I am getting ready for my annual October Horror Movie Challenge!


This year lacks a real theme save for "movies I have had laying around forever and I need to watch them or sell back the DVDs" and "movies I have been meaning to watch forever".

I am going to lean heavily on my preferred time of the late-60s to mid-70s.  And I have more than a few Italian horror films.


I have about 110 movies here.  Some I have already seen so won't do those. There are also more than a few overlaps.  I'll try to hit more than one per day, but often that is not really doable.  I'll also hit more over the weekends.
I am going to also try to include as much NIGHT SHIFT content as I can.

Let's see where I end up at the end of the next month!

As I mentioned earlier, The Pages from the Mages feature of Dragon Magazine was one of my favorite features and I looked forward to seeing what new spells Ed Greenwood would relay from the great sage Elminster.  I was very pleased when I saw that the entire collection was pulled together into a single tome.  The original Pages from the Mages spaned roughly 10 years from 1982 to 1992 and both editions of AD&D. 

For this review, I am considering both the original print version sold by TSR and the PDF version sold through DriveThruRPG.  Presently there is no Print on Demand option.

Pages from the Mages

The book is 128 pages. Color covers, black & white interior art with full color, full-page art.  Designed for the AD&D 2nd Edition game.
The PDF sells for $9.99 on DriveThruRPG.
The softcover book originally sold for $15.00 in 1995.

This book covers some 40 or so unique spell books from various spellcasters from the Forgotten Realms.  Some of these spellcasters are well known such as Elminster and others less so or at least nearly mythic in the Realms.  This is one of the book's greatest strengths. While this could have been just a collection of books with known spells, it is the stories and the myths behind the books that make this more.

While many of the spells found within these books are fairly well known, there are plenty of brand new and unique spells. This is what attracted me to the original Dragon magazine series.  Within these pages, there are 180 or so "new" spells.  I say new in quotes because most, if not all, these spells appeared first in the pages of Dragon magazine and then again in the pages of the hardcover Forgotten Realms Adventures for 2nd Edition.

Additionally, there are a number of new magic items and even a couple of new creatures.

The true value for me, as a DM and a player, is to provide these new spell books as potential treasure items or quest items.  Even saying the name of some of these books, like Aubayreer's Workbook, is enough to get my creative juices flowing. Where is it? Where has it been? What other secrets does it contain?

I often refer to a product as punching above its weight class.  This is one of those books.  While overtly designed for the 2nd Edition game there is nothing here that can't be used with any version of the D&D game, from Basic all the way to 5th edition with only the slightest bit of editing needed.

While I have a print copy and the PDF, a Print on Demand version would be fantastic. 

A complete list of the spells, spellbook, creatures and characters in this book can be found on the Forgotten Realms wiki, https://forgottenrealms.fandom.com/wiki/Pages_from_the_Mages

Another This Old Dragon Retrospective today. Today I want to cover one of my favorite series in the run of Dragon, and one that had far fewer entries than I thought, Pages from the Mages. Again this series is by Ed Greenwood writing to us as Elminster. It's a wonder I wasn't a fan of the Realms until pretty much 2001.

The premise is laid out in the first installment, Elminster (or Ed, sometimes it is hard to say) wondering aloud why we don't find more unique spell-books in treasure hordes. He goes on to explain that such tomes are very rare.  The set up is solid and less in-universe than The Wizard's Three.  But like The Wizard's Three, this is used to give us some new spells and some magic tomes worthy to build an adventure around.  So let's join Ed and Elminster and pour through these pages of a nearly as legendary tome, Dragon Magazine, and see what treasures we can find.
Pages from the Mages
Our first entry is in Dragon #62 which has one of my all-time favorite covers; the paladin on horseback challenging three orcs.   This takes us all the way back to June 1982, the height of my D&D Basic/Expert days.  The magic books we discover here are:
    Mhzentul’s Runes, with details for making a Ring of Spell Storing. Rings that become guardian creatures (but no details) and the spells Fireball, Fire Shield, Fire Trap, and Delayed Blast Fire Ball.

    Nchaser’s Eiyromancia, this book gives us two new spells, Nulathoe’s Ninemen and Nchaser’s Glowing Globe.

    Book of the Silver Talon, this sought after tome has a number of good spells, Read Magic, Burning Hands, Comprehend Languages, Detect Magic, Erase, Write, Identify, Message, Shocking Grasp, Shield, Darkness 15’ Radius, Detect Invisibility, Knock, Ray of Enfeeblement, Web, Wizard Lock, Blink, Dispel Magic, Gust of Wind, Infravision, Phantasmal Force, and Protection From Normal Missiles.  Additionally, it has recipes for the ink for Read Magic, Buring Hands, Comprehend Languages, Detect Magic, Erase, Write, Identify, Message, Shocking Grasp, and Shield.  All in-universe and fluff, but fun all the same AND an often overlooked aspect of magic.

    Chambeeleon, the unique spellbook is described as a treasure.  In contains the spells, Water Breathing, Fly, Lightning Bolt, Fire Shield (cold flame version only), Ice Storm, Airy Water, Cone of Cold, Conjure Elemental (new version), Disintegrate, Glassee, Part Water, Spiritwrack, Cacodemon, Drawmij’s Instant Summons, Reverse Gravity, and Vanish. Which leads to the obvious conclusion that Drawmij was also moving between the planes between Greyhawk and the Realms.  This book is also considered to be a religious text by many priesthoods of aquatic gods. In each case, we also get a little history and the last known or suspected whereabouts of the tomes. I say tomes, but thankfully Ed was not so limited in his thinking.  Some are books, some are collections of pages and others are stranger still.  I find it interesting that this entry is followed by the classic NPC class, the Scribe, also by Ed.
More Pages from the Mages
Our next entry comes from Dragon #69 which I also covered as part of my This Old Dragon Issue #69. Again a fantastic cover from the legendary Clyde Caldwell.  The article is titled "More Pages from the Mages" and has art by Jim Holloway. Interestingly there is a book in the art named "Holloway's Guide to Everything" could that be the next 5e book to come out?  The actual books covered here are:
    The Magister, this particular tome has no title so it is just called "the Magister". It consists of 16 sheets of parchment between two ivory covers.  It includes a treatise on illusion magic and the spells Change Self, Color Spray, Phantasmal Force, Detect Illusion, Mirror Image, Dispel Illusion, Nondetection, Massmorph, Shadow Door, Programmed Illusion, and True Sight.  There is also an alternate version of the Clone spell. There is also a lot of debate on what is exactly on the last page. 
    Seven Fingers (The Life of Thorstag), this tome is bound in leather. It describes the Void Card from the Deck of Many things. How wonderfully random! Yet so on point for an academically minded wizard.  There is also a recipe for Keoghtom’s Ointment, which may or may not be correct.  There is also some local history. 
    The Nathlum, is a rather non-descript book.  But there is some saying about books and covers.  This one will cause damage to anyone of Good alignment holding it! It includes recipes for poisons, so not all these books are limited to spells.  Something that honestly is not stressed enough. 
    The Workbook, there is no accurate description of this tome.  So Elminster isn't all-knowing (ok to be fair, Elminster and Ed would be the first to point this out).  This is rumored to include the spells Spendelarde’s Chaser, Caligarde’s Claw, Tulrun’s Tracer, Tasirin’s Haunted Sleep, Laeral’s Dancing Dweomer, Archveult’s Skybolt, and Dismind. All are new.
As I mentioned in my original post, back in the day I would go right for the spells, today I am more interested in the story behind the spellbooks.  Maybe the spells inside are some I have already seen, but that is not what makes it valuable to me now. It's the story, the history, maybe there is something really special about this book. Maybe the spellcaster is still alive. Maybe his/her enemies are and want this book.  My cup runneth over with ideas.
Pages From the Mages III
We jump to December 1984 and Dragon #92.  Damn. Another classic cover. This time it is "Bridge of Sorrows" by Denis Beauvais and he has updated it on his website.  what a great time to be a classic D&D fan.  This one is very special for me for many reasons. First, this was the very first PftM I had ever read. I didn't know a damn thing about the Realms (and I only know slightly more now) but as I mentioned in my This Old Dragon Issue #92 I remember going on a quest to recover Aubayreer's Workbook having only the glyph as a clue.  I don't remember all the details save that the quest was dangerous and the spells in the book were a bit anti-climatic given the quest.  Not that the spells are bad (hardly!) it is the quest was that hard.
This is also, at least from what I can tell, our very first mention of The Simbul, "the shapeshifting Mage-Queen".  I guess she is looking for a copy of this book too! I think I see a plot hook for my next Realms game (and playing on the events in The Simbul's gift).  MAYBE that quest was only half of the tale! Maybe the other half was really to get this book to The Simbul.  I am only 30+ years late.   Thank you Ed!  Of course, that is only one of FOUR magic books.  Let's have a look.
    Aubayreer's Workbook, this "book" is a long strip of bark folded accordion-style between two pieces of wood with a rune carved on it.  The spells are read magic, burning hands, dancing lights, enlarge, identify, light, message, write, ESP, wizard lock, dispel magic, explosive runes, fireball, and extension I. There three special spells  hailcone (a version of ice storm), and two new spells, Aubayreer's phase trap and thunderlance.
    Orjalun's Arbatel, not to be overshadowed this book's pages are beaten and polished mithril! Lots of Realms-centric details here. In fact this might be where many of these topics saw print for the very first time. This one includes two new spells Encrypt and Secure.
    The Scalamagdrion, bound in the hide of some unknown creature this book has a little surprise. The spells included are (and in this order): Write, erase, tongues, message, unseen servant, wizard lock, identify, enchant an item, permanency, blink, disintegration, feeblemind, fly, death spell, flame arrow, delayed blast fireball, invisibility, levitate, conjure elemental, minor globe of invulnerability, wall of force, remove curse, and dispel magic.  The book also has a unique monster bound up in the pages that will protect the book! 
    The Tome of the Covenant, named for the group of four mages that gathered together to stop the onslaught of orc from the north.  What this entry makes obvious is exactly how much detail Ed had already put into the Realms. There are four new spells in this book, named for each one of the Covenant wizards. Grimwald's Greymantle, Agannazar's Scorcher, Illykur's Mantle, and the one that REALLY pissed me off, Presper's Moonbow.  It pissed me off because I had written a Moonbow spell myself. Only mine was clerical and it was a spell given by Artemis/Diana to her clerics. My DM at the time told me it was too powerful at 5th level and here comes Ed with a similar spell, similarly named and his was 4th level!  Back then it was known as "Luna's Moonbow" named after one of my earliest characters. Ah well.  Great minds I guess.
Pages from the Mages IV
We jump ahead to Dragon #97from May 1985.  I also covered this one in This Old Dragon Issue #97. Rereading this article years later is the one where I thought I should stop being such a spoiled Greyhawk twat and see what the Realms had to offer.  It would still be a long time before I'd actually do that.  This one also had a bit of a feel of the Wizard's Three to it. The books covered here were:
    Bowgentle's Book, a slim volume bound in black leather. It has a ton of spells in it, so many I wonder how "slim" it actually was.  Cantrips clean, dry, and bluelight, and the spells affect normal fires, hold portal, identify mending, push, read magic, sleep, continual light, darkness 15' radius, detect evil, detect invisibility, ESP forget, knock, levitate, locate object, magic mouth, rope trick, strength, wizard lock, blink, dispel magic, fireball, fly, hold person, infravision, Leomund's Tiny Hut, lightning bolt, protection from evil 10' radius, protection from normal missiles, slow, tongues, water breathing, charm monster, confusion, dimension door, enchanted weapon, fire shield (both versions), minor globe of invulnerability, polymorph other, polymorph self, remove curse, wizard eye, Bigby's Interposing Hand, cone of cold, hold monster, passwall, and wall of force.  The two new spells are dispel silence and Bowgengle's Fleeting Journey. 
    The Spellbook of Daimos, this one has no title on the cover and described as very fine. Very little is known about who or what "Daimos" is.  The spells included are, identify, magic missile, invisibility, levitate, web, fireball, monster summoning I (a variant), slow, suggestion, confusion, fear, fire trap, polymorph self animate dead, cloudkill, feeblemind, anti-magic shell, disintegrate, geas, globe of invulnerability, reincarnation, repulsion, Bigby's Grasping Hand, duo-dimension, power word stun, vanish, incendiary cloud, mind blank, astral spell, gate, and imprisonment.   The new spells are flame shroud, watchware, and great shout.
    Book of Num "the Mad", this one is interesting. It is loose pages held in place by two pieces of wood and a cord.  Num was a reclusive hermit who learned a bit of druidic lore.  There are a few more spells here. But what is more interesting are the new ones. Briartangle, Thorn spray, and Death chariot.
    Briel's Book of Shadows. Ok, the title has my attention. Though it has little to do with the Books of Shadows I am most often familiar with.  This one has the following new spell, Scatterspray. It does have some details on uses of Unicorn horns and a recipe for a Homonculous.
These books really upped the number of spells included in each book.  Was this intentional? Is this the "Power creep" that was starting to enter the game at this point? It was 1985 and this was not an uncommon question to ask with the Unearthed Arcana now out (and now these spellbooks all have cantrips!) and classes like the Barbarian and Cavalier making people say "D&D is broken!"  The more things change I guess...
Pages from the Mages V
Dragon #100 from august 1985 was a great issue all around. From the Gord story, to Dragon Chess, to this. I really need to give it a proper This Old Dragon one day.  But until then Ed is back with some more magic.      Sabirine's Specular, the first book from a wizardess. It has a good collection of standard spells.  The new spells are Spell Engine, Catfeet, Snatch, Spark (Cantrip), Bladethirst, and Merald's Murderous Mist.    Glanvyl's Workbook, what is neat about this book is it appears to be the book of a lesser magic-user and these are his notes. So like the workbook a student might have in a writing class.  There are three new cantrips, Horn, Listen, and Scorch. One new spell, Smoke ghost, which is level 4 so he had to be at least high enough level for that.  and the preparations for inks for the Haste and Lightning Bolt spell.    The Red Book of War, this is a prayer book for clerics of the war god Tempus.  I liked seeing that spells for clerics were also offered.  These of course would differ from the arcane counterparts in many ways, or, at least they should.  Ed makes the effort here to show they do differ and that is nice. Many often forget this.  There are a number of prayers here that are common.  Also the new prayers/spells are Holy Flail, Reveal, Bladebless, and Sacred Link, one I enjoyed using back then.  None of these spells though would late make it to the AD&D 2nd published version of Pages from the Mages.    The Alcaister, this is a book with a curse. Not the spell, but rather a poison worked into the pages that is still potent 600 years after it was written. Among the common spells it has three new cantrips, Cut, Gallop, and Sting. There is one new spell, Body Sympathy, and the last page of the spellbook is a gate! Destination determined at random.
Arcane Lore. Pages From the Mages, part VI
It is going to be a five-year jump and new edition until the next Pages comes in Dragon #164. The article has some subtle and overt changes. First there is a little more of the "in character" Elminster here.  Ed has had more time to write as the Elminster and I think this is part of the success of the novels. The overt change is now the spells are in AD&D 2nd Edition format.  Not too difficult to convert back (or even to any other edition) but it is noticed. It is December 1990, lets see what Ed and Elminster have for us.     Book of Shangalar the Black, a deeply paranoid wizard from 700 years ago you say?  I am sure this will be fun! There are only new spells in this short (4 page) spellbook. Bone Javelin, Negative Plane Protection, Repel Undead, and Bone Blade.  Well, the guy had a theme to be sure.    The Glandar's Grimoire, now here is something else that is rarely done, at least in print.  This book is only a burnt remnant.  What is left of what is believed to be a much larger tome is four pages with new spells. Fellblade, Melisander's Harp, Disruption, and Immunity to Undeath.    The Tome of the Wyvernwater Circle, this is a druids prayer book.  Now I know D&D druids are not historical druids that did not write anything down. So a "Druid book" still sounds odd to me.  But hey when in the Realms! This book has a few common spells and some new ones; Wailing Wind, Touchsickle, Flame Shield, and Mold Touch.    The Hand of Helm, another clerical prayer book. This one is of unknown origin. It has 27 pages (and thus 27 spells; one spell per page in 2e), four of which are new;  Exaltation, Forceward, Mace of Odo, and Seeking Sword.
Is it because I know TSR had gone through some very radical changes between 1985 and 1990 that I think the tone of this article is different than the one in #100?  I can say that one thing for certain is that Ed Greenwood is more of a master of his craft here.  The history of the Realms is, for lack of a better word, thicker in these entries.  There is more background to the spellbooks and their place in Realms lore.  This is a positive thing in my mind in terms of writing.  It did make it hard to add them to my Greyhawk campaign, but by 1990 I was hard-core Ravenloft; shit just randomly popped out of the Mists all the time. If I needed one of these books I could make an excuse to get them there.


