & Thaumaturgy Revised Edition
Elementalist, Necromancer, Vivimancer

Class Catalog for B/X Essentials
Aasimar, Dragonborn, Dwarven Priest, Dwarven Thief, Elven Rogue, Gnome, Halfling Burglar, Half-Orc, Pixie, Tiefling

The Love Bug: ‘How a Baby Is Made’, 1971

We Are the Mutants -

 Exhibit / January 22, 2020 

Object Name: How a Baby Is Made
Maker and Year: Per Holm Knudsen, Piccolo Books, 1973 (UK edition)
Object Type: Children’s book
Image Source: Author’s copy
Description: (Richard McKenna)

In 1973, construction toy Lego was joined on the shelves of British shops by another Danish product aimed at children—one which could hardly have been any more different in its aims, though which perhaps shared some of its underlying philosophy. How a Baby Is Made was the English language translation of Danish psychotherapist and “sexologist” Per Holm Knudsen’s children’s picture book Sådan får man et barn, published in Denmark in 1971. After winning the Danish Ministry of Culture’s children book prize in 1972, the rights were acquired in Britain where Piccolo Books, the children’s division of paperback publisher Pan, published it the following year. Using illustrations as gauche as they were explicit, and simple, straightforward text, How a Baby Is Made described exactly—and, given the age range of its intended readership, with remarkable thoroughness—what its title announced it intended to.

The book’s publication took place in the context of a UK that was trying to persuade itself it could be a low-rent version of its more urbane Scandinavian neighbors across the North Sea: we envied the “Scandis” their cool furniture, bold patterns, saunas, Abba, Volvos, Scania truck cabs, and laid-back approach to nakedness. Where we had drizzle, they had endless spring; and where we had seedy knee-tremblers in grotty bedsits, they had carefree sex under mulberry bushes or something equally healthy-seeming. How a Baby Is Made fell under the umbrella of this Scandiphilia, and its appearance also provided me with a a fleeting moment of junior school infamy. Both my parents were teachers, so the copy I was given in 1978 had presumably been passed on to them by some book company rep doing the rounds: given contemporary photographs of me, it seems unlikely that anyone would have splashed out hard cash on the possibility of me ever being in a position where I needed to know about conception. After studying How a Baby Is Made in my bedroom and learning with amazement about the mysteries of the human reproductive process, I guilelessly packed it in my satchel to show my friends at playtime the next day.

My classmates were intrigued, even though, as my friend Tracy pointed out, none of the mechanics on show made much sense and the book begged more questions than it answered—she said that she would be asking her older sister, the worldly Debbie, for further explanation that evening. Word spread among the mothers waiting at the school gates that someone had been flashing a “mucky book” around the playground, and the next morning several parents came in to see our teacher—the wonderful Mrs. White—to remind her that this was Doncaster, not Denmark, and to demand that any further ad hoc sex education be nipped in the bud. Mrs. White very tactfully told me that it would probably be better if in future I left How a Baby Is Made at home, and at hometime, I—now an accidental progressive-cum-sleazemonger—was subject to several stern glares and pitying looks from the parents waiting at the gates.

Unfortunately, though, the glimmer of kudos my time as a purveyor of filth had earned me from my peers faded rapidly, and How a Baby Is Made was soon forgotten. Forgotten but not gone, however: the book has continued to rear its strange head over the decades, though so saturated are we in postmodern irony these days that it’s almost impossible to mention it as anything other than a fucked-up freakshow of typical 1970s inappropriateness. And in fairness, it sort of is a fucked-up freakshow of typically 1970s inappropriateness; its blythe candor was pretty disconcerting, at least for this buttoned-up Brit. Beneath the patina of disconcerting oddness, though, there is something genuinely admirable: the intention to free children of their ignorance and fear and inform them in the least melodramatic, most straightforward way possible about something that parents down the ages have struggled, or totally neglected, to communicate: “We owe children honesty,” the book’s introduction says, and How a Baby Is Made takes it as read that children are capable of understanding the world around them if it is explained to them in a way that they can understand and without the filters of adult prudishness—and it presumes moreover that children have a right to know this stuff, however uncomfortable that might make adults still clinging to their schmaltzy Victorian ideas about childhood.

As fellow mutant Amy points out, by today’s standards How a Baby Is Made might appear a little reductive and essentialist in the way it conflates the act of reproduction with ideas about what should constitute a family, something that a modern version would need to take into account, but despite that, we agree there is something genuinely commendable about what it attempts to do and the way that it goes about it.

Quite a few of my schoolmates later ended up having unplanned kids when they were still very young, forcing them to abandon their educations and in some cases making their subsequent lives very difficult. While I’m not saying that youthful exposure to Sådan får man et barn would necessarily have changed that, growing up in an environment where open, honest discussion of sex, family planning, and pregnancy was a normal part of life certainly would have. It’s a mistake to fetishize other cultures and societies the way we Brits have a habit of doing, but a culture or society that attempts to reduce the amount of misinformation and misdirection all its children are fed about such basic human functions as reproduction (and birth control) is one we should already be living in.

Home of the Grave: Rene Daalder’s ‘Population: 1’

We Are the Mutants -

Eve Tushnet / January 21, 2020

“It is my dubious privilege to confirm the fact that man never invented anything that he didn’t eventually put to use.” That’s how Tomata du Plenty (played by the punk singer of the same name) describes the nuclear apocalypse that has left him the eponymous sole survivor in Dutch writer-director Rene Daalder’s 1986 film Population: 1, and in the scrawny, wiry actor’s voice there’s as much delectation as warning. Population: 1 is a short film that feels sprawling: it clocks in at just over an hour but manages to be a science fiction dystopia, an embittered tour of American history, a series of music videos hitting several points on the art-punk spectrum—and an ironic, ambivalent love letter to the Bomb.

The movie’s atmosphere can be guessed just from the cast list, full of names like Helen Heaven, Gorilla Rose, Tequila Mockingbird, and El Duce. Even the normal-named people include Penelope “Avengers” Houston, Maila “Vampira” Nurmi, and—wait for it—a teenaged Beck. The movie emerged from a collaboration between Daalder and the Los Angeles punk band the Screamers (fronted by Tomata), whose live shows were intended to become a series of music videos. They became this instead.

The film opens in black and white with tape hiss and synth, a half-dressed woman running through debris amid signs reading POST MORTEM and LAST HOPE. This is Sheela (Sheela Edwards, who performed IRL with Tomata), film-Tomata’s love interest. She’s a broken-toothed beauty and a howling chanteuse, screaming “I’m so alone!” just before the atomic sunrise. As Sheela lies abandoned at the edge of a lake, we cut to color film of Tomata in an underground bunker, promising that what we’re about to see will be a “tribute to my country and [its] good, fearless people.” Our hero, scrawny to the point of being skeletal, rattles off a disjointed series of patriotic quotations: “Purple mountains’ majesty… by the dawn’s early light… corn as high as an elephant’s eye.” The music scatters hints of “Star Wars” and “Dixie.” Eagles, flags, vultures circling the prairie schooners—an entire American history course unfurls in self-aggrandizing, performatively dumb couplets like, “The land of the brave/Is now my grave.” All of these elements were chosen to explain how we ended up in this bunker, the last of the Yankees, at home at the end of the world.

There are generational resentments in Tomata’s rant: “But when it was my turn to run the show, they nuked the place and took it away,” the cry of someone who believes he deserved power. He’s not a trustworthy narrator. Population: 1 gets its American history from television: cowboys and Indians, buffalo dying for entertainment. This isn’t exactly a political film. If anything, it’s a spiritual indictment; it’s about “the American character,” and the TV images of naked women on display or a black man carrying a tray on his head are presented purely as symptoms of the spiritual disease of the white American soul. This isn’t Lizzie Borden’s Born in Flames, is what I’m saying. The movie replaces political theory and praxis with global thermonuclear contempt. Its hero is a stand-in for the resentful, defeated viewer: You’re probably just the kind of little cockroach, it says, who’d thrive in the nuclear dawn.

It’s a complicit movie, totally entertaining in its attacks on entertainment. As soon as we see the cameras watching Tomata in his hideout, the marathon dance competition on his TV (as soon as we see the TV, for that matter), we can guess that the film won’t spare arts and entertainment any more than it spares science, history, or consumer culture. Tomata capers around the bunker, chased by his appliances. He’s all alone and yet surrounded: by the people on the TV, by the cameras, by the dancing saxophone and hair dryer and shower head and electric toothbrush that hunt him through the bunker as he sings a paean to that most American ideal, “hard work to make a home sweet home.” This imagery of crowded domestic isolation could only be more contemporary if he addressed his hard-work song to Alexa. It’s a fantasy of servants who aren’t people (“Give your appliances the afternoon off,” he counsels, quoting a 1984 energy-conservation slogan from Southern California Edison). Tomata does his post-apocalyptic laundry in a home filled with “people” who are really projections of his own wants.

Population: 1 depicts America as a country defined by restless and relentless loneliness. This is why Hollywood became the entertainment capital of the world. Imagine Laura Ingalls Wilder as the prequel to 2015’s The Witch. Daalder’s film could’ve just as easily been titled “Little Bunker Under the Prairie.” And the movie enjoys the hell out of this violent, paranoid nation, a country whose laughter sounds like gunshots. There’s a carnivorous pleasure, a willingness to give us the very entertainment it condemns. It’s Savonarola cabaret.

Even the romance that shapes what passes for the movie’s plot is defined by entertainment and loneliness. Edwards is gorgeous in a stray-cat kind of way, and she can smolder as well as she can shriek. She takes her own American history tour through music, hitting the 1920s with a goth avant la lettre song called “Jazz Vampire” and the Depression with Rodgers and Hart’s taxi-dancer anthem “Ten Cents a Dance.” Tomata falls hard for her. “And then an idea struck me,” he reminisces, and the verb choice is apt: “The Punch and Judy show… escapist entertainment in which, for one fleeting moment, it would be me who took a beating from my own woman. I showed men that in weakness there lies strength, and encouraged women to show their teeth. And because of it, became the world’s favorite male role model.”

This whole episode is one of the places where Population: 1 is a lot smarter and twistier than it had to be. Nuclear apocalypse reveals both national and universal character, and here, one of the central human characteristics is a drive for self-immolating ecstasy. Sheela howls, “I wanna hurt!” as her man pleads in a cartoon swain’s voice, “I wanna love.” But their moth/flame romance is interrupted by World War II, and the movie returns to the more cliched tactic of playing “Smoke Gets in Your Eyes” over a montage of soldiers dying in flames. Still, the movie resists any political interpretation—any hope of an alternative—as we return to the devastated future. Tomata stumbles drunk through his bunker, holding a gun in one louche hand, at once underlining and undermining the film’s antiwar statement with slapstick. With the gun to his head, he muses, “But what is a man left alive to do but look himself in the eye and wonder where he got the power for so many things to go wrong?”

Sheela died in the atomic attacks, as we saw at the film’s beginning; Tomata was originally one of many survivors who retreated to an underground world ruled by fetishistic doctors and nurses in ’80s makeup. “We were a people who believed in fun, joy,” Tomata says, “yet here we were, knocked out of commission by a few man-made thunderclaps… We submitted to everything.” (A nice thing about nuclear war is that it makes your problems somebody else’s responsibility.) Tomata declares, “We never gave up on the pursuit of happiness, although the limits were many. For some reason, ecstasy always resulted in defeat and collapse.” He spits out recovery-culture slogans (“Easy Does It! One Day at a Time!”) while a sort of dance-riot plays out behind him. Huge swathes of the pop culture of the ’70s and ’80s tell the same story, of pleasure-seekers who discover that fun is bad. Those stories of chastening are themselves often both pleasurable and haunting, but Population: 1 denies itself the pleasures of being chastened; the defeat of fun is only prelude to the defeat of recovery.

The survivors mutate, of course, but for this movie the purpose of the mutations is to entertain us with their weirdness while also condemning us for being entertained: “They became the audience to their own midnight mutant movie,” Tomata says about his comrades, and about us. Life after war descends into a kind of Orgy on Dr. Moreau’s Island, and somehow Tomata ends up totally alone, “just as life starts with one individual sperm.” (That this isn’t how life starts—typically one does need an egg—is presumably part of the point.) With crazy eyes, in camo shorts and a Western shirt, Tomata declares his fealty to the American dream in lines laden with the movie’s heaviest sarcasm.

And then one last survivor bursts in on him! He isn’t alone! His lady love is dead, but perhaps there’s still companionship outside the television screen… Tomata shoots him. Capering and firing the gun, yelling more catchphrases (“A stitch in time. A tit for a tat. Jumpin’ Jehovah! … Long ago we would’ve been dead”), he shoots at the retreating camera and the rubble of the bunker closes him in. Roll credits.