Pages From the Mages
It is now May 1992.  I am getting ready to graduate from University now and Dragon #181 is giving us our last Pages from the Mages.  It has been a fun trip.  A little bit of framing dialogue starts us off. I did notice we have gone from talking about "the Realms" to now saying "FORGOTTEN REALMS® setting" instead. 
    Galadaster's Orizon. This book is actually considered to be a "lesser work" in the eyes of the wizard-turned-lich Galadaster, but this is all that survived of his tower's destruction. Among the common spells there are three new ones. Firestaff, Geirdorn's Grappling Grasp, and Morgannaver's Sting.    Arcanabula of Jume, another book from a wizardess (rare in this collection of books). This one is written in the secret language of Illusionists (which are, as a class, slightly different in 2nd Ed) and is a traveling spellbook. It has four new spells, Dark Mirror, Shadow Hand, Prismatic Eye, and Shadow Gauntlet.    Laeral's Libram. I was just about to comment that while these books are fantastic, none of the names have the recognition factor of say a Tenser, Bigby, or even Melf.  Then along last comes Laeral. Now here is someone famous enough that I have box of her dice sitting next me! Laeral Silverhand is of course one of the famous Seven Sisters. So not just a name, but a Name. This spellbook has the common spells of feather fall, magic missile, spider climb, and forcewave.  As well as the new spells of Laeral's Aqueous Column, Jhanifer's Deliquescence, and Blackstaff.  The blackstaff spell was created by another Name, Khelben Arunsun.  This one would be worthy of a quest to be sure.    Tasso's Arcanabula.  Our last spellbook comes from an illusionist named Tasso.  Tasso is almost a  "Name." I recognize it, but I am not sure if it was because of this article or some other Realms book I read. The spell book has what I consider to be the common illusionist spells and four new ones. Tasso's Shriek, Shadow Bolt, Shadow Skeleton, and Prismatic Blade.  That's where I have heard of him. I have used that Prismatic Blade spell before,
After this series, the Wizard's Three took over as our source of spells from Ed.
I have read that Ed created this series based on his love of some of the named spells in the AD&D Player's Handbook.  He wanted to know more about the characters and how they came to be associated with those spells.  I think that he showed his love here in this series. I also think it was made clear that sometimes the spell creator's name gets added to a spell not just by the creator, but by those who chronicle the spell, spellbook, or spellcaster later. Sometimes centuries later. 
We got away from this but now it looks like it is coming back. especially with the recent Mordenkainen, Xanathur, and now Tasha books coming out from WotC.

Well here is an unexpected treat.

Growing up I didn't watch much of the Dungeons & Dragons cartoon. I caught it when I could, but I worked most Saturdays and didn't always see it.  This was also back before DVRs or even on-demand viewing, so unless recorded it on VHS, well I missed out.

Many years later I picked it up on DVD when it was packaged with some wonderful 3rd Edition content. This was about the same time my oldest was getting interested in D&D and the D&D animated series was the perfect gateway drug for him.  If it is possible to wear out a DVD then he would have done it.

On the DVD extras were a lot of neat little things. One of them was the script for Requiem, the last episode of the series.  Written by series writer Michael Reeves it detailed the last adventure of Hank, Eric, Diana, Bobby, Sheila and Uni. It had been put on as a radio play in 2006 and was also included in the DVD release. 

Now some enterprising animators pulled together clips from the series and new animations to give us the final episode in full animated form.

Watch it while you can.

https://www.youtube.com/watch?v=QsNHTnY6HQg

I think they did a pretty good job, to be honest, all things considered.  

I just published a new Page and you can see the link above. It is my version of the classic "Appendix N."  But mine comes after it and it is more about the occult, witches, vampires, and other horror related topics.
So I am calling it Appendix O.

Just a small portion of my library.

If you are interested in seeing the sites on the web that I found useful or have good witch content then check out my other page Witch Links.
If you want to know what movies I have been influenced by to write witch, vampire, and other horror-related content then check out my October Horror Movie Challange.
And occasionally I do make an Appendix N post. 

Nothing in the citations will tell you how to play a better game of D&D, Ghosts of Albion, NIGHT SHIFT, or any other RPG.

Nor will they allow you rebuild one of my books or classes from just the content they have.  They all however have lead me to a place where those books could be written. 

Current research pile.

Also, this is not scholarly-level research here. I did not come up with a thesis statement, a research question, or anything like that and then carried out a systematic literature review.  This is 100% books that were within my grasp at the time (eg growing up in a small midwest town with a larger than average personal and public libraries), then access to one of the largest open shelve university libraries in the state, and of course then the internet.  These are titles that captured my attention at the time and then left a mark on my RPG writing. 

As with all my Pages here, I'll update this one periodically. In fact looking at the pictures above I see there are a few entries that I missed.

The Purpose of Research

Back when I was getting my Ph.D. in Ed. Psych my advisor was going over my records and my Master's Thesis and asked me why I did not go into Cognitive Psychology, which is what my academic life had been up to that point.  I told him I was (and am) more interested in how people learn.  We talked about my Master's Thesis where I showed that it takes about 550 ms to activate a memory from long-term memory when it had been properly primed by a queue. It was situated in the current Information Processing theories of the time.  My advisor, who was one of the nicest people you could ever meet, looked at me and said "so what?"  I was floored. So what? I spent months working on that theory, and then more weeks writing the software to test it, weeks testing undergrads, weeks of eating nothing but popcorn and pineapple while writing a 180-page thesis.  So what??  And, he was right.  I was in an Ed. Psych program now, not Cog Psych. My research had to mean something. If I could not tell that Fourth Grade teacher at CPS what my research meant to her then why should I do it?

This page came about not because I kept getting asked for it. That is true and a good enough reason, but the real reason is I am constantly going back and re-examining my own work and research.

I love to research for research's sake. But that is not the degree I ended up with. Research is fun, but it needs a goal.  Appendix O started out without a goal in mind.  But that doesn't mean I can't have one now.

Presently I am working on two books for my "Basic-era Games" banner; "The Basic Bestiary" and "The High Witchcraft" books.  I wanted at least one of these to be ready by Halloween.  That's not going to happen.  The Basic Bestiary is moving along well, but not as fast as I would like.  High Witchcraft...that's another matter.

I have been calling High Witchcraft my last book on Witches.  I want that to mean something.  But I think I am setting up too many mental roadblocks for myself. So I am going back to my first assumptions. Back to my first "research questions" as it were.  It might take me a little longer, but I want something really good. Something that is worthy of being called my "last witch book."

Basic Bestiary is moving along fine.  I have a ton of material, I just need to edit it.

The Secret Order is a call back to the witches of Dragon Magazine (but not setting them up the same way, I gotta do my own thing) and to that very strange time between 1981 and 1983 when we freely mixed in both Basic and Advanced D&D concepts.  I am publishing it with my "Basic-Era Compatible" logo as opposed to "Labyrinth Lord" or "Old-School Essentials" (and either of those would be fine) because I do want a lot more freedom to express my witch how I want. 

For the cover art, I am a huge fan of the Pre-Raphaelites. So there was really only one choice for the high Witchcraft book and that was "Astarte Syriaca" by Dante Gabriel Rossetti.  Astarte was one of the Goddesses I researched the most in those early days of my first witch.  I even made my first version of Larina a worshipper of Astarte, and not the more obvious Hecate.

For the Basic Bestiary I wanted a Pre-Raphaelite, but "The Nightmare" by Henry Fuseli was calling to me. I always loved that painting. 

Back to the books!

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

—oOo—

Odysseus – Role Play for the Homeric Age was published by Fantasy Games Unlimited in 1980 and has the distinction of being the first roleplaying game set in the Ancient World. It is a roleplaying game in which heroes of the age adventure, travel the known world and sail the Aegean Sea and beyond, battle heroes from other lands, and maybe face the monsters that lurk in the seas and caves far from civilisation. It is also a man-to-man combat system, a trireme-to-trireme combat system, a guide to a combination of Greece in the Bronze Age and the Iron Age, and all that packed into thirty-two pages. However, it is very much a roleplaying of its time and vintage—and what that means is there is at best a brevity to game, a focus on combat over other activities, and a lack of background to the setting. Now of course, many of the gamers who would have played Odysseus – Role Play for the Homeric Age in the early nineteen eighties—just as they are today—would have been knowledgeable about the Greek Myths and so been able to flesh out some of the background. However, Odysseus – Role Play for the Homeric Age still leaves the Moderator—as the Game Master is known in Odysseus—with a lot of work to do.

A hero in Odysseus – Role Play for the Homeric Age—and it is very much a case of it being a hero rather than a hero or a heroine, is a young warrior ready to set out on a life of adventure and myth building. Aged between seventeen and twenty-three, he is defined by his home province, which also determines his patron god, his lineage, which determines his primary profession—which he shares with father, and his other skills. Rolls are also made for his family and the armour he begins play with. Notably, a hero has the one skill or ability—his Fighting Skill Number or FSN, initially rated between eleven and twenty, and can go higher. As well as Fighting Skill Number, a player also rolls for his hero’s armour—type, what it covers, and its composition. Heroes with a high FSN are likely to have better, even iron, armour.

Alastair
Age: 23
Home Province: Messenia
Patron God: Hephaestus

FSN: 20

Skills: Accountant (Major), Barber, Architect
Family: Only son, father deceased
Armour: Type II Body Armour (bronze torso and shoulders, greaves, and aspis)
Arms: Shortsword, spear, bow & twenty arrows

So character generation out of the way—although as we shall see, it is not complete—Odysseus – Role Play for the Homeric Age dives not into the mechanics of a skill system (there is none) or the man-to-man ‘combats’ system (as it is described), but the rules for ship-to-ship combat. They describe Greek naval warfare as complex and are essentially a miniatures combat system, for which it is suggested that a large floor space and miniatures are needed. The rules cover movement—by sail and by oars, as well as the effect of the wind, maneuvering, missile fire—from both arrows and spears, collisions and ramming, plus grappling and boarding, taking on water, mast damage, and more. All of this is done in the captain’s orders, which are written down at the beginning of every combat round. The rules cover everything in just three pages.

Man-to-man combat or ‘Combats’ as Odysseus – Role Play for the Homeric Age describes it, is actually more complex than ship-to-ship combat. Initiative is generally handled by weapon range—weapons with longer range or reach indicating that a warrior attacks first. Then each combatant selects two cards, one an Attack Position Card, the other a Defence Position Card. The Attack Position Card indicates where the attacking warrior intends to strike, for example Head, Abdomen, or Calf, whilst the  Defence Position indicates where the defending warrior wants to protect, for example, ‘Parry Middle Without Shield’ or ‘Punch with Shield High’. The chosen Attack Position Card and Defence Position Card are cross referenced on the ‘ATK POS/DEF POS’ table. This can generate an ’NE’ or ‘No Effect’ result, in which case the attack is blocked or the attacker missed, or it can generate a modifier which is applied to the chance to hit number. This is determined by cross referencing the weapon used in the attack against the protection value of the armour on the location struck. This is a percentage value under which the attacking player must roll to succeed. Conversely, the player needs to roll high on the percentage dice to determine how much damage is inflicted, which determined by the Attack Position—as determined by the Attack Position Card cross referenced with the roll, the result varying from ‘No Effect’, ‘Stun’, and one or more Wounds to ‘Kneeling’, ‘Unconscious’, and ‘Kill’.

So the question is, where does a warrior’s Fighting Skill Number come into this if it is not being used to determine whether or not he successfully attacks or defends? Well, it does two things. First, it acts as a warrior’s Hit Points, with points being deducted equal to the number of Wounds suffered. Second, for each five points or part of, a warrior’s Fighting Skill Number is ten or above, he gains an extra attack each round. So between ten and fourteen points, a warrior has two attacks, three attacks for between fifteen and nineteen, and four attacks for twenty and above. When a warrior suffers Wounds and his Fighting Skill Number is reduced, if drops past the threshold, so does his number of attacks per round. Although a Warrior’s Fighting Skill Number can rise above twenty by being a successful combatant, the maximum number of attacks he can make is four. Thus points in Fighting Skill Number above twenty four represent just his Hit Points.

Beyond the mechanics for ship-to-ship combat and man-to-man combats, Odysseus – Role Play for the Homeric Age includes some campaign notes for the Moderator, primarily movement and encounters—by land and by sea, and done daily. The encounter table includes some classic mythic creatures like Gorgons and Centaurs, but essentially, they have no more stats than Player Character. All of the encounters are accorded thumbnail descriptions, as are the gods. The only major piece of advice for the Moderator is how to handle warrior versus god combat, that comes down to allowing it, but inflicting a high degree of bad luck upon the warrior for being so presumptuous!