A 2008 two-disc DVD release by Cult Epics includes an interview with Daalder, the usual trailers and stills, as well as many more music videos from the various performers involved with the movie, including previously unreleased material from the Screamers, Sheela Edwards solo, and Penelope Houston.

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

Weekend Gaming: Dungeons & Dragons & Dinners & Dramaturges

The Other Side -

I have not done a weekend gaming post in forever, despite having a game or two going every weekend.  If you follow me on Facebook or my personal Instagram page then one thing is pretty obvious.  My family and I LOVE food.  My wife has won baking awards, my oldest son is in culinary school, my youngest loves to experiment in the kitchen and even I have won 1st place in my local chili cook-off for my "Mississippi Queen" Chili.

It should be no surprise then we LOVE to cook for our D&D sessions.  My oldest son runs three D&D 5e campaigns, one Call of Cthulhu game (3 of which my youngest son is a part of), and I have my three D&D games that meet more rarely, but the bottom line is we have anywhere from two to three groups here every week and we cook for all of them.

These are all high school and college-age kids, so other than one or two other than my kids, their palettes are still forming.  I mean in our groups we have people from South Korea, Equador, Mexico, Spain, and even a 2nd generation Greek (the Greek Orthodox Church is just down the road), so we have ethnicities all covered. So we still like to branch out a bit from just plain old "gamer faire" of burgers, hot dogs and chips, though we still do those a lot.  We have made chili for them (of course), homemade mac-n-cheese (they are still kids), but homemade enchiladas, pulled smoked pork, bbq chicken, homemade ramen (complete with soy marinaded eggs), eclair cakes, banana bread, tacos, homemade chicken sandwiches (because fuck Chik-fil-a), homemade pizza, mini pies,  and homemade wings of various spiciness from mild to "oh dear god make it stop mommy!"





Fortunately for us, we love to cook all this.  My wife has a huge garden (over 2,200 square feet) where we can grow an absolute ton of veggies, so that helps.  In fact, there are many times throughout the year where we don't even need to buy vegetables (and we eat a lot of veggies).

You can see my wife's garden from space!We only have a couple of food allergies to deal with, but that fine with us. 
The great thing is that everyone wants to come here now for the games!  Yeah it means we have a lot of cooking to do, but we enjoy it and we know some of these guys in college with my oldest don't get a homecooked meal very often.

Today's game is Liam's college group and on the menu is the Curse of Strahd and Taco Pie.  Yeah, not haute cuisine, but it is still homemade AND we used enchilada sauce made from our own dried peppers, garden onions, and tomato sauce (yes, we make our own tomato sauce). 





Much better than a bag of chips and a Mountain Dew.

Monstrous Monday will return next week.

Jonstown Jottings #7: Rocks Fall

Reviews from R'lyeh -

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


—oOo—

What is it?
Rocks Fall: A slot-in scenario for Runequest: Roleplaying in Glorantha is a short, one-session scenario set in Dragon Pass wherever Trolls may be found.

It is a sixteen page, full colour, 22.96 MB PDF.

Rocks Fall is well presented and decently written, but needs an edit in places. Both illustrations and cartography are decent, the maps being particularly clear.

Where is it set?
Rocks Fall is set in a dry, rocky place anywhere Trolls might be found and so can easily be slotted into most campaigns.

Who do you play?
The scenario is combat-focused, so warriors and combat capable characters are recommended. The scenario will hold significance to Ernalda and Babeester Gor worshippers.

What do you need?
Rocks Fall can be run using just RuneQuest: Roleplaying in Glorantha. For more information about Trolls, the RuneQuest: Glorantha Bestiary may be useful.

What do you get?
Rock Falls is a combat heavy scenario set in a small cave and temple complex which a Troll band is excavating and will defend any attempt to intrude upon their efforts. The complex has just nine locations and is linear in nature, although it does make good use of vertical space. Each of the locations is decently described. Also detailed is the reason of the Trolls’ activity in the complex and some hints as what the complex was prior to its partial collapse.

The opposition consists of several Dark Trolls and a mixed band of Food, Value, and Warrior Trollkin. The Trollkin are not initiates, but advice is given on each of their tactics and how to scale both them and the Dark Trolls in order to make them more of a challenge. In addition, each of the Dark Trolls and Trollkins has its own character standup. These accompany the large, but simple maps of the complex.

One issue with Rocks Fall is the overview of the scenario is underwritten and could have done with a stronger explanation, especially concerning the reasons why the Trolls are digging there and possible legends related to the complex. That would have expanded the versatility of the scenario, perhaps giving a good hook for Ernalda and Babeester Gor worshippers to seek out the complex or for a rival band of Trolls.

Is it worth your time?
Yes. As a ‘Slot-in’ scenario, as a short and location scenario, Rock Falls is easy to insert into an ongoing campaign. It is particularly suitable for a combat orientated group of player characters or a combat capable group looking for a change of pace.
No. Less combat capable player characters will find Rock Falls a challenge, if not deadly.
Maybe. The background to Rocks Fall is lightly drawn, giving scope for development by the Game Master.

Mining the Beyond

Reviews from R'lyeh -

Riot at Red Plank is a scenario written and published for use with Call of Cthulhu, Seventh Edition by Golden Goblin Press. Like the earlier Riding the Northbound: A Hobo OdysseyRiot at Red Plank was released as a stretch goal for the Kickstarter campaign for the scenario, Cold Warning: A chilling 7th Edition scenario, and like Riding the Northbound: A Hobo Odyssey it is a one-shot scenario which explores a different aspect of American history. Where Riding the Northbound: A Hobo Odyssey explored the lives of Hobos, Tramps, and Bums in the desperate decade of the 1930s, Riot at Red Plank takes in the first decade of the twentieth century in the mines worked by and company towns lived in by immigrant workers amidst growing labour unrest, union agitation, and the often armed response of the mine owners.

Riot at Red Plank takes place in 1904 and is set on the Keweenaw Peninsula on Lake Superior in Northern Michigan where a number of copper mines are worked by immigrants from Scandianavia and Northern Europe. One of these is the Hecate or ‘heck-eight’ mine, worked by mostly Finnish immigrants. Two years ago it was purchased by the Monadnock Trust, a Boston-based cartel of investors, which has appointed a new mine agent, Hiram Noyes. Since then, Noyes has made many changes, replacing seasoned miners with his own men, and cutting corners which ultimately lead to a disaster and several deaths. He also began testing the use of one-man pneumatic drills, the introduction of which would likely lead to the loss of jobs from amongst the workforce. This has resulted in discontent among the miners, many contemplating unionisation and forcing an independent inspection of the mine. This is where the Riot at Red Plank opens…

In fact, Riot at Red Plank opens with a bang. In the default set-up, the player characters—for they are not investigators in the traditional sense of Call of Cthulhu—are mine workers of various types, including actual miners, carpenters, track layers, and trammers. (Suggestions are given as alternative characters should the players not want to all play miners.) Either way, they are assigned to accompany the mine inspector when disaster strikes and an explosion separates them in a cave from the rest of the mine where they discover a strange mineral and encounter monsters from beyond. When this results in the death of the inspector, the other miners blame Noyes and tensions escalate as the miners agitate for strike. Noyes’ response only makes the situation worse and as labour relations collapse, there remains the question, what was the mineral that the miners found in cave and just what killed the mine inspector?

Riot at Red Plank is a relatively short scenario, a one-shot investigation which has the players take the roles of miners—not investigators—and has them do something that they would ordinarily avoid. That is, conduct an investigation into the mine manager’s anti-labour activities and the horrifying weird events at the mine. They are hampered by the Keweenaw Peninsula isolated location, so getting outside help may prove difficult, but potential help may come from an unexpected quarter (but also sets up a possible sequel in both the 1920s and the modern era). To support this, Riot at Red Plank provides not just the seven pre-generated mine workers, each complete with detailed backgrounds, but also information about the Keweenaw Peninsula, the Hecate mine, and how mining is conducted during this period. Further support comes in the form of maps, terminology guide, and a number of decent handouts.

Physically, Riot at Red Plank is very nicely presented. Reuben Dodd’s artwork is excellent as ever, Stephanie’s McAlea’s cartography is decent, and the layout is clean and tidy. The writing is good too. The cover though does give away who the Mythos villains are in Riot at Red Plank.

Structurally, Riot at Red Plank is different not just because it gets the players to take roles different to those of standard Call of Cthulhu investigators and its places them in an interesting period of the USA’s social history—much like Golden Goblin Press’ Northbound: A Hobo Odyssey—but also because it delivers a short, sharp horrifying shock right from the outset. This shock sets up the mystery which pervades the whole of the scenario and lies behind all of the antagonists’ motives. Suitable as a one-shot or a convention scenario, Riot at Red Plank is an effective piece of corporatised horror which forces the labour force to confront the Mythos.

Escaping the End of the World

Reviews from R'lyeh -

In classic post apocalypse gaming—by which we mean Gamma World—players get to roleplay a variety of character types Humans, Mutants, Mutated Animals, and Mutated Plants. Although it seems highly unlikely that players will get to roleplay Mutated Plants in the Mutant: Year Zero series, so far in the Swedish post apocalypse roleplaying game, Mutant: Year Zero – Roleplaying at the End of Days, players have got to play Mutants, leaving the Ark that is their home to explore the Zone beyond and the metaplot which underlies the setting—a search for Eden and perhaps the fate of the Ancients. Then with Mutant: Year Zero – Genlab Alpha, they got to play mutated animals, living in Paradise Valley under the careful eye of the metallic Watchers from their base in the Labyrinth. This was followed by Mutant: Year Zero – Mechatron – Rise of the Robots Roleplaying in which the players roleplayed not Androids, but robots, suddenly self-aware sent out to prevent other robots from achieving self-awareness, in a giant undersea manufacturing dome whose facilities have long begun to deteriorate. This only left the Humans. Just where are the Humans in the future of Mutant: Year Zero? All that is explained in the setting’s latest expansion and fourth standalone roleplaying game in the line, Mutant: Year Zero – Elysium. Like those previous expansions and roleplaying games, Mutant: Year Zero – Elysium includes everything necessary to play—character generation, rules, and a complete campaign, all of which leads up to the start of something new…

The last of humanity has ridden out the worst of the apocalypse in an enclave dug deep into the bowels of the earth. This is Elysium I—named after the meadows of eternal Spring of Greek mythology—founded by four powerful industrial and financial dynasties that continue to rule the enclave to this day. Decades after the end of the world, contact has been lost with the other enclaves, resources are growing scarce, the enclave is close to losing its manufacturing capabilities, and the four great houses—Warburg, Fortescue, Morningstar, and Kilgore—plot and feud against each whilst other putting on a public face of co-operation and optimism. Meanwhile, the workers agitate for better conditions, criminal gangs seem to have free reign, acts of sabotage seem to go unchecked, and rumours abound that the surface might be safe to walk upon and the air clean enough to breathe, a paradise awaiting the first footsteps of humanity once again. In response, the four houses have established a force of Judicators tasked with preserving law and order in the enclave.

The players take the role of members of the four houses—junior members or heirs—who have been assigned to the Judicators, every Judicator patrol consisting of at least one officer from each of the houses. Their loyalties are, of course, to their patrol and the Judicators, but in secret, they report to, and take orders from their house, which often means they have to follow agendas at odds with the rival houses, if not the fellow Judicators in their patrol. Effectively, this means that at any one time, one of the player characters in a patrol will be a double agent! In essence, Mutant: Year Zero – Elysium has much in common with Mutant: Year Zero – Mechatron. The player characters are tasked with policing and dealing with an issue that they are either part of or responsible for. In Mutant: Year Zero – Mechatron it is dealing with difficult situations caused by self-aware robots, whilst also being self-aware, whilst in Mutant: Year Zero – Elysium, the Judicators are investigating acts of sabotage, whilst one of their number is supporting or conducting similar acts of sabotage in the name of their House. If Mutant: Year Zero – Elysium can be described in terms of other roleplaying games, it is Mongoose Publishing’s Paranoia meets EN Publishing’s Judge Dredd & The Worlds of 2000AD and Contested Ground Studios’ Cold City. All of which is played out in a giant inverted underground city equipped with advanced, but increasingly decrepit technology and infrastructure and the look and style of late-nineteenth century, though more central Europe than the Victorian era of Great Britain.

As with player characters in the other Mutant: Year Zero roleplaying games, characters in Mutant: Year Zero – Elysium have four attributes—Strength, Agility, Wits, and Empathy. Each attribute has three basic skills associated with it. Instead of the Mutations of Mutant: Year Zero – Roleplaying at the End of Days, the species of Mutant: Year Zero – Genlab Alpha, and chassis and models of Mutant: Year Zero – Mechatron, characters or Judicators in Mutant: Year Zero – Elysium are all Human. They belong to one of the houses—Warburg, Fortescue, Morningstar, and Kilgore—each of which favours one of the four attributes. They also belong to one of six professions—Investigator, Officer, Procurator, Scholar, Soldier, and Technician. A seventh option is a Psionic, but the playing group will need access to Mutant: Year Zero in order to use such powers of the mind. Each profession provides a single professional skill, for example, Investigate for the Investigator and Command for the Officer, plus options in terms of a Judicator’s appearance, talents, relationships to the other player characters and NPCs, objectives, and equipment.