There are two other mechanics in Odysseus – Role Play for the Homeric Age and both concern the Player Characters, but both are secret. In fact, they are so secret that the Moderator rolls them and never reveals them to his players. Both are straight percentage values. One is the Deity Empathy Score, which reflects how much a warrior’s patron likes or dislikes him, whilst the other is the warrior’s Luck Number. The only suggested use for this is determining how well other people react to the warrior.

In terms of background, Odysseus – Role Play for the Homeric Age is very lightly written, its treatment of the Homeric Age very broad. Oddly, warriors cannot be from Crete or Troy, the choice of weapons is limited, and there is very little historicity to the whole affair. There are also some oddities in Odysseus – Role Play for the Homeric Age. The first is that the example of play appears on the book’s last page. The second is that in the middle of rules there is a quiz about the rules. Which is very probably unique in the history of the hobby. The third is that given its vintage, it is surprising that Odysseus – Role Play for the Homeric Age does not explain what roleplaying is, but that it does not explain what a Moderator really does either.

Physically, Odysseus – Role Play for the Homeric Age is a slim book with rather underwhelming production values. Although the pen and ink illustrations are really quite good, the maps are bland and lack detail. It needs another edit and it is not quite sure what the title is—Odysseus – Role Play for the Homeric Age, Odysseus the Wanderer, or Odysseus Legendry & Mythology (sic). The main issue perhaps is the odd organisation which dives in ship-to-ship combat before personal combat, in the inclusion of a pop quiz about the rules rather than more examples of play, and so on. The game includes a card insert which is intended to be removed and used in play, and includes the Attack Position Cards and Defence Position Cards, and two ship’s deckplans.

—oOo—

Odysseus – Role Play for the Homeric Age was reviewed by Elisabeth Barrington in Space Gamer Number 31 (September, 1980), who commented that, “The character generation rules are a little skimpy at times, and some of the numerous tables are difficult to figure out.” before concluding that, “As new RP systems go, this one is above average. Only one book, and it is well-designed. Historical gamers specialising  in the classic period, this is for you.” However, Donald Dupont, writing in Different Worlds Issue 11 (Feb/Mar 1981) was far less positive, opening with the comment, “Odysseus is apparently an attempt at a roleplaying system for the Homeric Age of Greece, the Heroic Age of which Homer sings in his epics Iliad and Odyssey. As a mise en scene for the Bronze Age in the Aegean Basin it fails miserably. As a role-playing system it is disorganized, clumsy, and incomplete. The game lacks color, both of the Homeric Age, which it claims in its title, and of the later Classical Age which, in fact, it more closely approximates.” He finished the review by saying that, “Odysseus is a disappointment. The roleplaying world could use a good Heroic Age game system. With a great deal of interpretation and interpolation, Odysseus is perhaps usable by players familiar with role-playing systems, but the confused nature of its rules, and the lack of color in its world hardly make it worthwhile.”

—oOo—

It is debatable whether Odysseus – Role Play for the Homeric Age is a roleplaying game, its wargaming origins being so evidently on show, its focus being mainly on combat, and there being very little in terms of character to either roleplay or develop. This is not to say that the game cannot be played as either a wargame or a roleplaying game, but it would require a great deal of input from both player and Moderator—especially the Moderator, and whatever roleplaying experience might ensue, would definitely come from their efforts rather than be supported by the game itself. Of course, there are many roleplaying games like this, and this is with the benefit of hindsight, but even then, there really is very little to recommend Odysseus – Role Play for the Homeric Age. It simply does not have the right sort of rules to be a roleplaying game and it does not have the background to really do what the author intended. Odysseus – Role Play for the Homeric Age is very much a collector’s curio, a design from the beginning years of the hobby when not every publisher quite knew what a roleplaying game should be or what it should do, a design still influenced too much by the wargaming hobby before it.

Now in its thirteenth year, Free RPG Day in 2020, after a little delay due to the global COVID-19 pandemic, took place on Saturday, 25th July. As per usual, it came with an array of new and interesting little releases, which traditionally would have been tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Again, global events meant that Gen Con itself was not only delayed, but run as a virtual event, and likewise, global events meant that Reviews from R’lyeh could not gain access to the titles released on the day as no friendly local gaming shop was participating nearby. Fortunately, Reviews from R’lyeh has been able to gain copies of many of the titles released on the day, and so can review them as is the usual practice. To that end, Reviews from R’lyeh wants to thank both Keith Mageau and David Salisbury of Fan Boy 3 in sourcing and providing copies of the Free RPG Day 2020 titles.

Published by Magpie Games, Root: The Tabletop Roleplaying Game is a roleplaying game based on the award-winning Root: A Game of Woodland Might & Right board game, about conflict and power, featuring struggles between cats, birds, mice, and more. The Woodland consists of dense forest interspersed by ‘Clearings’ where its many inhabitants—dominated by foxes, mice, rabbits, and birds live, work, and trade from their villages. Birds can also be found spread out in the canopy throughout the forest. Recently, the Woodland was thrown into chaos when the ruling Eyrie Dynasties tore themselves apart in a civil war and left power vacuums throughout the Woodland. With no single governing power, the many Clearings of the Woodland have coped as best they can—or not at all, but many fell under the sway or the occupation of the forces of the Marquise de Cat, leader of an industrious empire from far away. More recently, the civil war between the Eyrie Dynasties has ended and is regroupings its forces to retake its ancestral domains, whilst other denizens of the Woodland, wanting to be free of both the Marquisate and the Eyrie Dynasties, have formed the Woodland Alliance and secretly foment for independence.

Between the Clearings and the Paths which connect them, creatures, individuals, and bands live in the dense, often dangerous forest. Amongst these are the Vagabonds—exiles, outcasts, strangers, oddities, idealists, rebels, criminals, freethinkers. They are hardened to the toughness of life in the forest, but whilst some turn to crime and banditry, others come to Clearings to trade, work, and sometimes take jobs that no other upstanding citizens of any Clearing would do—or have the skill to undertake. Of course, in Root: The Tabletop Roleplaying Game, Vagabonds are the Player Characters.

Root: The Tabletop Roleplaying Game is ‘Powered by the Apocalypse’, the mechanics based on the award-winning post-apocalyptic roleplaying game, Apocalypse World, published by Lumpley Games in 2010. At the heart of these mechanics are Playbooks and their sets of Moves. Now, Playbooks are really Player Characters and their character sheets, and Moves are actions, skills, and knowledges, and every Playbook is a collection of Moves. Some of these Moves are generic in nature, such as ‘Persuade an NPC’ or ‘Attempt a Roguish Feat’, and every Player Character or Vagabond can attempt them. Others are particular to a Playbook, for example, ‘Silent Paws’ for a Ranger Vagabond or ‘Arsonist’ for the Scoundrel Vagabond.

To undertake an action or Move in a ‘Powered by the Apocalypse’ roleplaying game—or Root: The Tabletop Roleplaying Game, a character’s player rolls two six-sided dice and adds the value of an attribute such as Charm, Cunning, Finesse, Luck, or Might, or Reputation, to the result. A full success is achieved on a result of ten or more; a partial success is achieved with a cost, complication, or consequence on a result of seven, eight, or nine; and a failure is scored on a result of six or less. Essentially, this generates results of ‘yes’, ‘yes, but…’ with consequences, and ‘no’. Notably though, the Game Master does not roll in ‘Powered by the Apocalypse’ roleplaying game—or Root: The Tabletop Roleplaying Game. 

So for example, if a Player Character wants to ‘Read a Tense Situation’, his player is rolling to have his character learn the answers to questions such as ‘What’s my best way out/in/through?’, ‘Who or what is the biggest threat?’, ‘Who or what is most vulnerable to me?’, ‘What should I be on the lookout for?’, or ‘Who is in control here?’. To make the Move, the player rolls the dice and his character’s Cunning to the result. On a result of ten or more, the player can ask three of these questions, whilst on a result of seven, eight, or nine, he only gets to ask one.

Moves particular to a Playbook can add to an attribute, such as ‘Master Thief’, which adds one to a character’s Finesse or allow another attribute to be substituted for a particular Move, for example, ‘Threatening Visage’, which enables a Player Character to use his Might instead of Charm when using open threats or naked steel on attempts to ‘Persuade an NPC’. Others are fully detailed Moves, such as ‘Guardian’. When a Player Character wants to defend someone or something from an immediate NPC or environmental threat, his player rolls the character’s Might in a test. The Move gives three possible benefits—‘ Draw the attention of the threat; they focus on you now’, ‘Put the threat in a vulnerable spot; take +1 forward to counterstrike’, and ‘Push the threat back; you and your protected have a chance to manoeuvre or flee’. On a successful roll of ten or more, the character keeps them safe and his player cans elect one of the three benefits’; on a result of seven, eight, or nine, the Player Character is either exposed to the danger or the situation is escalated; and on a roll of six or less, the Player Character suffers the full brunt of the blow intended for his protected, and the threat has the Player Character where it wants him.

The release for Free RPG Day 2020 for Root: The Tabletop Roleplaying Game is Root: The Pellenicky Glade Quickstart. It includes an explanation of the core rules, six pregenerated Player Characters or Vagabonds and their Playbooks, and a complete setting or Clearing for them to explore. From the overview of the game and an explanation of the characters to playing the game and its many Moves, the Root: The Tabletop Roleplaying Game is Root: The Pellenicky Glade Quickstart is well-written. It is notable that all of the Vagabonds are essentially roguish in nature, so in addition to the Basic Moves, such as ‘Figure Someone Out’, ‘Persuade an NPC’, ‘Trick an NPC’, ‘Trust Fate’, and ‘Wreck Something’, they can ‘Attempt a Roguish Feat’. This covers Acrobatics, Blindside, Counterfeit, Disable Device, Hide, Pick Lock, Pick Pocket, Sleight of Hand, and Sneak. Each of these requires an associated Feat to attempt, and each of the six pregenerated Vagabonds has one, two, or more of the Feats depending just how roguish they are. Otherwise, a Vagabond’s player rolls the ‘Trust to Fate’ Move.

The six pregenerated Vagabonds include Ellora The Arbiter, a powerful Badger warrior devoted to what she thinks is right and just; Quinn The Ranger, a rugged Wolf denizen who left the Woodland proper to escape the war and their past as an Eyrie soldier; Scratch The Scoundrel, a Cat troublemaker, arsonist, and destroyer; Nimble The Thief, a clever and stealthy Raccoon burglar or pickpocket who is on the run from the law; Keilee The Tinker, a Beaver and technically savvy maker of equipment and machines; and Xander The Vagrant, a wandering rabble-rouser and trickster Opossum who survives on his words. Most of these Vagabonds have links to the given Clearing in Root: The Pellenicky Glade Quickstart and all are complete with Natures and Drives, stats, backgrounds, Moves, Feats, and equipment. All a player has to do is decide on a couple of connections and each Playbook is ready to play.

As its title suggests, the given Clearing in Root: The Pellenicky Glade Quickstart is Pellenicky Glade. Its description comes with an overarching issue and conflicts within the Clearing, important NPCs, places to go, and more. The overarching issue is the independence of the Clearing. The Goshawk have managed to remain neutral in the Eyrie Dynasties civil war and in the face of the advance of Marquisate forces, but the future is uncertain. The Conflicts include the future leadership of the Denizens of Pellenicky Glade, made all the more uncertain by the murder of Alton Goshawk, the Mayor of Pellenicky Glade. There is advice on how these Conflicts might play out if the Vagabonds do not get involved and there are no set solutions to any of the situations. For example, there is no given culprit for the murder of Alton Goshawk, but several solutions are given. Pellenicky Glade is a scenario in the true meaning—a set-up and situation ready for the Vagabonds to enter into and explore, rather than a plot and set of encounters and the like. There is a lot of detail here and playing through the Pellenicky Glade Clearing should provide multiple sessions’ worth of play.

Physically, Root: The Pellenicky Glade Quickstart is a fantastic looking booklet, done in full colour and printed on heavy paper stock. It is well written and the artwork, taken from or inspired by the Root: A Game of Woodland Might & Right board game, is bright and breezy, and really attractive. Even cute. Simply, Root: The Pellenicky Glade Quickstart is physically the most impressive of all the releases for Free RPG Day 2020.

If there is an issue with Root: The Pellenicky Glade Quickstart it is that it looks busy and it looks complex—something that often besets ‘Powered by the Apocalypse’ roleplaying games. Not only do players need their Vagabond’s Playbooks, but also reference sheets for all of the game’s Basic Moves and Weapon Moves—and that is a lot of information. However, it means that a player has all of the information he needs to play his Vagabond to hand, he does not need to refer to the rules for explanations of the rules or his Vagabond’s Moves. That also means that there is some preparation required to make sure that each player has the lists of Moves his Vagabond needs. Another issue is that the relative complexity and the density of the information in Root: The Pellenicky Glade Quickstart means that it is not a beginner’s game and the Game Master will need a bit of experience to run the Pellenicky Glade and its conflicts.

Ultimately, Root: The Pellenicky Glade Quickstart comes with everything necessary to play and keep the attention of a playing group for probably three or four sessions. Although it needs a careful read through and preparation by the Game Master, Root: The Pellenicky Glade Quickstart is a very good introduction to the rules, the setting, and conflicts in Root: The Tabletop Roleplaying Game—and it looks damned good too.

Dead Planet: A violent incursion into the land of the living for the MOTHERSHIP Sci-Fi Horror Roleplaying Game is many things. It is a lost ship to encounter and salvage and survive—and even steal. It is a means to create the layout of any starship you care to encounter. It is a moon to visit, a hellhole of auto-cannibalism, desperation, and caprinaephilia. It is a list of nightmares. It is a planetcrawl on a dead world including a bunker crawl five levels deep. It is a weird-arse incursion from another place, which might not or not be hell. It is all of these things and then it is one thing—a mini campaign in which the Player Characters, or crew of a starship, find themselves trapped around the dead planet of the title. Desperate to survive, desperate to get out, how far will the crew go in dealing with the degenerate survivors around the dead planet? How far will they go in investigating the dead planet in order to get out?

Published by Tuesday Knight Games, Dead Planet: A violent incursion into the land of the living for the MOTHERSHIP Sci-Fi Horror Roleplaying Game is the first supplement for MOTHERSHIP Sci-Fi Horror Roleplaying Game, which does Science Fiction horror and action. The action of Blue-Collar Science Fiction such as Outland, the horror Science Fiction of Alien, and the action and horror Science Fiction of Aliens. It works as both a companion and a campaign for MOTHERSHIP, but also as a source of scenarios for the roleplaying game. This is because it is designed in modular fashion built onto a framework. This framework is simple. The starship crewed by the Player Characters suffers a malfunction and is sucked into a star system at the heart of which is not a sun, but a dead planet upon which stands a Dead Gateway which spews dark, brooding energy from somewhere else into our universe. The crew is unlikely to discover this until later in the campaign, by which time they will have encountered innumerable other horrors and nightmares. With their ship’s jump drive engines malfunctioning and the ship itself damaged, the crew find themselves floating through a ships’ graveyard of derelicts. Could parts be found on these ships? How did they get here—was it just like their own ship? And where are their crews? Close by is a likely ship for exploration and a boarding party.

Beyond the cloud of derelict ships is a moon and this moon is a community of survivors. How this community has survived is horrifying, it having to degenerated into barbarism, to a point of potential collapse. Indeed, the arrival of the Player Characters is likely to drive the factions within the community to act and send it to a tipping point and beyond. Not everyone in the community welcomes their arrival, and even those that do, do so for a variety of reasons. However, in order to interact with the community, the Player Characters are probably going to have to commit a fairly vile act—and do so willingly. This may well be a step too far for some players, though it should be made clear that this act is not sexual in nature and will be by the Player Characters against themselves individually rather than against others. Nevertheless, it does involve a major a major taboo, and whilst that taboo has been presented and explored innumerable times onscreen, it is another matter to be confronted with it in as a personal a fashion as Dead Planet: A violent incursion into the land of the living for the MOTHERSHIP Sci-Fi Horror Roleplaying Game does.

Then at last, there is the Dead Planet itself. This is a mini-hex crawl atop a rocky plateau with multiple locations. Not just the source of the system’s issues, nightmares, and madness, but a swamp, a crashed ship, wrecked buildings, a giant quarry, and more. Most of these locations require relatively little exploration, only the deep bunker of the Red Tower does. Plumbing its depths may not seem the obvious course of action for some players and their characters, but it may contain one means of the Player Characters escaping the hold that the Dead Planet has over everyone. Certainly, the Warden—as the Game Master in Mothership is known—may want to lay the groundwork in terms of clues for the Player Characters to follow in working out how they are going to escape.

Taken all together, these parts constitute the mini-campaign that is Dead Planet: A violent incursion into the land of the living for the MOTHERSHIP Sci-Fi Horror Roleplaying Game. Separate these parts and the Warden has extra elements she can use in her own game. So, these include sets of tables for generating derelict ships and mapping them out, jump drive malfunctions, weapon and supply caches, colonists and survivors, luxuries and goods found in a vault, and nightmares. All of these can be used beyond the pages of Dead Planet, but so could the deck plans of the Alexis, an archaeological research vessel, the floor plans of the bunker, and so on. Not too often, and likely not necessarily if Dead Planet has been run.

Physically, Dead Planet: A violent incursion into the land of the living for the MOTHERSHIP Sci-Fi Horror Roleplaying Game is like MOTHERSHIP itself, a fantastic exercise in use of space and flavour of writing. However, the cost of this wealth of detail is that text is often crammed onto the pages and can be difficult to read in places. It also needs a slight edit. The maps are also good, though artwork is unlikely to be to everyone’s taste.

Dead Planet: A violent incursion into the land of the living for the MOTHERSHIP Sci-Fi Horror Roleplaying Game is very good at what it does and it is exactly the MOTHERSHIP Sci-Fi Horror Roleplaying Game needed—more of the near future setting, the monsters, and the horror that it hinted at. Dead Planet goes further in presenting a mini-campaign and elements that the Warden can use in her own game, although it is still not what MOTHERSHIP Sci-Fi Horror Roleplaying Game really needs and that is the MOTHERSHIP Sci-Fi Horror RPG – Warden’s Horror Guide. As a horror scenario, the set-up in Dead Planet is both creepy and nasty, but definitely needs the input of the Warden to bring it out. There is no real advice in Dead Planet for the Warden, and both it and its horror will benefit from being in the hands of an experienced Referee, if not an experienced Warden.

Dead Planet: A violent incursion into the land of the living for the MOTHERSHIP Sci-Fi Horror Roleplaying Game is a nasty first expansion for MOTHERSHIP Sci-Fi Horror Roleplaying Game, and that is exactly so delivers on the horror and the genre action first promised in the MOTHERSHIP Sci-Fi Horror Roleplaying Game. Ultimately though, the horror in Dead Planet: A violent incursion into the land of the living for the MOTHERSHIP Sci-Fi Horror Roleplaying Game is not for the fainthearted, being a Grindhouse Sci-Fi combination of Texas Chainsaw Massacre and Event Horizon.

Now in its thirteenth year, Free RPG Day in 2020, after a little delay due to the global COVID-19 pandemic, took place on Saturday, 25th July. As per usual, it came with an array of new and interesting little releases, which traditionally would have been tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Again, global events meant that Gen Con itself was not only delayed, but run as a virtual event, and likewise, global events meant that Reviews from R’lyeh could not gain access to the titles released on the day as no friendly local gaming shop was participating nearby. Fortunately, has been able to gain copies of many of the titles released on the day, and so can review them as is the usual practice. To that end, Reviews from R’lyeh wants to thank both Keith Mageau and David Salisbury of Fan Boy 3 [https://www.fanboy3.co.uk/] in sourcing and providing copies of the Free RPG Day 2020 titles.
LEVEL 1 - volume 1 2020 is a little different. Published by 9th Level Games, Level 1 is an annual RPG anthology series of ‘Independent Roleplaying Games’ specifically released for Free RPG Day. LEVEL 1 - volume 1 2020 is a collection of fifteen featuring role-playing games, standalone adventures, two-hundred-word Roleplaying Games, One Page Dungeons, and more! Where the other offerings for Free RPG Day 2020—or any other Free RPG Day—provide one-shot, one use quick-starts or adventures, LEVEL 1 - volume 1 2020 is something that can be dipped into multiple times, in some cases its contents can played once, twice, or more—even in the space of a single evening! The subject matters for these entries ranges from the adult to the weird and back again, but what they have in common is that they are non-commercial in nature and they often tell stories in non-commercial fashion compared to the other offerings for Free RPG Day 2020. The other differences are that Level 1 includes notes on audience—from Kid Friendly to Mature Adults, and tone—from Action and Cozy to Serious and Strange. Many of the games ask questions of the players and possess an internalised nature—more ‘How do I feel?’ than ‘I stride forth and do *this*’, and for some players, this may be uncomfortable or simply too different from traditional roleplaying games. So the anthology includes ‘Be Safe, Have fun’, a set of tools and terms for ensuring that everyone can play within their comfort zone. It is a good essay and useful not just for the fifteen or so games in LEVEL 1 - volume 1 2020.

The difference in LEVEL 1 - volume 1 2020 is that it carries advertising. This advertising is from its sponsors, but it gives Level 1 an old-style magazine feel.

Level 1 opens with the odd. Kira Magrann’s ‘Moose Trip: a game about moose who eat psychedelic mushrooms’. It turns out that as part of their idyllic life in the human-occupied wilds of Montana, Moose actually eat psychedelic mushrooms to get high. Which is what they do in this game and then they engage in relaxed conversation about how they feel and their emotions. It includes twenty different ‘Mushroom Feelings’ and offers a short but relaxed, reflective game.

Density Media’s ‘A Clan of Two: A two-person storytelling game’ is inspired by Shogun Assassin or Lone Wolf and Cub. Whether as an assassin and his son on the run from the Shogun or a bounty hunter protecting his bounty rather than taking him in—see Midnight Run, one player takes the role of the protagonist, a warrior without peer who will adhere to a code. This might the code of Bushido, code of chivalry, and so on, but he will have broken part of the code and gone on the run. The other player takes the role of both Game Master and seer, that is, the baby of the baby cart assassin or the bounty hunter’s quarry, as well of the world around them. He will both roleplay this character and the world. ‘A Clan of two’ uses a table of descriptors and prompts derived from the I Ching to push the story along and to see how the world reacts to the protagonist’s actions. This gives a nice balance between player agency and setting, the player able to roleplay free of rolling dice, whilst the Game Master can focus on the setting and interpreting the results, but together telling a story.

Designed for one player and no Game Master, ‘Dice Friends’ by Tim Hutchings is a one-page game in which stories are built around dice to represent characters and their lives and adventures. Mechanically very simple, there is no genre or setting to this game and beyond some dice dying and some dice leaving, there is little in the way of prompts in the game. Its brevity means that the players need to have strong buy-in to the game and will need to work hard create the world in which the dice/characters live and leave or live and die. The lack of a hook and the need to build the whole world means that despite it being easy to pick up and play, ‘Dice Friends’ may well be too daunting for some.

‘After Ragnarök’ by Cameron Parkinson and Tyler Omichinski, is a post-life, post-apocalyptic roleplaying game of Viking adventure and legends! The player take the role of the Einherjar, the great heroes destined to feast and drink in Vahalla until Ragnarök. That day has come and gone, and with the Gods dead, the Einherjar remain, but with Valhalla decaying, they decide to set out and adventure for the great drinking halls which are still said to exist. This is a roleplaying game in which the Player Characters start out as great heroes with Legends that they create, but as they face Jotun, the great hounds of Hel, and worse, they will fall in battle. However, when they die, there is a chance that their ‘Legends’ will ‘Fade’ and so lose their legendary capabilities. This is much more of traditional roleplaying game, a heroic game of fighting against the dying of the light—that is, the dying of the Player Characters’ light.

Oat & Noodle’s ‘Sojurn’ is a second one-page game for one player and no Game Master. This idea is that the players are leaving on a journey and take three objects with them, such as a mask, an imp, and a key, and when they return from the journey, something has changed. This is another one-player game in which the player is prompted to tell a story, but with actual prompts and an implicit genre, is much less daunting than the earlier ‘Dice Friends’. ‘Breaking Spirals: A single-player RPG inspired by Cognitive Behavioral Therapy and Acceptance & Commitment Therapy’ by Cameron and Colin Kyle is also for one player and no Game Master, but is more complex in that it presents a reflective, self-help game as a tool for active meditation and perspective. To be honest, it is more exercise than game, for although steps can be taken and there can be a sense of achievement in going through the process, there is no sense of winning in traditional way or of a story told. Not that there necessarily has to be either, but the lack either makes it an exercise rather than something to be played.  

‘Bird Trek: A game about raptors in space’ by Maarten Gilberts & Steffie de Vaan is a co-operative game of sentient raptor birds in space who as a flock to steal things, but must make its annual migration from Caldera to Frigia via several moons. Many of these moons are strange and growing stranger every year, making the migration more difficult and increasing the likelihood of the flock’s hunger and exhaustion grow. This is a storytelling game about survival and loss as well as exploration and just as well could have been set between Africa and Europe as it could outer space.

In Graham Gentz’s ‘In the Tank: Roleplaying the life of an Algae Colony in a Tank’, the players take on the role of aspects of algae living in a tank. Individually they control aspects such as width, cell, green, and so on, but together they control it collectively. Their aim is achieve sentience and to avoid death, but from Moment to Moment, they must respond to complications, problems and stimulations from inside the tank and outside the tank—the latter often at the hand of ‘The Dave’. Exactly what ‘The Dave’ is, is up for speculation—tank owner, laboratory technician?—but the Dave Master creates the Complication and the Algae responds to it. Successfully overcome a Complication and the Algae moves closer to sentience, the player with the successful means of overcoming the Complication becoming the new ‘Dave Master’. As a game, ‘In the Tank’ is likely to escalate into sentience and success, or spiral into death and disaster, the point being that either result is acceptable, and it is the story told along the way that matters.

‘Love is Stored in the Elbow’ by Corinne Taylor is a single-character, multi-player in they explore the relationship between emotions, memory, and physical touch. It includes solid guidelines as which parts of the body and what emotions the players do not want to include in their game, and after randomly assigning the agreed upon emotions to the accepted parts of the body, take it in turns to narrate a memory involving an emotion and its connected body part. This can build on, but not negate previous memories, but once done, the players will have created a lifetime’s worth of memory. Potentially silly, potentially adult in nature, this is a nicely done story told through a life.

Midsummer Meinberg’s ‘Graveyard Shift’ is a three-player game about the alienation of working late at night for minimum wage. It explores poverty, family obligation, dead-end jobs, loneliness and alienation, and also drug use as self-medication—so it involves obviously adult themes. The players take the role of the worker, his family, and three customers on a single night and face the drudgery and complication that this brings. There is some excellent roleplaying potential in this situation as the Worker is ground down by his situation and the humiliation he suffers in dealing with difficult customers and the demands of his family all the whilst want to quit.

The fourth one-page game is ‘At Least We Have Tonight’ by Matthew Orr and it again suffers from needing a strong buy-in by the players. Up to eight of them roleplaying slaves aboard a Roman trireme, who at the end of the day recount its events—the moments which broke the toil, such as the song we sang or an injury suffered, what their life was before ship and what ambitions they harbour for life after—if any. It is all quite dispiriting and will either fall flat because of the lack of engagement or descend into melancholy if the players do develop something from the prompts given.

‘Bad Decisions’ by Scott Slater, Michael Faulk, and Jeff Mitchell is a horror game about those moments when a character does something foolish—go into the basement alone, pick up hitchhikers, read the wrong book, et cetera. It is played in two phases. In the first phase, the players take it in turns to narrate the story, pushing the characters into situations where bad decisions can be made, and then rolling to see if they narrate the terrible outcome. In phase one, the results are mild injuries only, but in phase, the story escalates and the players bluff against each other to see which of them survives. The outcomes of the bad decisions in this phase are always fatal as the monster is revealed and chases the characters through the woods. Death is also sudden, nasty, and foolish. Slightly fiddley in its use of the dice, ‘Bad Decisions’ has a wealth of genre conventions to draw from.

Ty Oden’s ‘Hellevator’ is design for a large group whose characters are stuck in a cursed elevator with a devil. The devil seeks to kill or convert everyone in the elevator, whilst the humans must identify and eliminate the devil in order to avoid being corrupted or killed—and so escape. Fortunately, the devil can only use his infernal powers in the darkness. Essentially, this is a LARP, a variant of Murder in the Dark or Mafia or The Resistance played in a six-foot by six-foot space, the Devil player eliminating players in the darkness with a firm touch on the shoulder, the survivors denouncing the devil—or human, if wrong—in the light. The game is obvious into its inspiration, but more interesting in its optional devils which add variants. Another issue of course is that the players have to be happy with playing in the confined space, if only simulated.

‘Mesopotamians:  A little game about undead warrior kings making it big as a rock and roll band’ by Nick Wedig is a bonkers set-up, but undead ancient kings on a tour is not an unenticing one. As their tour progresses, it must deal with concerns like money and fame, but at every town face other issues such as why the townsfolk dislike them, what criminal plot do they accidentally get involved in, or what they are squabbling about in UTTRATU, the Econoline Van that is their tour vehicle? The aim here is to increase value of the Concerns and so win, and this is done by rolling dice at Crisis Points, aiming to find a dice with results of eight or more. As much as this is a great concept, the rules are not very explained and it could have done with an example of how to handle a Crisis point.