Unlike the previous roleplaying games and expansions in the Mutant: Year Zero family, the Humans of the Enclave I in general do not have any ‘special’ powers, such as the mutations of the mutants in Mutant: Year Zero. Exceptions to this are the aforementioned Psionics from Mutant: Year Zero and Biomechatronics—cybernetic implants, such as Data Banks, Polygraph, or Heat Vision. Their use though has the potential to cause Machine Fever in those implanted with them. It could be argued though, that the Contacts that each Judicar has, for example, ‘Deadbeat Child’, ‘Grandfather’s Trove’, or ‘Loan Shark’, are the equivalent of ‘special’ powers, but with more social rather than physical or mental effects. Similarly, like the use of Biomechatronics, the use of Contacts is not without its potential backlash.

To create a Judicator a player selects a House and Profession, making choices from the options that these provide. This includes one of the three talents available for the profession, for example, Defender, Pettifogger, and Public Servant for the Procurator. When a character gains experience, he can choose more of these profession-only talents, as well as talents from a wider selection, such as Double Wielder, Machine at Heart, and Rot Resistant. He also assigns points to both attributes and skills, the points for each varying according to a character’s age. A younger character will have more points to assign to his attributes and fewer to his skills, whilst the reverse is the case for an older character. In addition, a player also selects his Judicator’s contacts and what he thinks of them. These are important because they form the pool of NPCs in ‘Guardians of the Fall’, the campaign in Mutant: Year Zero – Elysium.

Our sample character is Horatio Kilgore, a historian who has written a number of books about society before the Titan conflict. The recent circulation of rumours about the surface world being safe made the head of the Judicars wonder where they might be coming from and what they might be based on. So, an expert on the past was requested and unfortunately, Horatio, was reassigned. Much to his dislike, he finds himself having to get out and about instead of spending his days reading and teaching. 

Commissar Horatio Kilgore
House Kilgore
Profession: Scholar
Appearance: Glasses, Hunched build, Smooth and buttoned uniform
Age: 52

Attributes
Strength 2, Agility 3, Wits 5, Empathy 4

Talents
Crucial Insight

Skills 11
Enlighten 4, Fight 1, Shoot 1, Comprehend 3, Know the Zone 3, Manipulate 2

Relationships (Fellow Judicars)
Niamh Warburg is your apprentice and you wish to teach her everything you know.
David Fortescue is ill-mannered and should be disciplined.
Lulu Morningstar has knowledge you thought was unimportant that proved to be otherwise.

Relationships (Contacts)
You hate Theodora Warburg, a fellow Scholar and former colleague. An imbecile, totally undeserving of the career at the academy which should have been yours.
You want to protect Melina Fortescue, a brilliant scholar at the academy and your former teacher.

Your Big Dream
To learn about the surface world and maybe even experience it. You suspect that the Council is not saying everything they know on the subject.

Gear
Stun gun, E-pack, emergency rations, Class IV ID card, comm radio, 9 Credits

Mechanically, Mutant: Year Zero – Elysium uses the same system as Mutant: Year Zero—a mix of specialised dice and cards, also published by Free League Publishing and distributed Modiphius Entertainment. The content of the cards though, in the main artefacts as in Mutant: Year Zero, are reproduced in the pages of Mutant: Year Zero – Elysium and so are not absolutely necessary to play the game. Indeed, arguably, the artefacts do not play as strong a role in Mutant: Year Zero – Elysium as they do in other roleplaying games and expansions in the line. The dice are another matter. All six-sided dice, they are divided into three types—the yellow Base dice, the green Skill dice, and the black Gear dice. In addition to the number six, all dice are marked with the radiation symbol on that face. This indicates a success when rolled. On the one face of the yellow Base dice there is a biohazard symbol, whilst on the one face of the black Gear dice, there is an explosion symbol. Rolling either symbol is counted as a failure. The green Skill dice do not have an extra symbol of their one faces. Now a game of Mutant: Year Zero – Elysium can be run without using the specific Mutant: Year Zero dice, but it does at least require pools of the three different coloured dice to represent the Base, Skill, and Gear dice.

To undertake an action, a Judicator’s player assembles a dice pool consisting of Base, Skill, and Gear. These should be yellow Base dice equal to the attribute used, green Skill dice equal to his skill, and black Gear dice equal to the Bonus for the item of any Gear used. A roll of six (radiation) on any of the dice rolled counts as a success, but rolling more successes are better as these can be spent on stunts. The types of stunt available are listed skill by skill. So with the Fight, you might inflict extra damage, grab an opponent’s weapon, or knock it over, while with Know the Zone, you would not only work out what a creature or phenomenon is, but also whether or not it could hurt you or you could hurt it. If no sixes are rolled, then the action is a failure. The results are even worse if ones or biohazard symbols on the yellow Base dice or explosion symbols on the black Gear dice are rolled. If a player fails to roll any radiation symbols—or not enough, he can push the roll and reroll any dice that did came up as Biohazard, Explosion, or Radiation symbols. Even if a player makes a successful roll, his Judicator can still suffer trauma for any Biohazard symbols rolled.

For the most part, combat in Mutant: Year Zero – Elysium works in the same way as it does in Mutant: Year Zero – Roleplaying at the End of Days and Mutant: Year Zero – Genlab Alpha, with one major exception. Characters have access to advanced healing, although it takes time. Social conflicts use the same mechanics as physical combat.

The play of Mutant: Year Zero – Elysium differs significantly ways both minor and major. The first and minor difference is that where in Mutant: Year Zero – Roleplaying at the End of Days and Mutant: Year Zero – Genlab Alpha, the player characters were trying to improve their lives and those of their community by inventing new technologies and building devices, here they are attempting to hold back the enclave’s ruin and eventual collapse. Instead of working to raise Development Levels, here the player characters are attempting to prevent them from degrading, though ultimately, this is unlikely. This sets up one half of the conflict that lies at the core of Mutant: Year Zero – Elysium. The other is that the player characters, the Judicars, are often expected to place their loyalties to their respective Houses above their loyalty to the enclave and the last of humanity overall. When asked to do so by their House, the Judicar becomes, in effect, a traitor to his patrol and fellow Judicars, and the enclave in general.

This core conflict is supported by the roleplaying game’s set-up and play, which again is different to that of Mutant: Year Zero – Roleplaying at the End of Days and Mutant: Year Zero – Genlab Alpha. Mutant: Year Zero – Elysium is best played by four players so that their patrol is comprised of one heir from each of the four houses. Play is divided into Strategic and non-Strategic rounds. Strategic rounds are player controlled and are when each represents not his characters, but his whole House. They plan and stage Incidents which will hopefully either increase their respective House’s Control or decrease the Control of a rival House in a sector. By increasing a House’s Control in a sector, the more Influence Points a character has during play, which enables him to bring in more of his contacts into play. Each House’s degree of Control is also used when voting to determine which Incident is assigned to the Judicar squad that the player characters are in. Each Incident will have a starting effect which is unavoidable and a final effect which will take place if the Judicars fail to deal with it—and that is in addition to the final effects of the Incidents which take place at the same time as the Incident being investigated, and which the Judicars do not deal with. Thus there is a constant sense of ongoing decline and decay that the Judicars just cannot hold despite their best efforts—which are often undermined.

At this point, the Strategic round pauses, the non-Strategic round begins, essentially normal play with each player roleplaying his character conducting the investigation of the Incident. This includes one of the squad being a double agent who is following his House’s agenda rather than that of the squad or the enclave. Following the resolution of the Incident, the players get to vote on who they think the double agent is and can get Experience Points if they all do. An exposed double agent is punished for misconduct and can be imprisoned for multiple infractions.

All of this is supported not just by a detailed description of Enclave I, sector by sector, and solid advice for the Game Master, but also the ‘Guardians of the Fall’ campaign. It is built around fifteen key NPCs and eleven Incidents, divided into eight standard Incidents and three Special Incidents. The eight standard Incidents will occur again and again up and down the Enclave, until such times as the Judicars investigate them and then they do not occur again. As the Incidents pile up and Enclave I begins to degrade, the Special Incidents occur. These tie the events of the  ‘Guardians of the Fall’ campaign into previous events in other Mutant: Year Zero campaigns and ultimately will push the Judicars out of Enclave I. The ‘Guardians of the Fall’ campaign is generally very good, but it does feel relatively short at eleven episodes and its constant focus on the debilitating effects of the Houses undermining each other, does make it a bit of grind with no let up. Now the Game Master is provided with the means to create other Incidents, which are really necessary if she wants to run Incidents that are normal in comparison, but it would be nice to see ordinary Incidents as detailed as those in the campaign. Especially as that would also allow the Game Master and her players to involve their characters more in what is the nicely detailed and rich setting of Enclave I. The last part of ‘Guardians of the Fall’ campaign takes the whole of the Mutant: Year Zero into the future, but hopefully there will be support for that future from Free League Publishing.

Physically, Mutant: Year Zero – Elysium is of the same standard as the rest of the Mutant: Year Zero line. Although it needs an edit in places, the writing is decent, the cartography is clear, and the artwork is excellent, the latter including a rather nice pastiche. Lastly, it comes with a good index.

Although, Mutant: Year Zero – Elysium bears similarities to Mutant: Year Zero – Mechatron – Rise of the Robots Roleplaying, it is a very different campaign in tone and nature. It is divisive—it is House against House, and thus player character against player character; it is collective in nature—each Judicar’s House matters more than the individual or the Enclave; is is oppressive—the Judicators are officers of an autocratic state; the enemies are internal—that is, the inhabitants of Enclave I—rather than external; and ultimately, the Humans of the future of Mutant: Year Zero are committing the errors of the past once again. Also the satirical aspect previously seen in Mutant: Year Zero – Mechatron – Rise of the Robots Roleplaying is not as strong in Mutant: Year Zero – Elysium and there is a darker, more oppressive feel to both setting and campaign. That said, the campaign does end on a wondrous and positive note, and perhaps the fact that it is short at just eleven episodes is something of a relief given its oppressive feel. It will be interesting to see how all of these differences are contrasted and handled in future releases for the Mutant: Year Zero line.

If a Game Master and her players have played through the first three Mutant: Year Zero roleplaying games, then they will certainly want to play Mutant: Year Zero – Elysium, but be warned, it is radically different in terms of tone and play than the others. It would also work as a one-shot campaign, but is best played as the fourth part of the Mutant: Year Zero line because it is so different. Darker, decaying, and Dickensian, Mutant: Year Zero – Elysium takes the Mutant: Year Zero in a wholly new direction, just as each of the Mutant: Year Zero titles have done before it. This is the Mutant: Year Zero which brings them all together and which sets up what will hopefully be the next chapter. 

Marvel Movie Maddness

The Other Side -

It is pretty well documented that I am a hardcore DC guy.
But there are few Marvel comice I really enjoy, and all of them are getting new movies!  Where to start?



Ok, let's go with what might be some of the best castings ever, Jared Leto as Dr. Michael Morbius in Morbius.



This comes from the comic Morbius the Living Vampire about a scientist who tries to cure himself with vampire blood.  Some changes will be made to this for the movie to be sure, but it looks fantastic. The cameo by Michael Keaton is also a shocker and what role is Matt Smith playing?  (Loxias Crown according to the Wikipedia).

My second favorite casting (and this is so weird to say since up till Morbius this one was my favorite) in Marvel movie gives us Anna Taylor-Joy as freaking Magick in the New Mutants.



"I killed 18 men. One. by. one." Oh Magick, you keep doing you.

I mean really, ATJ as Magick the only thing that would keep me from geeking out over the casting of Maisie Williams as Wolfsbane.  I read a lot of New Mutants back in college and was the last X-men/Marvel comic I kept up with.  Plus it has a solid horror vibe.

Those are the ones we have trailers for.

We are also getting Doctor Strange 2: The Multiverse of Madness.  That is like, three of my favorite things in the title alone.  Now the rumor is Scarlet Witch will be in the movie too. I like the movie Wanda much more than the comic one so this is great.

AND the hits keep coming with the Blade reboot with the amazing Mahershala Ali as the day-walking half-vampire Blade.

It's going to be great really.  And this is not even looking into the DC movies coming up.

Friday Fantasy: Gauntlet of Spiragos

Reviews from R'lyeh -

Until one hundred and fifty years ago, the world of Scarn was rent by a horrific war between the Gods and Titans, as the Gods, the children of the Titans, sought to rid the land of their whimsical and dangerous parents. Yet even as the battles raged and the mortals suffered beneath the combatants’ notice, the Gods found they could not kill the Titans. As its creators, the essence of the titans is inseparably bound to the world of Scarn, and destroy them, and the world is also destroyed. So instead of killing them, the Gods simply sought to incapacitate their parents, either chaining them in place or hacking them apart, their bodies and body parts becoming part of Scarn’s landscape where they fell. Now decades later, the felled titans are the targets of titan-worshippers wanting to resurrect their masters and the divine races to continue their war against the titanic abominations.

This is the set-up for the Scarred Lands, originally a setting for the d20 System published by White Wolf Publishing under its Sword and Sorcery Studios imprint since the year 2000. Now published by Onyx Path Publishing for use with Dungeons & Dragons, Fifth Edition as a Scarred Lands Player’s Guide, but a gaming group need not grab this rulebook in order to get a taster and a feel for this post-apocalyptic fantasy setting. The alternative is Gauntlet of Spiragos: An Introductory Adventure for 1st-Level Characters, an adventure designed to take a quartet of adventurers from First Level to Third Level. Advice is included to help a Dungeon Master adjust the scenario to make it more or less of a challenge as required.

The focus of Gauntlet of Spiragos is the Chasm of Flies, a crack in the earth left when the titan Spiragos the Ambusher was smote down by one of the young gods, Vangal the Ravager. The location is now is inhabited by spider-eye goblins and their spider allies, but has long been rumoured to be the resting place of powerful artefacts leftover from the Divine War. A torn and stained map has fallen into the hands of the Player Characters which possibly shows the location of a cleft or chasm in the Devil’s March and depicts what could be three magical items. The Player Characters are presented with three ways of discerning about information about the map, the Devil’s March, and the cleft in the ground. The first is from their general knowledge, whilst the second is to examine the map and work out the meaning of its various clues, and to that end, the designers have provided a number of skill tests for the players to roll and discover what their characters can learn. The other is to go to the edge of the Bronze Hills and Creagfort, which lies a few miles south of the Devil’s March and perhaps learn what those posted there know. This is optional, but the scenario assumes that the Player Characters will start there anyway, and to be honest, this is really the only opportunity for any roleplaying to take place in the adventure.

Unfortunately, after this, Gauntlet of Spiragos takes on a rather singular note with a series of combat encounters between Creagfort and the Chasm of Flies with an extra optional one should the Party be making easy progress. This optional encounter introduces an NPC which could be used to harass the Player Characters’ progress, but as written this option is one that the Dungeon Master will need to develop herself because he is only present to increase the number of combat challenges. This is a missed opportunity since it might have given something or someone for the Player Characters to interact with and oppose, and something or someone for the Dungeon Master to roleplay.

The Chasm of Flies presents an interesting physical challenge for the Player Characters, consisting of a pair of parallel columns which descend into the darkness, festooned with webs. This gives it an eerie atmosphere with a verticality derived for what the ‘dungeon’ actually is, something entirely in keeping with the setting and the consequences of the Divine war. Yet the encounters in the Chasm of Flies are not all that interesting in themselves, being again combat orientated and singular in nature. Nevertheless, the objects indicated on the map at the start of the adventure, the reasons for the Player Characters to undertake the journey are actually very nicely done, quite powerful and flavoursome given the low Level nature of the scenario.

Physically, Gauntlet of Spiragos is something of a mixed bag. Some of the artwork is excellent, but some of it is cartoonish. Likewise, some of the cartography is murky and a waste of space, in fact, the best map in the scenario is actually the player handout given out at the scenario. Similarly, the scenario suffers from being overwritten and dense in places, hampering the efforts of the Dungeon Master to extract material from the book and present it to her players.

There are some great elements in Gauntlet of Spiragos—the nature of the dungeon, the excellent magical artefacts, and the map handout as a means of delivering clues and information—which together do impart some of the feel and flavour of the world of the Scarred Lands. In fact, the importance of the magical artefacts come into play in Dagger of Spiragos and Ring of Spiragos, the two sequels to Gauntlet of Spiragos.) As an introduction, they work well, but they are hampered by the scenario’s linear design, lack of variety in terms of play, and the sometimes stodgy writing, the ultimate effect being that Gauntlet of Spiragos is not as interesting and as dynamic as an introduction to Scarred Lands it deserves to be. This should not be taken as Gauntlet of Spiragos: An Introductory Adventure for 1st-Level Characters being a complete disaster, for it is far from that. Rather it is a scenario that will work better with some tinkering and adjustment upon the part of the Dungeon Master.

Old School Essentials: New Witch Spells

The Other Side -

The hottest new property in OSR gaming is Old-School Essentials.  Justifiably so too.   It is a great reinterpretation of the Basic/Expert rules and it is a lot of fun.  It is also on sale today as the DriveThruRPG Deal of the Day.

I am still a little bit away, further than I want to admit, from finishing up The Craft of the Wise: The Pagan Witchcraft Tradition.  But in celebration of OSE's sale here are some new witch spells.

First Level Witch Spells

Call Spirits of the Land
Duration: 1d4 hours
Range: The Caster
Call Spirits enables the witch to gather local spirits of the dead and elements, which appear to the caster as small ghostly disembodied heads, and listen to their tales about the surrounding
land and people.
▶ Characters listening can make an Intelligence Ability check to learn something about the local area.
▶ Characters who fail the check by five or less hear nothing but endless ramblings and chattering, possibly in an unknown or ancient language, that have nothing to do with the subject at hand.
▶ Those who fail by more than five hear nothing.
▶ A roll of a natural 20 provides completely false and maliciously misleading information.

Material Components: The caster must pay for the information with offerings of food, alcoholic beverages, incense, song, and pleasant conversation. The offering should total at least 1 gp.

Salving Rest 
Duration: Special
Range: The caster or a creature touched
This spell allows its subject to enjoy soothing, peaceful sleep, free of pain and sorrow, whenever she slumbers. As a result of this salving rest,
▶ The subject of the spell will heal an extra 1d3 hit points during each day of complete rest.
▶ The spell ends when the subject stops completely resting or if she takes any damage.

Material Components: A tea made from valerian root and lavender.

Second Level Witch Spells

Chameleon
Duration: 1 turn per level
Range: Touch
This spell allows any character touched to blend into her surroundings to the point of becoming nearly invisible. The character gains a +4/+20% to hide in shadows. Characters affected by a chameleon spell can always hide in shadows with a skill of at least 25% chance. This spell is used to create elven cloaks.

Material Components: The scale of a chameleon or a bit of skin from a cuttlefish. Alternately a bit of multi-colored cloth will also work.

Inscribe Tattoo I
Duration: Permanent
Range: One willing target
With this spell the caster inscribes a tattoo onto a willing subject. Only three such tattoos can ever be placed on one subject.
Tattoos have different abilities
Become animal: Allows the subject to shift into a normal animal, chosen at the time of inscribing. The animal’s HD must be equal to or less than the subject’s level. The subject can only shapeshift once per month.
Strike true: The subject gains a +1 to hit/damage. Magical creatures can be hit with this magic.
Magical protection: +1 to saves vs. magic. This can be from spells, wands, rods or magic-like effects.
Battle protection: +1 bonus to AC. Tattoo must be visible to have effect.
Magical Affinity: Used by spell casters this gives as -1 penalty to target’s saves.

Similar tattoos do not add their effects. Two Magical Protection tattoos do not prove +2 protection.  Only higher-level tattoos can.
The caster cannot tattoo herself.

Material Components: Special tattoo pens, needles, and inks are required.

Third Level Witch Spells
Hopping Doom Duration: 1 turn/level Range: 60 feetThe witch can summon 1d10 x 1,000 slimy wet bullfrogs to a spot designated (crawling out from rocks, nooks and crannies, or otherwise dropping from the ceiling or sky). They jump madly about, getting underfoot, and croak at a deafening volume that prevents conversation within the area of effect. The distraction is such that spellcasters must save (spells) before they can cast, and missile users roll to hit at -2. Movement within the area is halved.▶There is a base 10% chance (+5% per level) that 1d10 poisonous frogs will be in the group. ▶They will attack non-frog targets within the area of effect, forcing them to save (poison) at +2 or die. The poisonous frogs are colorful but otherwise identical to the rest.▶The caster can move the mass of frogs by telepathic command, at a maximum speed of up to 60 ft per round.▶The area of effect is determined by the number of frogs summoned (10 ft² per 1,000 frogs).
Material Components: A small fly.
MaliceDuration: 6 turnsRange: Touch Malice weakens the target creature's attacks: each time the target creature inflicts hit point damage on an enemy (by any means), damage dice must be rolled twice, and the lesser result used.
Material Components: The witch must be able to touch the target while giving a word of power.
Fourth Level Witch Spells
Venus GlassDuration: InstantaneousRange: One glass of waterThe witch sends a prayer out to the spirits of her ancestors and to the spirits of those not yet reborn into her life for a vision. A question is asked to give her a vision of a face. Typically the witch casts a venus glass for a maiden hoping to see the face of her future husband.She then cracks an egg and suspends the egg white in a glass of waterShe can then see the future, usually, the face of someone important to the witch or whomever the witch is asking about.▶ Face: the face of someone will appear. It may be indistinct or quite clear.▶ Portents: If the egg has blood in it means that the person they seek with bring them death.▶ Visage of Death: If the face switches from normal to a skull face then the person they seek will die.▶ Unclear: No face is revealed. The witch may try again the next night.
Material Components: An egg from a hen taken at or just before the dawn and a clear glass of pure water.
Fifth Level Witch Spells
Flood of TearsDuration: Instantaneous and one round per levelRange: Cone 60’ The witch begins to cry and creates a flood to wash away her foes. ▶ In the first round, the tears flow creatures caught in the flood must make a save vs. paralysis or take 1d6 hp of damage for every two levels of the witch (max 7d6). Save for half. ▶ For the rounds that follow the area remains inundated with water and the flotsam and jetsam of debris. Movement is reduced to half in this area. 
Material Components: The witch must cry.
Sixth Level Witch Spells
Eye BiteDuration: 1 round per 3 levelsRange: 25’ + 5’ per 2 levelsThe witch glares at a target. Each round, the witch may target a single living creature, striking it with waves of arcane power.  Depending on the target’s HD, this attack has as many as three effects.

HDEffect10 or moreSickened5-9Panicked, sickened4 or lessComatose, panicked, sickened
▶ Sickened: Sudden pain and fever sweeps over the target’s body. A sickened creature takes a -2 penalty on attack rolls, weapon damage rolls, saving throws and ability checks.  A creature affected by this spell remains sickened for 10 minutes per caster level.  The effects cannot be negated by a remove disease or heal spell, but a remove curse is effective.▶ Panicked: The target becomes panicked for 1d4 rounds as if under the influence of a fear spell.  After the initial effect is over, the target can become panicked again if he sees the witch and fails a saving throw.▶ Comatose: The target falls into a catatonic coma for 10 minutes per caster level.  During this time, it cannot be awakened by any means short of dispelling the effect.  This is not a sleep effect, and thus elves are not immune to it.
The witch can affect victims for 1 round per three caster levels.  Spell effects can last longer than this depending on the effect. 
Material Components: The witch needs to be able to see the victim.  She needs to touch her eye and point to the victim.

The Craft of the Wise: The Pagan Witch Traditions


“Believe the Fairy Tales”: Alan Garner’s ‘The Voice That Thunders’

We Are the Mutants -

Michael Grasso / January 16, 2020

the voice that thunders alan garner 1997The Voice That Thunders
By Alan Garner
The Harvill Press, 1997

Over the course of my many explorations of British hauntology of the 1970s over the past five years, I found myself enjoying a pair of television adaptations, produced a decade apart, full of deep mystical themes reaching back into the marrow of ancient Britain. In The Owl Service (1969) and Red Shift (1978), mythic emanations from the distant past return in our present, revenants who live again through the lives of young people in the postwar UK. These themes, echoed again and again in British fantasy dramas set in the contemporary era, hold a profound fascination for me, as an American cut off from a deep sense of magic, time, and place. One man was behind the novels upon which both these adaptations were based: British novelist, amateur archeologist and folklorist, and essayist Alan Garner. His 1997 collection of essays and lectures, The Voice That Thunders, lays bare the origins of his unique mode of storytelling. Garner’s upbringing suffused in the magic of Old Britain, his working-class family long-situated in one place (Garner’s home of Alderley Edge in Cheshire); and his early life marked by dual traumas—the Second World War and a brush with death thanks to childhood illnesses—gave Garner a unique insight into the borderlands between life and death, between the mythic and the material.