The last game in LEVEL 1 - volume 1 2020 is ‘Savage Sisters: Heroic Women Against a Barbaric World’ by Adriel Lee Wilson with Chris O’Neill. Inspired by Xena Warrior Princess, the Player Characters in ‘Savage Sisters’ forma Sodal, a group of powerful, female warriors. Together the player define the rules of the Sodal and each define their Savage Sister. During play, the players take turns as the GM—the Grandmother—to relate tale as they sit around the fire on eve of a great event, such as a battle or a birth or a wedding. When faced with a difficult challenge, a Savage Sister’s player rolls her die to match one of the numbers listed for the test—which can be a books, boots, blades, or bones test. If the Savage Sister succeeds, then she maintains control of the narrative, otherwise the Grandmother takes control. Ultimately, the Soldal is doing two things. One is facing tests to try to improve its destiny—represented by a pool of tokens. If there are three or more tokens in the pool, all test rolls are made at advantage, otherwise the Sodal is suffering despair and Savage Sisters roll at disadvantage. The other is to tell tales whose subject matters and details are determined before the game starts by answering a few questions and then randomly assigned to the players. It could have been better organised and the set-up clearer, but ‘Savage Sisters: Heroic Women Against a Barbaric World’ is probably the most open ended of the games in LEVEL 1 - volume 1 2020 and is worth revisiting again.

LEVEL 1 - volume 1 2020 is a slim, digest-sized book. Although it needs an edit in places, the book is well presented, and reasonably illustrated. In general, it is an easy read, and everything is easy to grasp.

LEVEL 1 - volume 1 2020 is the richest and deepest of the releases for Free RPG Day 2020. There is something for everyone here, from postapocalyptic warriors to midnight shift workers, and any one of the games in the anthology will provide a good session’s worth of play. Not all of the games are of the same quality though with perhaps the best and the most interesting being ‘A Clan of Two: A two-person storytelling game’, ‘After Ragnarök’, and ‘Graveyard Shift’ with ‘Mesopotamians:  A little game about undead warrior kings making it big as a rock and roll band’ being something that needs a bit more development. Despite the variable quality of its content, of all the releases for Free RPG Day 2020, LEVEL 1 - volume 1 2020 is the title that playing groups will come back to again and again to try something new each time.

The primary drive behind the Old School Renaissance is not just a nostalgic drive to emulate the fantasy roleplaying game and style of your youth, but there is another drive—that of simplicity. That is, to play a stripped back set of rules which avoid the complexities and sensibilities of the contemporary hobby. Thus, there are any number of roleplaying games which do this, of which Ancient Odysseys: Treasure Awaits! An Introductory Roleplaying Game is an example. Ordure Fantasy, published by Gorgzu Games is an incredibly simple Old School Renaissance-style fantasy roleplaying game using a single six-sided die with a straightforward mechanic throughout, and providing four character Classes, offbeat monsters, and table upon table for generating elements of the world, from setting, quests, and locations to NPCs, dungeons, and random encounters.

Ordure Fantasy: A simple d6 roleplaying game starts with its mechanic. To undertake an action for his character, a player rolls a single six-sided die, aiming to get equal to or under the value of a Skill or Ability to succeed. Easy and Hard Tests are made with two six-sided dice, the lowest value kept for Easy Tests, the highest value retained for Hard Tests. For deadly, dangerous, cataclysmic or annoying situations, the Referee can demand that a player make an ‘Ordure Test’. On a result of a six, the ‘Ordure’ of the situation happens, on a result of four or five, the Player Character gets a rumbling, warning, or unsettling portent of the ‘Ordure’. If the ‘Ordure’ situation persists, the ‘Ordure’ range on the die expands from a six to five and six, then four, five, and six, and so on. Essentially, the ‘Ordure’ Test is a random response generator to dire situations, enforcing the fact that the world is a dangerous place, one in which the ‘heroes’ are not actually capable of dealing with based on their own abilities or skills—more random fortune. However, Ordure Fantasy does not suggest what such situations might be.

Combat is more complex in Ordure Fantasy. Initiative is handled by lowest rolls acting first, and attacks by a player rolling under his character’s Combat skill. If a Player Character is hit, then his player can roll a Body or Mind Test for his character to defend. All attacks inflict a single point of damage which is deducted from the Health of a Player Character or NPC. Enemies—whether a monster or an NPC, have only the Ability, that is, Health, and when Health, whether that of a Player Character, monster, or NPC, is reduced to zero, then they are dead. In addition, some Player Characters, NPCs, and monsters have abilities and skills that will inflict various effects in addition to the deduction of a single point of Health—and they can be quite nasty. Thus, the Nursing Acid Wing has a grasp attack and the Mercenary Class’ Sword Skill can be good enough to lop off the limbs and appendages of his enemies—if the rest of the Combat Test is good enough.

Ordure Fantasy provides a half-dozen monsters—not really enough, but very much not traditional fantasy in terms of their design, a page of notes and advice for the Referee, all decent enough, before it gets down to creating Player Characters. A Player Character is defined by three Abilities—Body, Mind, and Luck, plus his Health, Class, equipment, and money. There are four Classes—Mercenary, Conjurer, Scoundrel, and Curate, each of which maps onto the four Classes of classic fantasy roleplaying. The Mercenary is soldier of fortune, trained in the arts of war without loyalty to any lord or realm; the Conjurer an autodidact explorer of unreal realms and summoner of fey things; the Scoundrel a charming alley rat unconcerned with the law; and the Curate, the neophyte scion of some cult excommunicated for heretical and gnostic preachings. So, there is a sense that the characters of the world of Ordure Fantasy are ne’er-do-wells, brutes, uncaring, cynical bastards in a landscape of grim and dangerous peril.

Each Class has four Skills and a Boon. Skills can be used as often as necessary, whilst Boons can be used once per game session. For example, the Mercenary has Bow, which provides a ranged attack; Sword, a melee attack capable of taking off limbs; Shield, which improves a Mercenary’s defence for a melee turn; and Intimidate. The Mercenary’s Boon is ‘Execute’. Simply, the Mercenary declares a target and his next successful attack against them is instantly fatal. Ouch!

To create a Player Character in Ordure Fantasy, a player assigns a value of three to one Ability, two to another, and one to the third. All Player Characters have a Health of five. The player selects a Class and picks three of its Skills, and just like Abilities, assigns a value of three to one, two to another, and one to the third. It is a simple, fast process.

Evota the evasive
Scoundrel, Level 1

Body 1 Mind 2 Luck 3

Skills: Negotiate 1, Hide and Sneak 3, Lockpick 2

Boon: An Old Friend (Roll twice on each side of the Random Reaction table and select combination for the relationship).

Money: 30 sp.

Magic in Ordure Fantasy is both interesting and banal. The Curate simply gets Heal, Curse, and Resurrect as Skills, and these feel banal and flavourless. They ape the divine magical abilities found in other fantasy roleplaying games and they are simply not that interesting. In comparison, the Conjurer has interesting magic and really gets to do things with it. What a Conjurer can do is summon. This is modelled with the Summon Emotion, Summon Element, and Summon Being Skills. The first of these enables a Conjurer to flood a sentient being’s mind with an emotion of the Conjurer’s choice, the second to summon a fist-sized ball of an element the Conjurer has seen before, and the third a being the Conjurer has seen before—and the Conjurer can control numerous beings once he rises far enough in Levels. Simply, there is a flexibility to these Skills, a flexibility limited only by the player’s imagination and the Referee’s agreement. So there is potential for a lot of fun with the Conjurer Class, whereas the Curate not so much.

Experience again is simple in Ordure Fantasy. A Player Character who survives an interesting, dangerous, exciting, or entertaining session goes up a single Level. When he does, the Player Character is awarded a single point which his player can assign to an Ability or Skill to increase its value by one. The maximum value for any Ability or Skill is four, a Player Character can learn its fourth Skill at Third Level, and the maximum Level for any Player Character is six.

Equipment—especially enchanted and mythical equipment, is again simply handled. The former, for example, magical maps or a master thief’s tools, make Skill Tests easy, whilst the latter are so well crafted and infused with magic that they grant a +1 bonus to a particular Ability or Skill. Given the one to six scale of Ordure Fantasy, such mythical items are really powerful and may provide benefits beyond the simple bonus.

Over a third of Ordure Fantasy is devoted to ‘Referee’s Tables’. These start out with a table for what the Player Characters doing when the first session starts, and then goes on to define the danger in the particular realm, what adventurers are needed for or do, and what the town where the Player Characters are is, what quest is available there, what the dangerous region outside the town is, and so on. There are twelve tables here, each with multiple options, which with just a few rolls of a die, the Referee can generate a sheaf of hooks and elements around which she can base an encounter, a scenario, or even a mini-campaign, perhaps even as the game proceeds.

Physically, Ordure Fantasy is a nineteen page, 2.78 Mb, full colour PDF. The layout is clean and tidy, and it is illustrated with okay, if scratchy pen and ink drawings. The use of colour is minimal though and although attractive, does not add to the look of the game. It does need an edit in places. The last page in Ordure Fantasy is the character sheet, which clear and easy to use, and as a nice touch, includes the basics of rolling Tests and the Combat Rules for easy reference by the players.

If there is anything missing from Ordure Fantasy, it is a scenario. Certainly, the inclusion of such a sample adventure would have supported its ‘pick up and play’ quality, for Ordure Fantasy is really easy to learn and lends itself to quick and dirty games. Similarly, It would have been nice to have seen more monsters, though there is a table for generating foes, but it is kind of buried in the back of the game. The only other issue is the Curate Class, which is more useful to have someone playing it rather than actually being interesting to play.

Overall, Ordure Fantasy does what it sets out to do, and that is present a stripped down, fast-playing grim and gritty set of mechanics, that support its grim and gritty tone.

 Now in its thirteenth year, Free RPG Day in 2020, after a little delay due to the global COVID-19 pandemic, took place on Saturday, 25th July. As per usual, it came with an array of new and interesting little releases, which traditionally would have been tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Again, global events meant that Gen Con itself was not only delayed, but run as a virtual event, and likewise, global events meant that Reviews from R’lyeh could not gain access to the titles released on the day as no friendly local gaming shop was participating nearby. Fortunately, has been able to gain copies of many of the titles released on the day, and so can review them as is the usual practice. To that end, Reviews from R’lyeh wants to thank both Keith Mageau and David Salisbury of Fan Boy 3 in sourcing and providing copies of the Free RPG Day 2020 titles.

The third offering from Renegade Game Studios is The Lost Spire of Tziuhuquatl, a quick-start for Overlight: The Roleplaying Game of Kaleidoscopic Journeys. It presents a full scenario—with room for expansion and development by the Game Master, an explanation of the rules, and four pregenerated Player Characters, all designed to introduce both players and Game Master to the world of Overlight. This is a world of seven great continent, known as Shards, hanging in the sky under each other in a sky of limitless, unending light. These continents may shift horizontally, but never vertically, night only falling when one continent passes over another. Each continent is different, from the rocky towers and crumbling mesas across an expanse of blasted desert that is Nova, home to giant, sentient and meditative centipedes, called Novapendra, to Pyre, a landscape swathed in tundra and steppes, rarely lit beyond the fiery glow of its volcanos. They are home to numerous species, not just Humans or Haarkeen, but also Teryxians, the small, feathered reptilians of Quill, once emperors, but now renowned as academics and philosophers; the tribal, sometimes tree-like Banyan; and the eerily tall and thin, mask-wearing Aurumel of Veile, who aspire to build great things.

To a certain few, the brilliant, white light of the Overlight can split into a spectrum of different colours and Virtues—Compassion (green), Logic (blue), Might (red), Spirit (white), Vigor (orange), Wisdom (purple), and Will (yellow). So with ‘Root!’, a Banyan can encourage the vines and branches in his body to grow and grasp something—a person, an object, the ground—in a particularly tight grip or with ‘Speaker’s Fire’, an Embertongue can influence others in a soothing subtle fashion. The Overlight flows through and around everything, but those who can manipulate it are known as Skyborn and their powers of the Overlight as Chroma.

A character in Overlight and thus The Lost Spire of Tziuhuquatl is defined by the seven Virtues—Compassion, Logic, Might, Spirit, Vigor, Wisdom, and Will. Most Virtues have Virtue has two or skills attached to it and both skills and Virtues are rated by die type. The exception is Spirit, which is just a pool of points for activating Chroma. Besides a name, a character will also be defined by his Folk—species and culture, core Virtue, a background, and wealth. To undertake an action, a character’s player rolls a Test, which depending upon the circumstances can be a Skill Test, an Open test, a Wealth Test, or a Chroma Test. For any Test, the player rolls seven dice, usually consisting of three dice equal to the character’s skill, three equal to his Virtue, plus the Spirit die, which is always four-sided die. For example, a Banyari faced by an angry animal which he wants to calm down, his player would roll three ten-sided ice for his Compassion Virtue, three six-sided dice for his Beastways skill, plus the Spirit die. Results of six or more count as a success and at least two successes are required to succeed at a Test, though without any flourish. A roll of four—or Spirit Flare—on the Spirit die can add a further success. The type of dice rolled varies depending upon the type of Test, but all are built around a pool of seven dice. For example, Chroma Tests, used to active Chroma abilities, typically use a combination of two Virtues plus the Spirit die—and it is the result on the Spirit die which determines how many Spirit points activating the Chroma costs. If it is too many and the character is low on Spirit points, the character suffers a Shatter as the raw divinity of the Overlight powers through him. This can lead to strange side effects and once a character has suffered his third Shatter for a Chroma, he is burnt out and cannot use that Chroma again. Overall, the rules in The Lost Spire of Tziuhuquatl are succinctly described in just seven pages, including the skills list.

Four pre-generated characters are provided to play the scenario in The Lost Spire of Tziuhuquatl. They include a Banyari Rootlord capable of using the Overlight to photosynthesise healing, grasp others with its vines and branches, or lash out in a fury of red fists and spectral fire; a Pyroi Embertongue capable of making friends and influencing others, and creating fire; a Haarken Grifter capable of hearing conversations at a distance; and a Teryxian Tutor capable of issuing uncompromising commands. Every character comes with three or pages of backgrounds and stats.

The scenario in The Lost Spire of Tziuhuquatl is the eponymous ‘The Lost Spire of Tziuhuquatl’. This is a four-act mystery and missing persons adventure, which offers a mix of horror and exploration as well combat and interaction. It takes place on the on the forested Shard of Banyan where the Player Characters come across The Aquila, a ship-beast known as a Chrysoara, stricken with a sickness, its crew dead from acts of self-inflicted violence. This may simply at random, or they may be going to the rescue of the crashed ship-beast, or they may look for a missing scholar, Zubidiah Molok, who may or not be known to one of the Player Characters, and who even be mentor to one of them. From clues aboard The Aquila, the Player Characters will learn that scholar has made a great discovery deep in the forest. Following these clues will lead the Player Characters into dangerous territory and reveal some of the secrets of Overlight’s past.