The Voice That Thunders consists of sixteen essays, prepared lectures, and newspaper columns that return to the mythic themes that Garner’s more than half-century of novels explore. The collection is in effect an expressionistic autobiography, where lectures on topics such as education, the state of children’s literature (Garner found himself long-characterized as a “children’s author” because many of his protagonists were young people), and linguistics circle back to the material conditions of Garner’s own early life. Like Nigel Kneale and his childhood home on the Isle of Man, or Alan Moore and his lifetime home of Northampton, or Mark E. Smith and his home and haunt, Salford, all of Garner’s universes, no matter how far afield over the British Isles they may roam, always seem to return, psychologically and mythopoetically, to Alderley Edge.

In the book’s first chapter, a lecture given in 1983, Garner spells out the specifics of his early life and the legends that populated Alderley Edge. While World War II rages outside the fairly idyllic grounds of “the Edge,” young Alan has his own battle against mortality, and an eye-opening, hallucinatory set of experiences in the “forest in the ceiling” of his room while he was recovering from his various childhood illnesses. The mystical road that led into this bedroom fantasyland is connected in some deep way to the Edge and to the various legends told to him by older relations: the faerie tree, once long ago clad in rags beside the Holy Well; an ancient Hero King slumbering in the ground. Garner tells a 1996 audience of headmasters and headmistresses in the book’s second essay that “I assure you that children are, by nature, spiritual beings, until we destroy through our example… A child knows, whether it be in the traditional structure of fairy tale, or the special use of an archaism, when the Mystery is engaged.” Surely we all recognize the impulse of childlike wonder at myths and folktales. But for young Alan, in his throes of illness, myth had a much more important, mature purpose. He managed to use the bits and pieces of myth entrusted to him by the very particular vibrations of locality, the genius loci of Alderley Edge, to deal with the possibility of his own incipient mortality by creating a mythological playground in his own ceiling, complete with symbols of shamanic journey (the road), safety (the wood) and the threat of young death:

Sometimes I would look up, and see no road, no forest, clouds or hills, but a plump little old woman with a circular face, hair parted down the middle and drawn to a tight bun, lips pursed, and small pebbled eyes…

The little old woman came only when my life really was threatened. She was a part of the plaster in the ceiling, not of my room but of my parents’ room, and I was taken there when I was too ill to be left alone. She was my death, and I knew it.

The mythic courses through both the marrow of the very landscape of the Edge and in Garner’s own family bloodline. It is mostly because of the Garners’ long family association with Alderley Edge that he has access to the myths that would inspire his Cheshire-set novels, including his 1960 debut The Weirdstone of Brisingamen and its sequels. Garner’s knowledge of the area led him to a love of archeology from a very early age: his childhood realization that a shovel hanging in a teacher’s classroom might have a neolithic origin is confirmed almost fifty years later by an archeologist friend of Garner’s. Garner also considers the origin and meaning behind one of the folktales told around Alderley Edge and does some armchair ley line-plotting to determine its possible origins in pagan alignments of sun and landscape (all while remaining a bit dubious about possible “arcane conclusions” drawn by most amateur ley line enthusiasts). But Garner’s exploration of the physical landscape—with the complementary eye of a storyteller and straightedge of a mason—allows him to see the pagan Celtic memories thrumming under the local landmarks and place names. The Cheshire of hundreds of years ago is even imprinted on the very language of the inhabitants. The rural Cheshire dialect of his parents and grandparents had kept alive the poetic tongue of the medieval alliterative poem Sir Gawain and the Green Knight: “My grandfather was an unlettered smith, but he would have not needed all these footnotes if a native speaker had read the poem to him aloud.” Garner’s ancestors were even carved into the very stone of the countryside; the moss-covered face on the cover of The Voice That Thunders was carved by his great-great-grandfather Robert, a stonemason. Garners were always “makers,” says Alan, his grandfather Joseph one of the last real blacksmiths and whitesmiths in the area, putting his skills to work for both local community and Empire (he made tens of thousands of horseshoes for the British forces in World War I).

But in each generation of craftsmen, Alan Garner writes, there was the undeniable sense of preternatural intelligence chafing at the class-based chains placed on the Garners since time immemorial. Robert had a head for mathematics that found its expression in stonemasonry and in music, as he was a vital member of local brass band; he heard music “listening to the zephyrs in the trees: always in the minor key.” Grandfather Joseph used his own prodigious mathematical mind to memorize London bus timetables, which came to great use during his one trip to London with Alan’s grandmother. Alan clearly saw the postwar British system of wider schooling and competency testing as his way out of a lifetime of manual labor he felt ill-suited for: “[My ancestors] had shaped the place in which I had grown; everywhere I turned, their hands showed me their skills; yet my hands had no cunning; with them I could make nothing, and my family despaired of me.” Garner soon finds that the masons and smiths that populate his mythic memory find expression in his ability to mortar and fuse together words: “[My unique quality] was staring me in the face. It was Robert’s wall. On it was carved his banker mark, the rune Tyr, the boldest of the gods.” Magic and language meet the dignity of manual labor and craftsmanship: all flow together in Garner’s mythic imagination. “One of the first things I discovered when I began was the esoteric meaning of ‘getting aback of.’ Whether it be building walls, mending kettles or writing a book, the activity is the same: it is the pursuit, through dedication, of the godhead.”

As mentioned, many of Garner’s speeches in The Voice That Thunders are delivered to educators, for whom Garner has both a deep respect and words of warning. In his musings on the Cheshire dialect that exists in medieval sources virtually unchanged over a half a millennium, Garner wonders if the standardization of English through formal education has not completely displaced an essential cultural legacy among the regions of Britain with their own traditions in literature and oral storytelling. Garner also tells of the letters he had received from his readers, both children and adults, noting quite strongly that the children who find his books on their own tend to be enchanted and drawn into the worlds he creates, while the children assigned his books as students invariably find them stultifying, boring, or confusing. As someone who owed so much of his own life to education, Garner is sympathetic to what teachers need to accomplish but devastatingly cold to the system that strips students of their imaginations. These letters, in Garner’s words, demonstrate “the headlong enthusiasm children can show for a book, if the reading of it has not been shackled by an adult.”

Which brings us to an aspect of Garner’s life story and The Voice That Thunders that initially simmers under the surface and finally bursts forth fully in a tale of his time on the set of the Granada TV adaptation of The Owl Service: Garner’s struggles with mental illness. Throughout his explications of deep time and of familial trauma and childhood shamanistic journeys, there is the sense that Garner’s gifts leave him on the outside looking in, vouchsafed to deeper truths and mythic realities unseen by most. In a lecture titled “Inner Time,” Garner explores the mental breakdown that occurred on set in Wales as his discomfort with the process culminates in a near-assault on one of The Owl Service cast because of the actor’s inability to take a scene seriously. He retreats from the set and finds himself in the office of a psychotherapist to explore this breakpoint more fully. Garner uses his case to wander through an exploration of the modern condition and how it has created a humanity utterly disconnected from spirituality. This in turn creates an inability to deal with hidden traumas, which Garner calls “engrams.” Garner offers the theory that his connection with myth through his work made him more sensitive to this disconnect: “A writer of fiction, willy-nilly, plants encapsulated engrams in his characters.” Garner’s further work with the therapist brings up a pair of deeply-buried childhood traumas around his childhood illnesses and a fearful first visit to the cinema as a three-year-old (where young Alan was filled with terror at the sight of the Wicked Queen in Snow White). Trauma, buried childhood memory, unaccountable anger, and the threat of death: all linked through the power of a child’s mythic imagination, a man’s attempt to grapple with his life-narrative through storytelling, and buried trauma’s sudden reappearance upon seeing those stories acted out in the real world.

As someone who’s only now, in middle age, begun to explore my own metaphysical associations around childhood and trauma, Garner joins other writers and explorers of the mythic in the role of teacher, fellow explorer—magician, for lack of a better word—who share a need to more deeply understand their lives, to finally see the invisible shackles laid upon us all by place, by family, by history, and by the exercise of political and economic power upon us. But the important lesson to be gathered from Garner’s tales and life story is that none of these shackles are eternal. The myth that is written in our histories is not destiny, and a dedicated “maker,” a runesmith of words and dreams, can craft new tales to deliver themselves out from under the weight of history. “Can we write the world?” Garner asks in “The Voice in the Shadow,” the highlight essay of the collection for me:

We can; if we are willing to pay. The problem with learning to read and being subject to the writing, is that it ends up by being our only way into constructive dreaming. But certain people have innate skills, and they are the visionaries, the poets, those who use language that is the great constructor when it is on the page. They release it into the subconscious by providing us, not with factual information of history, but with ambivalence and the paradox that enables us to interpret what is being said, and what we read, just as we would if we were dreaming. That is the way, via the poet, to the myth, to the truth.

In more succinct form, delivered in a single pair of statements at the beginning of this lecture by Garner: “Believe the fairy tales. What were fairy tales, they will come true.”

Grasso AvatarMichael Grasso is a Senior Editor at We Are the Mutants. He is a Bostonian, a museum professional, and a podcaster. Follow him on Twitter at @MutantsMichael.

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Updating Layout and War of the Witch Queens

The Other Side -

I updated my layout a bit over the last few day here at the old Other Side.


I updated my Books page, which I have not done since 2016 or so.  Witch Links is getting updated more frequently now. I am still unsure if I'll update Downloads or OGL anymore, so they might go.

The biggest update is a new link above to my War of the Witch Queens old-school Campaign.

Here is some of the information I have on that page.

The War of the Witch Queens

The basis of this campaign was something I scrawled on my notes one day while working on one of my books.

"The Witch Queens gather every 13 years to discuss politic, issues of their realms, to share magical discoveries and socialize. But mostly they meet to make sure they stay out of each other's way.  Each Conclave a new High Queen is chosen to make sure that all witches abide by the rules.  This year however one the first day of the Conclave the current High Queen was murdered.
With the High Queen dead and her successor unchosen, the Witches are threatening to go to war with each other and worlds are caught in between."

The idea is these war of these powerful witches will happen.  The PCs get pulled in to this drama and must discover who killed the High Queen and how to stop it.

The Witch Queens 

A big old-school campaign I am working on is War of the Witch Queens.  I have been collecting these NPCs for years.  Not all are Witch Queens, but all have something to do in the campaign and all were at the Conclave of Witches, so each one is a suspect.

I will admit I have some ideas on who the murderer is.  I am also split on which of these will be the victim, though I have two in mind.  Part of the fun here is to build the mystery.
    Check the link above for a list of all the Queens and adventures.

    In addition to figuring out the mystery, it is also an excuse to try to use as many different D&D-like systems I can.  So DCC, S&S, Labyrinth Lord, OSRIC and D&D proper all live in harmony on my shelves.



    Imperial March: Dorfman and Mattelart’s ‘How to Read Donald Duck’

    We Are the Mutants -

    Ben Schwartz / January 15, 2020

    The hectic, global nightmare of early 2020 seems like a good time to reappraise our perception of Disney, an increasingly powerful demigod in the media-saturated hellscape we live in. Outlets and organs of multiple disciplines put out breathless articles about the conglomerate’s “unprecedented” success last year. A brain-thudding stream of MCU, Star Wars, remakes, a streaming service, sequels, even the long-anticipated arrival of Kingdom Hearts III: it’s a constant content deluge that runs to hundreds of hours and billions of dollars. And this is the new standard, not a freakish exception. Disney continues to run unchecked, requisitioning more and more head- and life-space with gleeful juggernauting rapaciousness. Thus the recent-ish reappearance, in English, of How to Read Donald Duck (Para Leer Al Pato Donald) by Ariel Dorfman and Armand Mattelart, couldn’t come at a better (worse) time.

    Originally published in 1971 in Chile during the brief tenure of socialist Salvador Allende and the Unidad Popular government, How to Read Donald Duck scrutinizes the sociopolitical messaging in Disney comics disseminated throughout Chile by the US. The book was first published by Editorial Quimantú, a UP-owned publishing house focused on cultivating literacy and cultural awareness with domestic rather than imported media. Quimantú produced comics of its own, including Cabro Chico and La Firme, that attempted to depict authentic Chilean experience rather than promulgate a mediated American one.

    Donald Duck exposes the culture of Disney comics as a quiet inculcation of imperialist doctrine. Disney characters like Donald Duck are imprisoned in a candy-colored vision of capitalist reality: a world full of isolated individuals, unconnected from one another but endlessly kinetic, rocketing from one situation into another—into jobs, feuds, foreign countries (inevitably portrayed as backwards)—in an attempt to grasp some nebulous brass ring that, inevitably, they lose in the extended gutter between the end of one comic and the start of the next.

    Dorfman and Mattelart—the former was, at the time, a cultural advisor to Allende, and the latter a Vatican-appointed demographer turned media analyst—grok the “clast” in “iconoclastic”; there’s a destructive glee in Donald Duck, a cheerful violence lobbed at Disney’s insidious, facile world, which punctures many of the hilariously inflated conceptions about Disney. The “Uncle, Buy Me a Contraceptive…” chapter, for my money, murders once and for all the Parent Question. If you’re unfamiliar, the question is: why do so many Disney characters not have parents? You can find film historians, YouTuber film critics, and general Disneyphiles somberly attributing the answer to tragedies in Walt Disney’s own life, mythological reference, and/or attempts to create independent thinkers out of children. Dorfman and Mattelart see something much more sinister:

    In Disney, characters only function by virtue of a suppression of real and concrete factors; that is, their personal history, their birth and death, and their whole development in between, as they grow and change. Since they are not engendered by any biological act, Disney characters may aspire to immortality: whatever apparent, momentary sufferings are inflicted upon them in the course of their adventures, they have been liberated, at least, from the curse of the body.

    A Disney character comes ready-made, optimized to function eternally in the false worlds created for him. In the comics under examination, that world is a capitalist, imperialist vacuum. Capitalism is fundamentally prudish, obsessed with order, control, regulation. Rejection of biological origin neatly eliminates the messy reality of human interdependence and community. Imperialism inherently fears being beholden to someone or something external, precisely because that’s the relationship it imposes on everything around it. So, parentless as any product, Disney characters don’t owe anybody anything. They’re free to define themselves exclusively through their actions, however hollow those actions might ultimately be. This is one example among many in this slender little fulgurant. Donald Duck is literally packed with figurative explosives of equal brisance. For six chapters, Dorfman and Mattelart keep digging and dynamiting their way through the Disney mythos. Naturally, they attack the easy targets with scholastic thoroughness and writerly aplomb: the racism, sexism, and jingoism prevalent in Disney comics. But they go far beyond that and arrive at a diagnosis of the (very contagious) American Sickness:

    The threat [of the comics to Chile] derives not so much from their embodiment of the ‘American Way of Life,’ as that of the ‘American Dream of Life.’ It is the manner in which the U.S. dreams and redeems itself, then imposes that dream upon others for its own salvation, which poses the danger for the dependent countries.

    That dream is one of Innocence, a vision of eternal, misremembered childhood simplicity projected by prudish, frightened, powerful adults. The American impulse careers manically toward simplicity, a reduction of everything to Good or Bad, Positive or Negative, Profit or Deficit, Winner or Loser. And as an imperialist force, when its binary worldview doesn’t map onto reality, it’s the fault of the franchisee, not the franchiser. This, Donald Duck says, is the central falsity of Disney, as dangerous as a hundred other American fantasies: the Noble Loner, the War Worth Fighting, the Good Cop.

    In Chile, Disney, like the US, is an invasive species. What crosses borders as an innocent entertainment is in fact a foreign contagion working to assimilate the local hosts. This happens literally as well as figuratively. Disney comics are subcontracted to domestic printers and writers. Thus, in 1974, a year after Pinochet’s junta took over, there was this explicitly pro-violence, anti-Allende Disney comic in the Chile Monitor:

    As Dorfman and Mattelart point out, the messaging isn’t always this explicit, but it extends logically from the values instilled by US-made Disney comics. As How to Read Donald Duck’s English translator David Kunzleman says, “The native contributes directly to his own colonization.”

    The domestic-undomestic Disney comic is a particularly ugly metaphor for the relationship between the US and Chile in the ‘70s. It’s no secret that American interests were firmly against an Allende presidency, and it’s a safe bet that US politicking and influence at the very least exacerbated the conditions that led to the Pinochet junta. From there it’s not a very long mental walk to some umbrageous extrapolations regarding the present-day situation in Chile and the protests and struggles going on there (already forgotten by the magpie US media).

    Donald Duck is a timely book for this very ugly present moment. But too, it finds universality in its particularity. In its depiction of subsumed messages in Disney comics it reveals the threat of brain colonization facing any human consuming media. To some degree, this process is inevitable, involuntary. As an adult I hate Disney, hate everything it’s ever done and all of its glittering, superficial, asinine media properties. But after decades of exposure, much of it “willing” when I was a child, some residue remains inside me that reverberates to the sterile Disney fantasy: its cleanness, its simplicity, its comfort and ease.

    So, among the lessons to be found in Donald Duck are: Everything Says Something; and also: Everything Leaves a Mark. Directly and indirectly, people are shaped by what they read, watch, hear, play. Indiscriminate consumption leaves wounds, and neglecting to consider the Hows and Whys of what we take in, whether that’s the latest curlicued Disney confection or the Kojiki is, in very real ways, socially and morally irresponsible. Discriminate consumption also leaves wounds, but if we’re conscious of what we’ve consumed, if we’re vigilant about what it can do to us and others, maybe we can, somehow, become better. As it was upon its initial release, How to Read Donald Duck is an exhilarating taste of sanity in an ugly, ugly time.

    OR Books released How to Read Donald Duck in 2018 for first time in the US since the original 1975 edition was seized by Customs at the behest of Disney. It includes a new introduction by Ariel Dorfman in addition to the original preface to the English edition by Dorfman and Mattelart, as well as the introduction to the English edition by David Kunzleman. As mentioned above, Kunzleman did the English translation and it is excellent. A new appendix includes a piece by John Shelton Lawrence called “Donald Duck vs. Chilean Socialism: A Fair Use Exchange,” which is also well worth reading.

    Ben Schwartz is a freelance writer working out of Ohio.

     

     

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    Going Wild for Wildemount

    The Other Side -

    Wizards of the Coast just announced their next book for Dungeons & Dragons 5e and it has some sections of the fandom wailing in lamentations, but the vast majority excited about it.

    Explorer's Guide to Wildemount will be out in Spring 2020 and it covers the part of the world from the highly successful Critical Role webseries.  Now I can already hear the older crowd bitching and moaning about it and all I can say is "typical".

    There are people out there complaining that "Wizards has pissed off half their fans".  I would argue that "half" is really exaggerating it by quite a bit, but even so then they are at least pleasing the other half.

    There are others that are also talking about how they won't be buying this. Ok. That's fine you don't need to buy every D&D book.  I enjoy 5e and I don't even have every book.  I have most, but I don't have them all.

    But even then, these people are often the same ones that will claim never to have bought a WotC D&D book ever anyway, so they were never the audience.

    Personally, I think this is a really intelligent move on Wizard's part.

    Critical Role is hugely successful.

    The Kickstarter for just the animated series brought in $11,385,449.   And this book, announced just 48 hours or so ago, has all the relevant #1 spots on Amazon.


    Note that's not just #1 in the D&D categories, that is #1 in Books.  All of them.

    Would I, as an old-school gamer, love to have seen Greyhawk or Mystara?  Of course!  Do I *need* them? No, not really.  I have everything I need for those worlds now.  I have MORE than what I need for my home-brew world now.  New worlds are always fun to read and maybe I can use some things from that book in my world. Or maybe not.  Who knows yet.

    I do know that some sections of our hobby need to lighten the hell up and let people enjoy things.



    Supersonic Fantasies: Celebrating the Mecha of Supermarionation

    We Are the Mutants -

    Fred McNamara / January 14, 2020

    The sci-fi Supermarionation shows produced by Gerry Anderson’s AP Films/Century 21 Productions offer something for every generation, and contemporary celebrations of them focus on what made them popular in the first place: the painstaking and glorious depiction of futuristic, wildly imaginative mecha—space rockets, supersonic jets, submarines, tunnelers, all capable of breathtaking maneuvers and armed with explosive firepower—that effortlessly tapped into the minds of a generation rapidly being turned on to the visual thrills of science fiction in mainstream media.

    These magnificent machines often walked a fine line between accuracy and fantasy. Much has been written, for instance, about the physics of the Thunderbirds and whether or not they could actually fly, reflecting the real-world influence these shows have. Young fans at the time, however, probably didn’t concern themselves with such thoughts but simply marveled at the aesthetic joy of the models—chiefly designed by Reg Hill, Derek Meddings, and Mike Trim—being flung across rolling backdrops or back-screen projections of otherworldly landscapes. These vibrant machines are a large part of the ongoing appeal of Thunderbirds, Stingray, Captain Scarlet and the Mysterons, and Gerry Anderson’s other productions, so let’s examine their attributes in further detail.

    A Wonderland of Monochrome (Supercar and Fireball XL5)

    Despite the wonders that would explode onto our screens when the likes of Thunderbirds and Captain Scarlet came along, the mecha of Century 21 had fairly primitive beginnings. Their first show to be promoted as being filmed in Supermarionation, Supercar (1961-1962), furnished the rough blueprint of all that would follow. With compact yet gaudy design by series producer Reg Hill, the titular vehicle’s abilities reflected the ambitions of Century 21 Productions, then known as AP Films, to create first-class entertainment. Though it was predominantly used as a form of aerial transport, Supercar possessed the ability to journey through the sky, outer space, on land, and under the oceans. Its quirky exterior appearance and cramped interior cockpit were less imaginative than later designs like Thunderbird 2 and the SPV, but the machine still plays an indispensable role in Supermarionation’s history. It paved the groundwork for what would follow.

    Fireball XL5 was as much a leap in premise as it was in aesthetic. A bold, imposing design courtesy of Derek Meddings, Fireball had a degree of realism injected into it via the craft’s detachable, Space Shuttle-esque component Fireball Junior, which both complemented the series’ sense of adventure and, inevitably, augmented its merchandising potential. With its imposing cylindrical length enabling it to shoot across the stars like a dart, the craft looks infinitely more robust and evocative than Supercar, and, perhaps most important, it looked like it could actually fly. Enhanced by the outer space setting, the powerful aesthetic of Fireball XL5 captured young fans’ imaginations with cosmic aplomb. After all, the flagship security, rescue, and combat vessel of the World Space Patrol needs to look like it can do the job.

    Stand by for Rescue (Stingray and Thunderbirds)

    The Stingray, from the 1964 series of the same name, marked a progressive step forward for the chief mecha of Supermarionation. Designed by Hill, the craft’s perfectly formed amphibious appeal lay not just in its exterior, but in its interior too. The increased budget furnished by financial backer Lew Grade allowed AP Films to fashion an extremely chic, futuristic style for Stingray’s control decks, sleeping quarters, and relaxation areas, an aesthetic firmly entrenched in 1960s fashions. And Stingray was filmed in color. The swirling blue, yellow, and grey of Stingray’s exterior and its smooth, contoured shape give the craft a wonderfully distinctive vibe, effortlessly tapping into the aquatic themes of the show. The guest vehicles in the show also impressed. Some of the submarines themselves were clearly kit-bashed from other sources, such as the Big Gun from “The Big Gun,” clearly modeled on a tank, and the craft from “Sea of Oil” was quite obviously taken from a jet. With these vehicles often making an appearance in only a single episode, their interior designs were often redressed from craft to craft, with props culled from previous models.

    Thunderbirds marked the point where Derek Meddings and cohort Mike Trim started working in tandem: Meddings designed much of International Rescue’s core craft, prioritizing sharp bulk and heft, while Trim took care of secondary/guest vehicles, producing more streamlined and sinuous craft. The aerial gymnastics of the sleek, supersonic first responder Thunderbird 1 starts the action of each episode, complemented by the lumbering, powerful Thunderbird 2, the most recognizable of all of the Andersons’ mecha and a craft that fills the screen whenever it takes off, soars through the skies, or lands in some danger zone. Thunderbird 3 is more of a curiosity, since we only ever see it in a handful of episodes, yet it remains another of Meddings’ fascinatingly gargantuan designs. The trim, squat Thunderbird 4 is everything Supercar should have been, while the immobility of space station Thunderbird 5 is at odds with its sophisticated, complex design and exposed mechanics.

    The separate functions of each of the five Thunderbirds gives the show a visual depth and sense of scale. No one Thunderbird performs the same function, and that specialization enables International Rescue’s daring and eye-catching missions to be fully realized. Thunderbirds distinguished itself from past Supermarionation fare by not placing all of its toys in one sandbox: the aerodynamics of Thunderbirds 1 and 2, the space-based Thunderbird 3, the sub-aquatic Thunderbird 4, and the watchful, sentinel-esque role of Thunderbird 5 gave the series its panoramic sense of adventure.

    Most Special Mecha (Captain Scarlet, Joe 90, and The Secret Service)

    The post-Thunderbirds shows marked the rise of Mike Trim as the main designer of the vehicles tasked with communicating the action and energy of Supermarionation. With the more senior figures of Century 21 Productions chiefly concerned with expanding the company’s cinematic division, it fell chiefly to the younger staff to handle production of the TV series. By the time The Secret Service (1969) went into production, day-to-day operations were being supervised by Hill, with Gerry and Sylvia Anderson focusing their efforts on 1969 science-fiction film Doppelgänger.

    With Captain Scarlet, for which Meddings produced Cloudbase, the SPV (Spectrum Pursuit Vehicle), and the Angel Interceptors, it was Trim’s responsibility to design the remainder of Spectrum’s wide variety of vehicles and guest mecha. Spectrum’s mecha reflect the military aesthetic of the series: gone are the vibrant colors and evocative names of the Thunderbird machines. In their place are stern, somber colors, chiefly greys and cold blues, with acronyms mainly used for naming conventions. The monolithic presence of Cloudbase, the grandest mecha of any Supermarionation show, now serves as a ubiquitous reminder of Spectrum’s watchful presence over the world.