As a scenario, ‘The Lost Spire of Tziuhuquatl’ is okay. It presents some of the setting to Overlight: The Roleplaying Game of Kaleidoscopic Journeys and it provides a good mix of action and investigation, interaction and exploration, combat and horror. Each of the four Player Characters should certainly have a chance to shine. However, because the setting for Overlight: The Roleplaying Game of Kaleidoscopic Journeys, and thus, ‘The Lost Spire of Tziuhuquatl’, is different, this scenario is not going to be one that flows. There will be plenty of stops and starts along the way as the Game Master has to explain—if not the rules, for they are quite straightforward, then aspect of the setting after setting. As a quick-start, The Lost Spire of Tziuhuquatl needs a cheat-sheet for it background more than it does for its mechanics. That said, from the information contained in its pages, the Game Master should be able to create one, just as she will be able to create the maps that would have been useful to frame and reference ‘The Lost Spire of Tziuhuquatl’. Of course, if she is doing that, then a handout or two would make the scenario a whole lot easier for both Game Master and her players.

Physically, The Lost Spire of Tziuhuquatl is well presented. It is decently written, full colour, and comes with nice artwork. The lack of maps is an issue, but more of a problem is the fact that what is probably meant to be read aloud purple prose is not clearly marked as such and it feels like the author is repeating himself with every location description. This is frustrating experience for the Game Master trying to use the descriptions—both in the purple prose and the write-ups intended for her, because they look the same.

If a Game Master is already running an Overlight: The Roleplaying Game of Kaleidoscopic Journeys campaign, then The Lost Spire of Tziuhuquatll is likely easy enough to add to a campaign and it provides a decent enough scenario. For a group new to Overlight: The Roleplaying Game of Kaleidoscopic Journeys, then The Lost Spire of Tziuhuquatl is a decent introduction or a one-shot, although it needs a bit more work and a bit more of an explanation than it really should.

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

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


—oOo—


Name: Down New England Town

Publisher: Chaosium, Inc.
Author: Michael LaBossiere

Setting: Small town, modern New England

Product: Scenario
What You Get: Ten page, 3.15 MB Full Colour PDF
Elevator Pitch: Hometown Horror Maestro Horror
Plot Hook:  Sheriff stumped by removed remains of the recently deceased director of horror movies. Could his death have become a horror movie?
Plot Support: Five NPCs, new Mythos creature variant, and a map.Production Values: Tidy layout and decent illustrations.

Pros
# Potential hometown sidequest
# Simple story, one session scenario
# Good mix of NPCs for the Keeper to roleplay
# Potential convention scenario
# Easy to adapt to other time periods
# Roleplaying focused investigation
# Scope to play up the horror movie aspects

Cons
# Simple story, one session scenario
# Uninspiring new Mythos monster variant
# Underwritten investigation# one note, combat climax

Conclusion
# Solid addition to any ghoul campaign
# Scope to play up the horror movie aspects
# Roleplaying investigation needs development

A minor side effect of the COVID-19 pandemic is that it has delayed this review, because it has also delayed the reason for this review. The 2020 Tour de France was due to have started on June 27th and finish three weeks later on July 19th, but its starting date was delayed until 29th August and it is due to finish today, 20th September. Consequently, this review—of a cycling-themed game—is equally as late. Published by Lautapelit.fi, Flamme Rouge is a cycling racing game designed for two to four players, aged eight and above, which can be played in between thirty and forty-five minutes. The mechanics involve racing on a modular board, the hand management of dual decks, and simultaneous action selection, supporting play that is both simple and tactical, and ultimately, providing a game that really feels like a stage of one the Grand Tours—the Giro d'Italia, Tour de France, and Vuelta a España. Plus, there is nothing to stop a playing group to play Flamme Rouge more than once to simulate a Grand Tour!

In Flamme Rouge, each player controls a team of two riders. One is the Rouleur, a good all-rounder, capable of maintaining a good pace throughout a race, the other is the Sprinteur, capable of bursts of great—typically as they are racing for the finishing line. Throughout the game, each player will control the speed of both his Rouleur and his Sprinteur, each of whom has a sperate movement deck. In general, he will keep his cyclists in the pack—or peloton—to conserve energy and speed, protecting the Sprinteur until close to the end when he can launch a sprint attack or he might launch a breakaway from the peloton and get to the finishing line before anyone else. However, this will exhaust a cyclist and probably enable the peleton to catch up. All cyclists though can take advantage of the slipstream effect to catch up and keep up with the cyclists in front of them. Since every team is trying to do this, the cyclists will be jockeying for position throughout the game.

Open up the box and you will find twenty-one double-sided Track Tiles consisting of Start and Finish sections, plus various straight and corner sections. All of the Track Tiles have two lanes and on the reverse are marked with Ascent and Descent sections which indicate mountain sections. There are eight custom plastic Cyclists—one Rouleur and one Sprinteur per player, marked with an ‘R’ and an ‘S’ respectively, and four Player Boards, one per player. Each board has spaces for the two decks of cards a player will draw from throughout the game. The game’s almost two hundred cards are divided into ten decks. Four of these are Energy decks for both the Rouleur and the Sprinteur, whilst the other two are Exhaustion decks, again one for Rouleurs and one for Sprinteurs. Each player has two Energy decks, one for his Rouleur and one for his Sprinteur. The two Exhaustion decks are drawn from by all of the players. Both Rouleur and Sprinteur Energy decks consist of numbered cards—each indicating the number of spaces a Rouleur or Sprinteur can move, the Rouleur’s between three and seven, and the Sprinteur’s between two and five, plus several nines. The value of the Exhaustion cards are all equal to two. Lastly, there are four Reference cards and six Stage cards. Each of the latter gives a layout for the Track Tiles to model a Stage from one of the Grand Tours. Lastly, the large, four-page rulebook explains how to set up and play Flame Rouge.

All of these components are of an excellent quality. Both the cards and Track Tiles have a linen finish and the Track Tiles are of thick cardboard. The rulebook is short and easy to read, and includes samples of play where necessary. Lastly, the plastic cyclists are not quite as nice as the other components, but both the Rouleur and the Sprinteur have different poses and the back of their jerseys are marked with an ‘R’ or an ‘S’ respectively for easy identification. The look of the game, of French cycling the 1930s, is really attractive and gives the game a classic feel.

Game set-up is simple. Each player receives a Rouleur and Sprinteur, Rouleur deck and Sprinteur deck, and player board, all in the same colour. The Track Tiles are laid out according to one of the Stage cards or a Stage of the players’ own design, and both Exhaustion decks are put beside the Stage layout. Then each player places his Rouleur and Sprinteur at the start of the Stage layout, the order determined by age and the last time the players each rode a bicycle.

Each round of Flamme Rouge consists of three phases—the Energy, Movement, and End phases. In the Energy phase, each player draws four cards from either his Sprinteur or Rouleur Energy deck, selects one to play, and returns the other three to the bottom of the appropriate deck. Then he does it to the other deck so that he one card from both of the Sprinteur and Rouleur Energy decks ready to play in the Movement phase. This can be done in any order, but once a card has been selected, a player cannot go back and change it.

In the Movement phase, the players reveal their cards and begin moving their cyclists, starting with the one at the front and working backwards in order. Each cyclist is moved forward a number of spaces as indicated on the respective Energy cards. A cyclist can be moved past another cyclist, but cannot land on a space occupied by one. Instead, the cyclist moves in behind the other. This will typically forces a player to be conservative in the choice of Energy cards he plays in order to prevent his wasting them in attempts to get his cyclists to pass those ahead of him, and whilst the players with cyclists at the front have a wider choice in the cards they play, they not do want necessarily to separate their cyclists from the ones behind them lest they begin to gain Exhaustion cards.

The End phase, all played Energy cards—for both Sprinteur and Rouleur—are discarded, and Slipstreaming and Exhaustion occur. If a cyclist ends his movement with exactly one empty space between him and the cyclist in front of him, then the cyclist can move exactly one space forward and close the gap. If there is more than one space between cyclists, then they are considered to be separate groups. It is also perfectly possible and legal to slipstream multiple groups, the slightly strung out cyclists taking advantage of the slipstream effect to come back together form a larger pack.

However, if there is still a gap of more than one space between any cyclists after those able to take advantage of the Slipstream effect, then those cyclists earn an Exhaustion card each. This is added to their respective Energy decks and when drawn and played, only enable a cyclist to move two spaces. What this means is that it pays for a cyclist to be conservative in his use of Energy. In the peleton, he can maintain the same speed as his fellow cyclists and gain advantage of the Slipstream effect if a rival cyclist decides to speed up. There is nothing to stop a cyclist making a break from the peleton, and just like in an actual Grand Tour, racing off into the distance, his player using the high value Energy cards in a cyclist’s deck to gain an advantage over his fellow cyclists. Just like a Grand Tower though, this will tire the cyclist out fairly quickly, modelled by the breakaway cyclist picking up more and more Exhaustion cards over the course of several turns. These will come to clog up a cyclist’s Energy deck, even as his player uses the higher value Energy cards up and discards them, ultimately slowing a cyclist down.

In the base set-up, a game will typically see the cyclists jockeying for position right down to the finishing line when Sprinteurs make a break for it in an attempt to win the stage. In the advanced game—which really only adds one or two rules, mountains can be added to Stages. Mountain sections on the tiles are marked into two colours—orange for ascent and blue for descent. When a cyclist is in an ascent section, and therefore travelling fairly slowly, the maximum value of any Energy card played is always five. If a higher value card is played, the number of spaces of movement it grants is reduced to five. Conversely, on the descent sections, when the cyclist is travelling really quickly, the minimal value of any Energy card played is five. What this means is that lower value Energy cards can be played and the cyclist gets the benefit of the increased value and because the card is also discarded from the game, it means that the player is not forced to use it later when it will not help his cyclists. This includes Exhaustion cards, and this is one way in which to remove them from a cyclist’s Energy deck.

Effectively, Flamme Rouge is a finely balanced energy management game, with players needing to keep their cyclists up with those of the other players and either not let their rivals get to far ahead—or at least keep up with them when they are! A player can also keep track of what Energy cards his rivals have played, but it is still possible to be outfoxed by a rival especially when mountains come into play and break up the cyclists into smaller groups. The mountains are all but a necessity as without them, Flamme Rouge is well, a bit flat, and just as the mountains break up the terrain, they provide an opportunity for the players to break up the bigger groups and form breakaways.

Flamme Rouge looks good and is both easy to learn, play, and teach. Above all, Flamme Rouge plays and feels like a stage of a Grand Tour, and there is a great ebb and flow to it—just like the real thing. For gamers who are also fans of cycling, Flamme Rouge is a game they are going to appreciate, whilst being accessible by gamers who are not cycling fans and cycling fans who are not gamers.

Dead Light and other Dark Turns: Two Unsettling Encounters on the Road is not a wholly new book for Call of Cthulhu, Seventh Edition. This is because it combines one of the first scenarios published for the then new version of the venerable Lovecraftian investigative horror with a wholly new scenario and several scenario seeds. The ‘old’ scenario is ‘Dead Light’, published in 2014 as Dead Light: Surviving One Night Outside Of Arkham, which in this new anthology published by Chaosium, Inc. has been joined by the new scenario, ‘Saturnine Chalice’. What connects the two—or at least what they have in common—is that they take place whilst the investigators on the road, and either because of the weather or because they get lost, the investigators will be confronted with mystery, magic, and mortality. Both scenarios are set in the 1920s, are quite nasty, both are self-contained, and both are nominally set in Lovecraft Country. What this means is that either can be slotted into an ongoing campaign whilst the investigators are travelling between locations or run as oneshots, and be moved to any remote location—all with relative ease. With a little effort, they could also be shifted to time periods other than the Jazz Age of the 1920s. Other than that, each scenario is very different in terms of structure, tone, and story, and so will provide very different roleplaying experiences.

‘Dead Light’ opens with the investigators on the road out of Arkham, heading for the town Ipswich. The weather has drawn and as the road is lashed by a fierce storm, the investigators are forced to slow—which proves to be fortunate when a disheveled and bewildered girl runs into the road. Thankfully, the investigators can take refuge with other travellers at the roadside Orchard Run Gas and Diner. Here they can also learn who the girl is and where she came from, but that begs the question of what forced her to flee into the night when the weather is as bad as this? Another question is what caused a local farmer to swerve his truck so leaving the road all but blocked and left him incoherent with shock? Is it because he is just drunk or are his claims of a bright light that caused him to swerve on the road true?

Further checking on the girl reveals more of the mystery and something of the threat that the investigators will face in and about the Orchard Run Gas and Diner. The threat almost has a Science Fiction feel to it and that is perfectly in keeping with the nature of Cosmic horror. Although its origins are never quite revealed, the purpose to which it has been put can be discerned, and it is horribly rational and thoroughly in keeping with the wider miscegenation found in Lovecraft Country.

‘Dead Light’ is both a tale of jealousy and greed, and a survival horror scenario. As a survival horror scenario, it is light both in terms of the traditional Mythos and detailed investigation. As a tale of jealousy and greed, there are plenty of opportunities for roleplaying though as the consequences of both come to roost in and around the Orchard Run Gas and Diner. The likelihood is that the scenario is much physical in nature as the investigators and the NPCs are stalked in the woods surrounding the roadside stop. Yet as physical as the scenario is likely to become, any investigator attempting to confront the threat with brute force is likely to end up sorely disappointed and quite possibly dead. What this means is that the investigators will need to look for the means to stop the threat—and doing so will reveal the origins of the threat and perhaps the human folly that led to its release.

The issue with survival horror and with a threat as deadly as that in Dead Light is that it is too easy to kill the investigators. Whilst the thing is hunting them and everyone at the café, the Keeper needs to pace the scenario and not have it hunt down and kill everyone. This does not mean that she should be lenient should a player have his investigator act foolishly, but with plenty of NPCs around to show how the monster works, the Keeper should sacrifice them and so hint at the thing’s lethality and give time for the investigators to uncover what is really going on. The danger here is that in the hands of an inexperienced Keeper, ‘Dead Light’ has the potential to result in the death of everyone at the Orchard Run Gas and Diner—including the investigators. A more experienced Keeper will know to play and draw the events of the scenario and the deaths of everyone present out over the course of the evening. Pleasingly, ‘Dead Light’ gives the Keeper the means and advice to that end. Essentially, the second or revised edition of the original scenario, minor tweaks and edits having been made here and there, ‘Dead Light’ is a still as good a scenario as it was in 2014.