    Elsewhere, Spectrum’s core mecha veer between the bulky and the nimble. The tank-like SPV and the sorely underused MSV (Maximum Security Vehicle) further underline Spectrum’s hawkish vocation, yet even though the SPC (Spectrum Patrol Car), SPJ (Spectrum Passenger Jet), and the Angel Interceptors are far slicker, more agile vehicles, all evoke perfectly the darker attitude of the show, especially when compared to Thunderbirds. Like the guest vehicles he designed for Thunderbirds, Trim’s other mecha for Captain Scarlet continue the streamlined shapes from before, helping to give the futuristic setting of the series a visual immediacy.

    Compared to the fleets of vehicles found in Thunderbirds and Stingray, Joe 90 (1968-1969) boasted a far more limited array of core mecha, Professor Mac’s car and Sam Loover’s saloon being the only vehicles that regularly appeared in the show. Mac’s car is a marked departure from past designs. Here, Meddings takes a significantly experimental approach, producing a vehicle that harks back to the days of Supercar: a cumbersome mecha characterized by exposed components, easily the least elegant thing he ever produced. Professor Mac’s car is either delightfully quirky or off-puttingly clunky, depending on your point of view. Fortunately, Trim delivers a further batch of handsome companion vehicles throughout the series that are very similar in flavor to the mecha of Captain Scarlet.

    The Secret Service (1969) took things to extremes by not featuring a core vehicle of a futuristic design at all. A re-fashioned 1917 Ford Model T, Gabriel is the furthest departure from the retro-futuristic visions the Andersons were famous for producing. Again, more companion vehicles do appear scattered throughout, but the limited number of episodes for the series—a grand total of 13—meant that the blade fell prematurely on the reign of Supermarionation, and with it the eye-popping display of ingenuity and creativity of the company’s vehicle department. The Century 21 team would continue to entertain viewers with the live-action productions Doppelganger and UFO (1970-1973), but the evocative, sometimes nearly anthropomorphic designs that had defined the visual action of the puppet shows would end here.

    Tomorrow’s Cross-Sections Today

    Beyond the style of the craft, then, what exactly has been written about their functionality? Some basic details of the craft’s capabilities and mechanics had been mapped out by Anderson, but it would fall to those at Century 21 Publishing to flesh these details out. One of the many arms that Century 21 Productions grew as the company blossomed in commercial success, the publishing division’s in-depth cross-sections were produced to delight readers and published in both the TV21 comic and annuals produced to tie-in with each series.

    Fascination with these mecha remains strong 50 years on, and book-length collections of cross-sections exist almost as a distinct subculture within Anderson fandom. As revivals of Stingray, Thunderbirds, and Captain Scarlet have come and gone since the 1990s, fresh interpretations of Anderson mecha have been produced, and books that collect past material continue to sell, as do original works, such as the pair of ever-popular Haynes Manuals written and drawn for Thunderbirds and Captain Scarlet. Packed with in-depth examinations of the functionality and interior of the shows’ respective craft, these books are testament to the imaginative response the vehicles of Supermarionation continue to inspire.

    Fred McNamara spends an immeasurable and unhealthy amount of time overthinking indie comics, cult television, and retro sci-fi. He co-edits the superhero/indie comic book hub A Place To Hang Your Cape. He’s also the author of Spectrum is Indestructible, the unofficial celebration of Captain Scarlet and the Mysterons. He’s game for watching anything involving puppets.

    Patreon Button

    Monstrous Monday: Horned Women

    The Other Side -

    The Horned Women of Celtic Myth

    The horned women, or horned witches, are magical hags of Irish myth and legend.  They pester newly married young women or new mothers.  They are also known to plague any sort of homeowner.


    Horned Women are a particularly nasty creature that is related to both faeries and hags.
    They will appear as ugly old women with a horn protruding from their forehead. How many horns will tell you how powerful they are. A woman with one horn has 1 HD and so on.  It is unknown if this is related to age, all appear to ancient hags.

    They will rush into a home, especially that of a new young mother or wife, and begin performing chores at a breakneck speed. While they perform the chores each one will demand a task of the overwhelmed bride. Saying that if she does not complete the tasks, they will fly off and eat her baby. The tasks are designed to be seemingly impossible; chop wood with an ax handle with no blade, or collect water in a bucket full of holes, or make a cake with no flour. The tasks can be completed by the bride, but she has to be clever about it.

    Their voice is compelling, as per the suggestion spell, to get the wife to do these tasks.  A save vs spells will keep this from happening, but the threat of eating her baby is still real.

    If she can do all the tasks the Horned Women want they will scream and fly away never to return. If she doesn’t they will take the baby.

    Horned Women cast witch spells at the same level as their HD. They do not have access to ritual magic or occult powers.

    Witches are often employed to fight these creatures.
    Using a simple spell (typically dispel evil or remove curse) and adding "Witch! Witch! Fly away from here!"
    The horned women will fly away and never return to that house.

    Horned Women
    (Labyrinth Lord)
    No. Enc.: 1-8 (1-12)
    Alignment: Chaotic (evil)
    Movement: 80' (240')
    Armor Class: 3 [16]
    Hit Dice: 1** (5 hp) to 8** (36 hp)
    Attacks: 1 (claw)
    Damage: 1d6
    Special: Witch spells, compelling voice
    Save: Witch 1 to Witch 8
    Morale: 10
    Hoard Class: None
    XP: HD 1: 13, HD 2: 29,  HD 3: 68, HD 4:  135, HD 5: 350, HD 6: 570,  HD 7: 790, HD 8: 1,060

    Horned Women
    (Blueholme Journeymanne Rules)
    AC: 3 [16]
    HD: 1d8 to 8d8
    Move: 80
    Attacks: : 1 (claw, 1d6), Witch spells, compelling voice
    Alignment: Chaotic
    Treasure: None
    XP: HD 1: 45, HD 2: 70,  HD 3: 95, HD 4:  145, HD 5: 255, HD 6: 395,  HD 7: 650, HD 8: 950

    Horned Women
    (Old-School Essentials)
    AC 3 [16], HD 1 (5 hp) 8 (36 hp), Att 1 claw (1d6), THAC0 19 [+1], MV 240’ (80’), SV as W 1-8, ML 10, AL Chaotic, XP HD 1: 45, HD 2: 70,  HD 3: 95, HD 4:  145, HD 5: 255, HD 6: 395,  HD 7: 650, HD 8: 950, NA 1-8 (1-12), TT None
    ▶ Witch spells: The horned woman can cast spells as a witch at the same level as her HD.
    ▶ Compelling Voice: The horned woman's voice acts as a suggestion spell.  She may use this once per day.

    Miskatonic Monday #32: We Are All Savages

    Reviews from R'lyeh -

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

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

    —oOo—
    Name: We Are All Savages: A Colonial Scenario for Call of Cthulhu, 7th Edition

    Publisher: Chaosium, Inc.
    Author: William Adcock

    Setting: The French and Indian War

    Product: Scenario
    What You Get: 29.01 MB thirty seven-page, full colour PDF
    Elevator Pitch: Survival Horror in the Snow. 
    Plot Hook: Snow, Scurvy, Starvation, and Worse at the far of the British Empire.
    Plot Development: Missing supplies, blood on the snow, the worst winter, and a terrible confrontation.
    Plot Support: Floorplans of Fort Niagra, six pre-generated characters, six illustrations, musket stats.

    Pros
    # One-two session one-shot
    # Unique historical location
    # Strong use of weather and location
    # Strongly plotted
    # Potential convention scenario
    # Technology presents its own challenges
    # Six solid pre-generated characters
    # Potential Colonial Gothic one-shot

    Cons# Tightly plotted
    # Unfamiliar setting to non-Americans
    # Not suitable for the new Keeper
    # Works best with six players
    # Limited options for the players
    # Military scenario

    Conclusion
    # Strong use of weather and location
    # Military scenario in an unfamiliar period and setting
    # Potential one-session one-shot convention scenario

    A Post Space Opera Companion

    Reviews from R'lyeh -

    Ashen Stars is Pelgrane Press’ Science Fiction roleplaying game of investigation and action. Using the investigation-orientated Gumshoe System mechanics written by Robin D. Laws, it takes the idea that Space Opera stories, especially those screened on television, are essentially mysteries to be solved and adapts it to an interesting frontier setting. This is the Bleed, a rough, wild fringe of space that barely twenty years ago was the enticingly glamorous frontier of The Combine, a two-hundred-year-old interstellar, culture-spanning government dedicated to peace, understanding, and self-determination. The Combine was an idealistic utopia that enabled numerous races and peoples to live happily under its governance, but then the Mohilar attacked, and employing technologies unknown to The Combine, their vast war fleets stormed system after system until The Combine’s heart, Earth itself, was devastated. Then following an unexpected defeat at the hands of a last-ditch effort by what remained of Combine forces, they vanished. That was a decade ago and yet, due to an effect known as the Bogey Conundrum, memories of the Mohilar race have become hazy and inconsistent. Try as they might, no one call recall exactly what the Mohilar were, and certainly, no one has any idea where they are now…

    In the wake of the Mohilar War, both the interstellar economy and government have collapsed and whilst The Combine exists, its reach has been pulled back from the Bleed. Thus, the worlds the Bleed, many scorched and blasted by war, have been left to their own devices, bound only by a common currency and cultural ties. Where Combine patrols once kept the peace, peacekeeping missions and criminal investigations are now put out to private tender and assigned to independent ship operators known as ‘Licensed Autonomous Zone Effectuators’ or ‘Lasers’. As Lasers, the player characters will crew and operate a ship on a tight budget, hoping to pick up assignments that if completed will enhance their reputation and so lead to better and more profitable assignments.

    Since its publication in 2011, Ashen Stars has received only slight support, all of it the form of scenarios, such as Dead Rock Seven and The Justice Trade. Accretion Disk is support of a different kind, a supplement which takes its name from the structure formed by diffuse material in orbital motion around a massive central body, typically a star. In terms of a roleplaying supplement what we have in Accretion Disc is a collection of unrelated material—new character options, new playable species, new ability options, new weapons and equipment, new contracts, new aliens, and more. Accretion Disc is essentially, the Ashen Stars Companion.

    The supplement wastes no time in getting down to business. The first fifth of Accretion Disk is devoted to Investigative Abilities—knowledges which get the Lasers clues, and General Abilities—skills and so on which allow the Lasers to act. Every entry for an Investigative Ability includes sample benefits from Spends of an Ability and sample clues and plot hooks, whilst for General Abilities include possible investigative clues and possible ‘Cherries’. So for the Data Retrieval Technical Ability, a Laser’s player might spend a point to protect the team’s own data or disseminate an enemy’s secrets to the general public, whilst sample clues and plot hooks include being able to access the captain’s logs of a crashed spaceship, determine clues from a ransom video in a kidnap case, and so on. 

    ‘Cherries’ were introduced in Night’s Black Agents [http://rlyehreviews.blogspot.com/2012/11/kiss-kiss-fang-fang.html] specifically to meet its thriller angle. Now, as with Night’s Black Agents, if a Laser in Ashen Stars has a General Ability with a rating of eight or more, he is regarded as being skilled enough to gain a special benefit. So for example, with an Athletics score of eight or more, a Laser have the ‘Hard to Hit’ and so become harder to target in combat, or he might take the Might Cherry for his high Athletics Ability, enabling his player to expend points from his Athletics Ability pool after the roll rather than before. Other Cherries give simple points in other Abilities or a free pool of points to spend on specific things. For example,  ‘Follow the Money’ for the Business Affairs General Ability, grants a free point in the Forensic Accounting Academic Investigative Ability, whilst the ‘Viro Wizardry’ Cherry for the Viro Manipulation General Ability to provide the Lazers with an extra pool of points to spend on the second use of a one-use Viroware. Overall, the section on Abilities—Investigative and General—is useful for both Game Master and player alike, adding further helpful description and utility. In general, the use of the Cherries also make the play of the game more cinematic in flavour and feel. Even further the write-up of the Flattery Interpersonal Investigative Ability is amusingly, exactly what it says it is.

    ‘Crewing Up’ expands upon the discussion of the Warpside and Groundside mission roles of the Lasers from the Ashen Stars core rulebook. It provides a list of the basic Investigative and General Abilities needed for each role, a discussion of the role, the role’s typical day-to-day routine, suggested equipment loadouts, specialised techniques and jargon, and classic media archetypes. So a Communications Officer or Hailer will be receiving communications, dealing with clients, tracking and analysing signals, hacking, and so on. He might be a polished corporate spokesman, an eccentric hacker/DJ, a military signals expert, harried technician, and more. Again, there is a lot of information here for both Game Master and player, giving the former ideas on how to bring them into play and the latter ideas on how to play each role. 