‘Saturnine Chalice’ is a radically different scenario in comparison to ‘Dead Light’. It is very much smoke and mirrors, a drawing room mystery bordering on farce, all contained within a puzzle box. The scenario opens again with the investigators on the road and then, whether they have got lost or their vehicle has run out of petrol, needing to go for help. They find themselves at the home of Augustus Weyland and his daughter, Veronica, their hosts welcoming, offering to help them with their plight, and even inviting them to dinner. Surprisingly, both father and daughter are willing to not only entertain the existence of the occult, but openly discuss it, which seems all the stranger given that the investigators have not come looking for it—at least not at the Weyland house. As they interact with the hosts and servants, things get odder and there seems to be gaps in what each knows, culminating in what is a truly bizarre dinner—a scene which the Keeper should really relish portraying.

This and other clues should indicate that there is something strange going on in the house, which should ideally drive the investigators to search the house further—and if they refrain, then other events certainly will. What the investigators find is a clue-rich environment pointing to the events which lead up to the current situation, what is going on when the investigators enter the house, and how they can escape their predicament. Two methods are suggested in ‘Saturnine Chalice’ for handling these clues. One is to rely for the investigators’ skills and abilities, but the other is for the players themselves to take the clues and work out themselves aspects of the puzzle their investigators find themselves in. Certainly, the latter option adds a degree of physicality not normally present in Call of Cthulhu investigations. However, this may complicate play for some players and potentially increase the playing length of the scenario’s single session. Here the Keeper needs to take into account her players’ playing preferences—or at least be aware of their being expressed if ‘Saturnine Chalice’ is run for relatively inexperienced or new players.

In comparison to ‘Dead Light’, ‘Saturnine Chalice’ is far more of cerebral affair, though there are still moments of action. Both possess a fair degree of back story as well as potential hooks which could be developed by the Keeper—especially if either is run as part of a Lovecraft Country campaign. Even if the links are not developed, both are easy to slot into a campaign, or simply run as oneshots.

Rounding out Dead Light and other Dark Turns: Two Unsettling Encounters on the Road is a half dozen scenario seeds. In keeping with the theme of the book, these all start on the road. They take the investigators to a roadside cabin camp where the fellow guests are up to something in the nearby woods, past a strange, giant animal attraction which could be something more, to a suitcase left in the middle of the road, and then on past the same signpost—again, to be diverted into a deadly game of cat and mouse in a scrapyard, and at last, to a chance to be charitable and pick up a pair of innocent looking hitchhikers. In some cases, the scenario sees include one or more explanations as to what is going on, and a couple do include some interesting historical background. That said, some of them are perhaps a bit mundane. All though require some effort upon the part of the Keeper to develop into a full scenario.

Physically, Dead Light and other Dark Turns: Two Unsettling Encounters on the Road is nicely presented. It is well written, cleanly laid out, and the artwork, cartography, and handouts are all decent. The only thing which could be held against the book is that it is in black and white in comparison to the publisher’s other for Call of Cthulhu, Seventh Edition, but to be fair, this does not detract from the production values and this is still a good looking book.

Even with just the two scenarios, Dead Light and other Dark Turns: Two Unsettling Encounters on the Road is a nicely versatile anthology. Both scenario are very different in terms of their structure, tone, and play style, but both are easy to use. Whether the Keeper is looking to taunt her investigators with a night’s survival horror or a puzzle to unlock, Dead Light and other Dark Turns: Two Unsettling Encounters on the Road delivers both for Call of Cthulhu, Seventh Edition, along with a few extras.

Now in its thirteenth year, Free RPG Day in 2020, after a little delay due to the global COVID-19 pandemic, took place on Saturday, 25th July. As per usual, it came with an array of new and interesting little releases, which traditionally would have been tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Again, global events meant that Gen Con itself was not only delayed, but run as a virtual event, and likewise, global events meant that Reviews from R’lyeh could not gain access to the titles released on the day as no friendly local gaming shop was participating nearby. Fortunately, Reviews from R’lyeh has been able to gain copies of many of the titles released on the day, and so can review them as is the usual practice. To that end, Reviews from R’lyeh wants to thank both Keith Mageau and David Salisbury of Fan Boy 3 in sourcing and providing copies of the Free RPG Day 2020 titles.

The contribution to Free RPG Day 2020 from Fantasy Flight Games is Keyforge: Secrets of the Crucible – Maw of Abraxas. This is a quick-start for use with Keyforge: Secrets of the Crucible, the roleplaying game based on the setting for Richard Garfield’s KeyForge: Call of the Archons, the world’s first Unique Deck Game. It uses the Genesys Narrative Dice System—first seen in Warhammer Fantasy Roleplay, Third Edition—but ultimately derived from the original Doom and Descent board games. Keyforge: Secrets of the Crucible – Maw of Abraxas comes with everything necessary to play—an explanation of the rules, four pregenerated characters, and an exciting, action-packed scenario for the Game Master to run. What it does not come with is dice and the fact that both the Genesys Narrative Dice System and Keyforge: Secrets of the Crucible—and therefore Keyforge: Secrets of the Crucible – Maw of Abraxas—use propriety dice is a problem. Not an insurmountable one, but a problem, nonetheless.

Keyforge: Secrets of the Crucible – Maw of Abraxas opens with a rules summary. The core mechanic requires a player to roll a pool of dice to generate successes and should the roll generate enough successes, his character succeeds in the action being attempted. The complexity comes in the number of dice types and the number of symbols that the players need to keep track of. On the plus side, a player will be rolling Ability dice to represent his character’s innate ability and characteristics, Proficiency dice to represent his skill, and Boost dice to represent situational advantages such as time, assistance, and equipment. On the negative side, a player will be rolling Difficulty dice to represent the complexity of the task being undertaken, Challenge dice if it is a particularly difficult task, and Setback dice to represent hindrances such as poor lighting, difficult terrain, and lack of resources. Ability and Difficulty dice are eight-sided, Proficiency and Challenge dice are twelve-sided, and Boost and Setback dice are six-sided.

When rolling, a player wants to generate certain symbols, whilst generating as few as possible of certain others. Success symbols will go towards completing or carrying out the task involved, Advantage symbols grant a positive side effect, and Triumph symbols not only add Successes to the outcome, but indicate a spectacularly positive outcome or result. Failure symbols indicate that the character has not completed or carried out the task, and also cancel out Success symbols; Despair symbols count as Failure symbols indicate a spectacularly negative outcome or result, and cancel out Triumph symbols; and Threat symbols grant a negative side effect and cancel out Advantage symbols. Only Success and Failure results indicate whether or not a character has succeeded at an action—the effects of the Advantage, Triumph, Despair, and Threat symbols come into play regardless of whether the task was a success or not. Task difficulties range from one Difficulty die for easy tasks up to five for Formidable tasks, and in addition, certain abilities enable dice to be upgraded or downgrade, so an Ability die to a Proficiency die or a Challenge die down to a Difficulty die.

In general, the dice mechanics in the Genesys Narrative Dice System—and thus, Keyforge: Secrets of the Crucible – Maw of Abraxas—are straightforward enough despite their complexity. They are perhaps a little fiddly to assemble and may well require a little adjusting to, especially when it comes to narrating the outcome of each dice roll.

Combat is more complex. Initiative is handled by a skill roll—using Cool or Vigilance, and attack difficulties by range and whether or not the combatants are engaged in melee combat. Damage is inflicted as either Strain, Wounds, or Critical Injuries. Strain represents mental and emotional stress, Wounds are physical damage, as are Critical Injuries, but they have a long effect that lasts until a Player Character receives medical treatment. When a Player Character suffers more Wounds than his Wound Threshold, he suffers a Critical Injury, and when he suffers Strain greater than his Strain Threshold, he is incapacitated. The various symbols on the dice can be spent in numerous ways in combat to achieve an array of effects. So a Triumph symbol or enough Advantage symbols could inflict a Critical Injury, allow a Player Character to perform an extra manoeuvre that round, and so on, whilst Threat and Failure symbols inflict Strain on a Player Character, three Threat symbols could be spent to knock a Player Character prone, and so on. Keyforge: Secrets of the Crucible – Maw of Abraxas includes a table of options for spending Advantage, Triumph, Threat, and Despair in combat, as well as a table of critical Injury results. It does not, however, include a table for spending Advantage, Triumph, Threat, and Despair out of combat—a disappointing omission for anyone wanting to do a bit more with their character’s skills. That said, the Game Master should be able to adjust some of the options on the table to non-combat situations.

Lastly, the rules in Keyforge: Secrets of the Crucible – Maw of Abraxas cover NPCs and Story points. Apart from nemesis-type NPCs, most NPCs treat any Strain they suffer as equal to Wounds, and Minions work together as a group. In Keyforge: Secrets of the Crucible, there are two pools of Story Points—one for the Player Characters, one for the GM. They can be used to upgrade a character’s dice pool or the difficulty of a skill check targeting a character—NPC or Player Character in either case, or to add an element or aspect to the ongoing story. The clever bit is that when a Story Point is spent, it does not leave the game, but is shifted over to the pool of Story Points. So if the Game Master spends a Story Point to increase the difficulty of a Player Character’s Perception check to determine the motives of an NPC, she withdraws it from her own Game Master pool of Story Points and adds it to the players’ pool of Story Points. As a game proceeds and Story Points are spent and move back and forth, it adds an elegant narrative flow to the mechanics and will often force the players to agonise whether they should spend a Story Point or not as they know it is going to benefit the Game Master and her NPCs before it comes back to them.

A character in Keyforge: Secrets of the Crucible has six characteristics—Agility, Brawn, Cunning, Intellect, Presence, and Willpower, plus a range of skills from Charm, Computers, and Cool to Ranged (attacks), Skulduggery, and Vigilance, as well as range of special abilities. The four pregenerated Player Characters include a Saurian Crœniac with a Cybersensor Implant for better perception and a hacking rig; a Human Discoverer whose Zoomclaw is a rocket-propelled grappling hook that both climbing tool and weapon; a Spirit Arbitrator, an incorporeal being clad in containment armour who was exiled from his knightly order for bounding with a sentient sword called Vizer; and an Elf of the Shadowws whose faerie companions aid him in mechanical tasks and acts of skulduggery. All four Player Characters are nicely presented in a busy, but easy to access character sheet.

Each Player Character also has a way to use Æmber, the golden, glowing substance found only on the Crucible—the setting for Keyforge: Secrets of the Crucible—which is often processed to perform a single, specific function, such as currency. In its raw state it can be used to do strange and wondrous things. For example, Saurian Crœniac uses it to fuel a hazard field which makes attacks against more difficult, the Human Discoverer to make attacks with Zoomclaw jet-propelled, and so on. These are all one-shot abilities until the characters can obtain some more raw Æmber.

The setting for ‘Maw of Abraxas’, the scenario in Keyforge: Secrets of the Crucible – Maw of Abraxas is Crucible, the ‘Impossible World’, a Jupiter-sized world made up of innumerable different zones, each a different environment or climate. In effect, it is a multiverse in one place, a multi-genre setting made up of multiple settings. In ‘Maw of Abraxas’, the Player Characters will see just a few of them—a glass jungle, a tightly regulated agrisector, a lake wrought with multiple storms, and the ancient ruins of a lost civilisation. In the scenario, the quartet of heroes have been asked by their boss, the tentacular Fixer, to recover the Cube of Realities, a weird artefact with the capability of warping the world around its user. He wants to ensure that it does not fall into the wrong hands. Unfortunately, the militant, xenophobic Martians already have it, but to prevent it being stolen or falling into the hands of their enemies have hidden it aboard a prototype saucer ship which even they cannot track or scan for! However, contact with the saucer has been lost, but fixer has learned that its designer created a device, the Vez Q-37 Scanulator, which can detect where the saucer is. So all the Player Characters have to do is steal the Vez Q-37 Scanulator from a Martian base and fight their way out, get across several sectors by Teleporter Cannon and then a couple more by whatever means necessary, find the lost saucer ship and grab the Cube of Realities. Easy, right? Of course not!

Consisting of just three acts, ‘Maw of Abraxas’ begins by dropping the Player Characters in media res and never lets up on the action or pacing. It should provide a session or so’s worth of play and comes with suggestions as to what each Player Character could do in a scene, and showcases a little of the diversity of the Crucible as a setting. The Player Characters all feel very different and the adventure should give them each a chance to shine.

Physically, Keyforge: Secrets of the Crucible – Maw of Abraxas is very nicely presented, in full vibrant colour. The artwork is excellent, if a little busy in places, and the book is well written and easy to understand.

The one downside to Keyforge: Secrets of the Crucible – Maw of Abraxas is that it uses the Genesys Narrative Dice System and that means using propriety dice. Now on the weekend of Free RPG Day 2020, the dice app for Genesys was available for free and that was very generous of the publisher. Of course, if a group is already playing Genesys or Keyforge: Secrets of the Crucible, and has either the dice or the app, then Keyforge: Secrets of the Crucible – Maw of Abraxas is easy enough to run and play, whether that is as extra scenario for an existing Keyforge: Secrets of the Crucible campaign or as an introduction to the setting. If not, then Keyforge: Secrets of the Crucible – Maw of Abraxas is unplayable, which is a pity because it is a fun scenario, though of course, a Game Master might be inspired to get either dice or app after reading though it so that she can run the scenario.

That issue aside, Keyforge: Secrets of the Crucible – Maw of Abraxas is an entertaining and fun introduction to Keyforge: Secrets of the Crucible. As a quick-start to both rules and setting, it is exactly the type of thing you want to pick up on Free RPG Day.

Richard McKenna / September 17, 2020

James Cawthorn: The Man and His Art
By Maureen Cawthorn Bell
Jayde Design Books, 2018

Stuff has to happen when it has to happen, I suppose. Back in the summer of 2018, I’d pre-ordered a copy of James Cawthorn: The Man and His Art, but by the time it was released, the family health issues that had been increasingly dominating my life over previous years had consumed it completely. When the book arrived, I didn’t even leaf through it; just unwrapped it and stuck it on a shelf, registering only that it weighed a ton and must be hundreds of pages long. And perhaps because of its association with a sad time, I completely forgot about its existence for a couple of years, only finally opening it the other night on a sudden impulse. Would what it contained be powerful enough to burn off any negative personal associations and also not be the kind of dismal self-congratulatory fannery that makes you want to chuck all your books away and start getting into metalworking or something? Well, yes it would—James Cawthorn: The Man and His Art is absolutely fucking mind-blowing.