    One of the aspects of Ashen Stars and of Gumshoe System roleplaying games in general is its direct implementation of Drives and Arcs to help involve Lasers in campaigns and plots. In the core rule book for Ashen Stars, they are discussed from the Game Master’s point of view since she is the one who will be implementing them. In Accretion Disk, they are examined from the player’s point of view. There are some general suggestions on how each player might bring them into play and do it judiciously, plus three sample Arc Drives for each. Ashen Stars then adds six new playable species to the Seven Peoples of the Combine, some of whom have held more prominent positions in the past. They include the warty, boney Cloddhuck, who once revered the Durugh as gods and served them as shock troops, but since the Mohilar War have used their combat intuition as mercenaries and criminals, and now, to solve crime! The Haydrossi evolved in the atmosphere of a gas giant and can not only float, but have excellent three dimensional spatial awareness and are driven to seek new places in search of a lost utopia. Unfortunately, they are not covered by the treaties which forbid the Kth-thk from eating certain sentient species. The Icti inhabit and animate the fresh corpses of the recently dead, the higher up the food chain the better, and can access the memories that the corpses had in life as well as preventing their newly inhabited ‘meat-shells’ from truly rotting for years. It is entirely for a Laser to die in game and his player chose to have come back as an Icti! The Ndoaites are even weirder, shell-residing lizards who consume radioactive ores and whose bowel movements are classed as type II biohazards. Consequently, as Lasers they serve Warpside happily, but send drones to represent them when Groundside. They can also generate and emit radiation, often in modulated, targeted bursts. The Racondids are bipedal reptiles overconfidently keen on the Combine and seeking out new challenges with a rapid metabolism which allows them to vomit flammable material! Lastly, the Verpid are a corporate-owned species, genetically engineered to change shape and have fled their masters in an act of self-emancipation.   

    All six of the new races are interesting and different, but not necessarily useful or much-needed additions to Ashen Stars. They are again, another option for a campaign. More useful though are the sets of deck plans for the six most commonly used ships used by Laser teams. From the stalwart, reliable Runner to highly defensive, but uncomfortable Porcupine, all of the ins and outs of these vessels are discussed, as their foibles and quirks. If there is an issue here it that the deck plans are presented in greyscale rather than colour, so much of their definition and detail is lost. Accompanying this is a selection of new ‘Ship Bolt-Ons’, complete with Cost and Upkeep values, such as the Cannon-Nanny which prevents shipboard weapons from being used by over-zealous gunners so as to prevent Public Relations disasters or Particle Streamers which stream and excite particles hamper attempts by attackers to lock on and tow the ship. Shuttles receive a similar treatment with several alternatives to the standard shuttle carried by most Laser vessels, including Cargo Shuttles and Racing Shuttles. As does the section on personal technology, which includes a communications device, cybernetic enhancements, medical, forensic, and protective gear, and miscellaneous and investigative tech, viroware, and more. Players will enjoy the Dirty Harry Mod which makes a Disruptor weapon look a whole bigger and thus more intimidating; the Muckraker Suite, semi-intelligent systems and customised software for digging up dirt on a target; and the Wingman Ultra, which enables a Laser to mimic a colleague or friend’s Interpersonal skills, including of course, Flirting.

    Rounding out Accretion Disk are over thirty ‘Hot Contracts’, giving the Game Master a wide array of tasks for the players’ team of Lasers to undertake, followed by an expansion to the ‘Entity Database’ with twelve new monsters and creatures. Lastly, the appendices provide rules for ‘Ashen Stars Warp’, a stripped down version of the rules with fewer skills and abilities. This is also intended for convention play where quicker mechanics might be of use.

    Physically, Accretion Disk is cleanly laid out, decently edited, and nicely illustrated. It comes with a good index too. The only downside to the supplement is that it is presented in greyscale rather than colour, and some of the artwork—and certainly the deckplans—would have benefited from being in full colour.

    Until now, Ashen Stars has not had a supplement to support both its play and its setting. Accretion Disk fulfills that need, with an array of useful and interesting bits and pieces, some of them connected—for example, the deckplans, the ship bolt-ons, and the shuttles—some not. Given the time between the publication of Ashen Stars and the publication of Accretion Disk, this is the supplement that will bring veteran players of the roleplaying back to play with its selection of new options, or support a group coming to the roleplaying game for the first time with advice and expanded explanations. 

    Accretion Disk is more than welcome support for Ashen Stars, not necessary to play, but helpful, useful options and advice to expand and support a campaign. The perfect companion to Ashen Stars.

    Jonstown Jottings #6: Arrows of War

    Reviews from R'lyeh -

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


    —oOo—

    What is it?
    Arrows of War is a short, two-session scenario set in Dragon Pass during Dark Season easily run as part of the Colymar campaign begun in RuneQuest: Roleplaying in Glorantha – QuickStart Rules and Adventure and then continued in and around Apple Lane as detailed in the RuneQuest Gamemaster Screen Pack, specifically before the events of the scenario, ‘The Dragon of the Thunder Hills’.

    It is a five page, full colour, 2.0 MB PDF.

    Arrows of War is well presented and decently written, but needs an edit in places. The internal artwork is okay, but the map is decent.

    Where is it set?
    Arrows of War by default takes place in Apple Lane in the lands of the Colymar tribe and then near Runegate in Dark Season 1625.

    If run as part of the Colymar Campaign, it is best run before The Throat of Winter: Terror in the Depths, before the onset of the worst of Dark Season.

    Who do you play?
    The scenario does not have any strict requirements in terms of the characters needed, but warriors, entertainers, and priests will all be useful.

    What do you need?
    Arrows of War can be run using just RuneQuest: Roleplaying in Glorantha. If the Game Master is running the Colymar campaign in and around, then the RuneQuest Gamemaster Screen Pack is recommended.

    Although optional, The Armies and Enemies of Dragon Pass will provide more information about the Gloranthan warfare depicted in the scenario, whilst The Eleven Lights will explain the significance of the scenario’s cosmic events.

    What do you get?
    In the wake of the Dragonrise, King Pharandros of Tarsh reacts to Kallyr Starbrow’s revolt by sending a large Tarshite army to reinforce Lunar rule in Alda-Chur. In response, she petitions the tribes for warriors and the summons are issued across the tribal lands, including to the player characters.

    In contrast to the events the characters will have participated in as indicated by ‘Step 2: Family History’ of the Adventurers chapter of the RuneQuest: Roleplaying in Glorantha core rulebook during character generation, Arrows of War is not a scenario in which they take part in a great event or battle. Although a battle does take place—at Dangerford—the player characters, along with many of their fellow tribesmen, are stationed elsewhere and can only wait and watch in case the Tarshite army and its Lunar allies attack there.

    Arrows of War is about the call to war, preparing for it, and its aftermath, rather than the fighting involved. As a scenario, it is not as obviously dramatic as getting involved in a showdown between Sartarite and Lunar forces would be, but there is plenty of scope for drama and roleplaying within the events it describes. In the main, these involve a lot of waiting and marching and waiting, with suggested small events along the way. It is also about military camp life and the anticipation of battle rather than battle itself. Throughout, the scenario suggestions are given as to what skills might be used and why, many of them less commonly used skills.

    Although none are detailed in Arrows of War, the scenario represents an opportunity for the Game Master to bring in NPCs for the player characters to interact with, either of his own creation, or drawn from the backgrounds of the player characters created during ‘Step 2: Family History’ of character creation.

    Is it worth your time?
    Yes. Although Arrows of War places the player characters on the periphery of events in Sartar, it highlights the importance of those events as well as their consequences, as well as providing opportunities for both roleplaying and skill use. It is a another decent scenario to run as part of the Colymar-set campaign from the RuneQuest Gamemaster Screen Pack in and around Apple Lane, one that will benefit from the addition of some named NPCs.
    No. If you are running a campaign set further away from Colymar, then Arrows of War may not be of use to you. Its events could be adapted to other battles though.
    Maybe. Arrows of War can be run using groups from further away, adapted to other battles, or even with some effort, run for a group of Lunar or Lunar Tarshite characters.

    The Lost Caverns of Tsojconth – Gary Gygax’s first ever published D&D module

    D&D Chronologically -

    Although Palace of the Vampire Queen can claim to be the first published D&D module (not counting Blackmoor, which is more of a scenario), Lost Caverns of Tsojconth is the first published D&D module written by someone from TSR, i.e. Gygax.

    It wasn’t actually published by TSR though – it was published by MDG (Metro Detroit Gamers). It was written for MDG Wintercon V and Gygax gave MDG permission to publish it.

    According to the Acaeum, there were only about 300 copies published. And, of course, it was later published as The Lost Caverns of Tsojcanth, module S4. (Note the spelling change). I’ll note the differences when I come to read that down the road.

    Compared to Palace of the Vampire Queen, this feels more like the modules that came later.

    The background information talks of places like the Duchy of Geoff. Now we know they’re part of the world of Greyhawk, but in 1976, the general public wouldn’t have known anything about these places, only learning about them with the publication of the World of Greyhawk a few years later.

    The tournament at Wintercon was run in a specific way where players were knocked out of the competition at the end of session one, and the background has some flavour text to explain how it fits in to this. There are two levels to the dungeon. Groups of players at the tournament would play the through the first level, the lesser caverns, and the best player of the group would get to go on and join with the other best players. This is explained in game as there being many parallel worlds and one player gains an aura that allows them to progress to the greater caverns.

    There are further tournament rules such as no wandering monsters, always using average damage numbers instead of rolling dice, and spells such as cure light wounds always healing 4HP.

    The actual room descriptions only take up 3 pages! In a lot of cases they’re mostly lairs of monsters. However there are also various features the party has to deal with such as a boat and river currents. There are also pictures for 4 of the locations! (In some ways, this can be seen as a precursor to the S series of modules which had special illustration booklets).

    One curious difference is areas are coded by number or letter. The numbers provide info about areas and objects, while the letters are places where a creature resides. At least, this is the case in the lesser caverns. Just to be inconsistent, the greater caverns uses letters for both. The greater caverns map has numbers as well but only as keys to indicate teleportation points.

    The caverns on both levels are very irregular and would be a nightmare to map from description let alone straight copying. What’s more, in the greater caverns there are 5 times the party will be teleported – double the nightmare!

    BTW in the pdf that can be found online you can’t find the number 2 location in the lesser caverns because the left hand side of the maps are clipped. Here is where it is:

    Also, the description to location F talks about a cross-hatched area. Even with the original module in front of me, I can’t quite figure out where that is:

    To go along with the letter monster descriptions, there are handy monster tables, two for each level. One has the details of each monster, their hit points, attacks and how much they need to hit each of the pregen characters.

    The second table is a matrix showing each character and weapon and what they need to hit each monster. Pretty handy for use in a tournament.

    Curiously there’s yet another half page of monster descriptions and behaviours.

    Wait a second. I’ve seen some of this haphazard layout before… I’m looking at you Original D&D rulebooks… And why are there “Chinese” hill giants?

    BTW here’s one of the pregen characters:

    Also odd, the Big Bad at the end, the Vampiress, doesn’t appear anywhere on any of these tables.

    Speaking of which, there’s a rather random assortment of monsters in the greater caverns. In one area there’s even a party of fighters and warlocks that just seem to be hanging out. What?

    The last room gets a surprising amount of detailed description, wooden inlaid tables, soft divans, oriental rugs, and on and on and on.

    There’s a lot of treasure in this module – piles of 1000’s of GP and gems. The final room has 100,000 GP worth of gems. And there are more magic items than you can poke a 10 foot pole at!

    And that’s another thing about these early modules – there’s no sense of story with some sort of denouement. There’s a climax in that there’s the Ultimate Bad Guy (girl in this case) and a special treasure but it’s up to the DM to wrap things up in some sort of satisfying way. Though I guess this is the case with a lot of early modules.

    Basically this is a fairly standard dungeon crawl with lots of monsters and treasure with some tricky mapping thrown in. Really not much in the way of puzzles or story.

    Date Information

    This was run at MDG Wintercon V. There’s an ad in Dragon #3 for Wintercon which gives the dates as December 3-5, 1976. It’s a little unclear whether the module was actually published that same month, but December is a good a place as any to put this in the timeline. The Acaeum says 1976. BTW there’s more info than you could ever want to know about this module at Grodog’s Greyhawk Online site.

    One further note, it could be said that Tomb of Horrors and Expedition to the Barrier Peaks were actually written before Lost Tsojconth – they were used as adventures at earlier conventions, but Lost Tsojconth was the first to actually be published. More info on this can be found on this page of Tournament History at Greyhawk Online.

    Picture Information

    Yes, that’s my copy! This is the rarest D&D item I own. The pdf that can be found online has clipped edges, especially on the left of each page.

    Pages

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