Back in the ’70s and ’80s, Cawthorn was everywhere: the covers of his comic book adaptations of Michael Moorcock’s Elric stories were a fixture on the wall of every head shop, goth shop, comic shop, second-hand bookshop, and pawn shop I entered until I was in my mid-20s, and I’d grown up seeing his illustrations in things like New English Library’s Strange World of Science Fiction, the Savoy Books edition of Moorcock’s The Golden Barge, and the four kids’ sci-fi anthologies that Armada books put out in the 1970s. But, weirdly, it wasn’t until I sat down with this volume that I realized just how deeply his work saturates my own aesthetic life. Which is to say, my life. Not that I’m claiming my aesthetic or actual life are of two shits’ worth of interest to anyone except myself, of course, but it’s a strange feeling to suddenly realize that the blur that’s always been there at the edge of your attention is actually one of the spinning flywheels driving your mind—reminding you how many of those people existing on the margins of the culture remain marginal despite their contributions to shaping it. Cawthorn—who passed away in 2008—is a recognized figure among genre obsessives, but how did someone so interesting and idiosyncratic, who was once so ubiquitous, fall into such relative neglect?

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Cawthorn was a child of the North East, an unfairly disregarded region of England, historically far from the money of London or Manchester, that has suffered massively since the Conservative government led by Margaret Thatcher set in motion the definitive closing down of the mines, heavy industry, and shipyards that had been the area’s backbone for centuries. As the final remnants of the steelworks and shipyards are gradually sold off to venture capitalists, that process of neglect is now pretty much complete, yet it’s a beautiful and magical place with its own strange magic, with deep links both to the ancient past and to the future—which makes sense, given how much of the future the locals dug, hammered, and welded together before they were sold out by the Tories. If you’re in any doubt about the North East’s futurist vocation, just remember that some of our culture’s most pervasive images of the future are the handiwork of another product of the region, one Ridley Scott, who certainly took inspiration from the vast petrochemical complexes lining local rivers (as anyone who ever flew into Teesside airport at night can testify). A self-taught, working-class illustrator, Cawthorn seems like a perfect reflection of that local genius, and in a way his relative anonymity mirrors that of his native land.

James Cawthorn: The Man and His Art contains (apparently—I didn’t count) something like 800 color and black and white illustrations that cover his entire career. The contrast between the scratchy detail and dense chiaroscuro of his b&w work and the vaguely lysergic glow of his color art highlight how the two exist as entirely distinct entities, which, however, complement and complete one another when seen together here. And his color work also inspires the thought that perhaps Cawthorn’s relative oblivion is partly due to his style being too outsider-ey, too delicate and lurid (in a good way) to work at its best in the medium that was most lucrative and that offered most visibility during the time he was working—the paperback cover.

In fact, one striking thing about Cawthorn’s work is that it always retains the beauty of the obsessive amateur, never feeling glib or by-the-numbers. Even in the drawings that look most rushed, you can feel the commitment animating each piece—the euphoric sensation of watching cheap felt-tip pens somehow create entire new worlds. And unlike many other artists, Cawthorn’s aesthetic becomes more, not less, compelling and intense the more of it you see, as he endlessly mines and refines the mineral splendors of his own imagination in pursuit of his totally individual aesthetic. Looking through the book, it rapidly becomes clear that Cawthorn’s best-known images—to those who know them—aren’t even his most striking. In fact, it’s difficult to illustrate this review properly because some of his most memorable work doesn’t exist even in the daunting repository of everything that is the internet, and I don’t want to bugger up the spine on my copy.

The book has clearly been a labor of love for Cawthorn’s sister Maureen and publisher John Davey, and Maureen’s evocative and delicate memoir of him casts a lot of light on the personality behind the portfolio of artwork. Alan Moore and Michael Moorcock (a close friend of Cawthorn from his youth until Cawthorn’s death) both provide genuinely touching contributions, and the ever-reliable John Coulthart does a lovely job of arranging and presenting everything in a way that makes sense of the ridiculous amount of material, which ranges from the comics Cawthorn drew at school to the lovely t-shirts and birthday cards he produced in mind-boggling numbers for family and friends. 

So like I said, James Cawthorn: The Man and His Art is absolutely fucking mind-blowing, a reminder of the violently surreal and inspiring power that imagery of this kind can possess when emptied of retrogressive cliché and self-satisfied rhetoric and filtered through a distinctive talent. It’s a potent inducement to pick up a pen, or a pencil, or a keyboard, or just anything, and put your imagination into use.

Richard McKenna grew up in the visionary utopia of 1970s South Yorkshire and now ekes out a living among the crumbling ruins of Rome, from whence he dreams of being rescued by the Terran Trade Authority.

 

Michael Grasso / September 16, 2020

Vinyl . Album . Cover . Art: The Complete Hipgnosis Catalogue
By Aubrey Powell
Thames & Hudson, 2017

There’s always a danger of excessively romanticizing the era of the vinyl LP. Issues of sonic fidelity and durability aside, though, there’s one aspect of records on 12-inch wax that seemingly everyone does miss, and that’s the full-size record cover. Album covers during the heyday of psychedelic rock and roll were gateways to other worlds, their art often the province of esteemed painters and illustrators, their cryptic surrealism often filled with esoteric codes and symbols. Probably no other artistic collective was more famous during this decadent era than the London partnership known as Hipgnosis. From its edenic origins palling around with the rising stars of the late-’60s London psychedelic underground through to its mature period making iconic platinum album covers for global sensations like Pink Floyd, Paul McCartney, and Led Zeppelin, the creative forces behind Hipgnosis gained a rightful reputation as artistic visionaries whose work didn’t merely create identifiable brands and images for a musical group. Hipgnosis covers added to the mystique of the music, creating a visual component that rendered itself an indelible part of the listening experience.

“Album covers… defined you,” says Hipgnosis founder Aubrey “Po” Powell in his “Welcome to Hipgnosis” history in 2017’s Vinyl . Album . Cover . Art: The Complete Hipgnosis Catalogue, a 300 plus page full-color hardcover monster that reproduces the collective’s entire album cover output from 1967 to 1984. “The covers gave an inkling of your personality, your musical tastes and preferences, and just how up to date and hip you were.” Powell, Hipgnosis’s photographer, met his creative partner Storm Thorgerson at a hashish-suffused party across the street from his rooming house (that was suddenly raided by the police) attended by much of Pink Floyd. In that afternoon, a bond was formed between Powell and Thorgerson, a graduate student in film at the Royal College of Art. In these swinging, soon-to-turn-psychedelic times, Thorgerson and Powell were at the center of a music and art scene that would break out of the cozy confines of a few odd students and onto the global stage. Named after a piece of graffiti that Floyd’s Syd Barrett scrawled on the door to their apartment in pen, Thorgerson and Powell’s partnership (Throbbing Gristle member Peter “Sleazy” Christopherson would join in the mid-1970s) created some of the most memorable album covers of the era.

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Hipgnosis’s first rock client was Pink Floyd: seen here are three of their Floyd covers: the Dr. Strange-meets-real-life-alchemy of 1968’s A Saucerful of Secrets, the recursive design of 1969’s double album Ummagumma, and the iconic 1973 cover for The Dark Side of the Moon.

Vinyl . Album . Cover . Art . itself is equal parts fond (post-)hippie memoir and hard-nosed realistic account of what it was like to run a business in the often high pressure, big-money business of 1970s rock ‘n’ roll. The book contains a brief—if frank and fascinating—foreword from Peter Gabriel, who worked with Hipgnosis while leading Genesis and for his first three solo album covers. Throughout the hundreds of album covers, Powell provides a wry and informative running commentary on the personalities, problems, and sudden moments of inspiration—provided by both musicians and the cultural and natural environment—that contributed to Hipgnosis’s success. The Surrealist movement of the 1920s and specifically photographer Man Ray get quite a few name-drops in Powell’s assessment of the Hipgnosis catalog, and it’s easy to see why. The nude human form, out-of-place manmade objects juxtaposed with the organic, obvious, and often unnatural-looking photo collage: all of these definitive Surrealist techniques appear with frequency in Hipgnosis’s early output.

Much of the overall aesthetic of psychedelic rock took its inspiration from long-past artistic movements with Romantic, back-to-nature overtones: Art Nouveau and Arts and Crafts, notably. With the surrealist edge of Hipgnosis’s designs, however, a flash of danger and alien weirdness was added to rock’s visual lexicon. Hipgnosis’s efforts at whimsical storybook-style covers for the Hollies and Genesis stick out like sore thumbs: solid efforts, but very much against the subversive grain of most of their work at the time. The covers where Hipgnosis unites Victorian twee with counterculture edge—such as using century-old techniques to hand-tint pastel color on Powell’s contemporary photos—do provide a pleasing synthesis of old and new. 

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Gentle nostalgic folkie Al Stewart’s understated style might not seem like it jibes with the fantastic scenes conjured on Past, Present and Future (1973) and Time Passages (1978). On the other hand, Dark Side of the Moon producer-turned-bandleader Alan Parsons’s 1978 album Pyramid was directly influenced by Parsons being “preoccupied with the Great Pyramid of Giza,” to the point of “obsession” and “out-of-body experience.”

But it’s not just the art movements of the past that provided Hipgnosis with ambient inspiration. The counterculture’s well-attested conscious fusion of old and new, of the esoteric with contemporary pop and outsider culture, including science fiction and comic books, is on display throughout the Hipgnosis corpus. One of their very first commissions, Pink Floyd’s 1968 A Saucerful of Secrets, very obviously embodies this fusion, with its mixture of images from “Marvel comics and alchemical books.” Powell and Thorgerson attest to their being “avid followers of Stan Lee… Steve Ditko and Jack Kirby,” all while recognizing that “in those heady days of 1968—a man was soon to land on the Moon, alchemy was a hot topic, extraterrestrials were a certainty, Tarot readings and throwing the I Ching were de rigueur—the search for enlightenment in the East was a definite must.”

Whichever way the cultural winds were blowing, Thorgerson and Powell always forged a link to the music in their designs. Even in cases where the imagery looks too mystically epic or weird for the music on the disk, such as the covers for Scottish folk musician Al Stewart’s Past, Present, and Future (1973) and Time Passages (1978), the music’s overall themes—remembrance, nostalgia, prophecy, and folk memory—contain a tenuous throughline justifying figures leaping through strange mystic portals or tuning into a radio station that glitches out all of reality. All these strains of the magical and surreal, from Renaissance alchemists to haunted Victorian portraitists to avant-garde plumbers of the post-World War I collective unconscious to Dr. Strange and the Silver Surfer—Hipgnosis synthesized these with the subconscious themes of the music to create visions that defied reality. Powell’s photographic eye and Thorgerson’s dreamlike visions found common cause in composing images that looked like set pieces on strange alien worlds or in magical faerie realms. But even with all the photographic trickery and post-production flourishes available to them as they moved out of student darkrooms and into their own studio, Hipgnosis still found inspiration out there on our Earth’s weirdest real-life spots. From the Giant’s Causeway in Ireland to a cracked, dry Tees estuary in the North of England to deserts in North Africa and the American West, Hipgnosis’s most memorable landscapes are worlds where something has gone awry, where weird monuments, alien beings, and strange hauntings abound.

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Hipgnosis had a knack for using unique real-world backdrops to create eerie scenes for their album covers. Italian rock progressivo group Uno’s self-titled 1974 album depicts a mysterious hieratic harlequin with a glowing geodesic dome for a brain emulating the pose of the famous English chalk figure, the Long Man of Wilmington.

Of course there are the usual stories of rock star excess in the book, with the personnel from Hipgnosis being flown all across the world for photo shoots and consultations with the biggest names in ’70s corporate rock. In many cases, the musicians and managers themselves couldn’t resist being part of the process. Paul McCartney enjoyed hamming it up on the cover of Band on the Run, and a few years later Macca wanted to be the one to personally place the giant letters on a London theater marquee for the cover of Wings At The Speed Of Sound. Noted hard case Peter Grant, the imposing manager of Led Zeppelin, was giddy—he “burbled with glee,” according to Powell—over Hipgnosis’s proposal for a worldwide scavenger hunt of a thousand replicas of the eerie totem from the cover of 1976’s Presence. One could argue that Hipgnosis, Led Zeppelin, and Peter Grant invented the music industry alternate-reality game in 1976 (sadly, the surprise Presence publicity stunt never got off the ground after it was leaked by the music trades).

Powell is honest throughout the book about the various misfires; he finds some of their ideas in ridiculously poor taste upon reassessment and most modern observers would be hard-pressed to disagree. The collective’s pinpoint arch visual humor certainly sometimes misses the mark. If I were to sum it up: the Hipgnosis catalog contains a few dozen stone-cold classics, a bunch of forgettable designs, and a few that look like rejects for Spinal Tap’s album Shark Sandwich. Hipgnosis’s wit was used to best effect when channeling those common cultural currents mentioned above: for example, 10cc’s classic cover for their album Deceptive Bends—the creation of which is broken down in great detail by the late Thorgersen in a contemporary piece from 1977 included in the book—talks about the physical and logistical challenges in place from the beginning but also places the imagery of the diver carrying the helpless damsel in its proper context with “monster” B-movies like Creature From the Black Lagoon (1954) and Robot Monster (1953). Trawling our collective pop culture unconscious, Hipgnosis called forth all kinds of creatures from the deep over their less than two decades on Earth, creatures that walk amongst us long after the collective’s demise.

Michael 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.

 Exhibit / September 15, 2020

Americanism, 1982

Object Name: Americanism 
Maker and Year: Tsunehisa Kimura, 1982
Object Type: Photomontage
Description: (K.E. Roberts)

Unlike his younger compatriots Shusei Nagaoka, Hajime Sorayama, Eizin Suzuki, and Hiroshi Nagai, who broke into the American illustration market with glistening airbrushed futures and breezy, pastel-colored beach scenes, Tsunehisa Kimura’s output was absurd, darkly surreal, and often apocalyptic. He remembered the devastation wrought by the war, and aimed his photomontage squarely at imperialism, colonialism, and, during the 1980s, a locked-and-loaded America whose leaders were playing an increasingly dangerous game that might have enveloped the entire globe.

Kimura’s most recognized piece is probably Waterfall, circa 1979, which shows Manhattan beset by, or rather integrated with,  Niagara Falls. The scene evokes disaster, but there’s something serene about it too—the riotous natural world and the built environment appear to commune, as is the goal in traditional Japanese architecture; not so in America, where we build things to keep nature—including other people—out. New York is frequently Kimura’s muse: New York encased in crackling ice; New York encased in fire at the end of the world (or is it the violent beginning of the world?); an ocean liner (is it the Titanic?) stands in for the Hindenburg, running aground on the Empire State Building.

There’s nothing serene about Kimura’s cover to the 1984 Midnight Oil LP Red Sails in the Sunset, either, showing a bombed-out, scorched-earth Sydney. A simmering red sun settles in the dust, similar to the black sun that precedes the atomic explosion in Katsuhiro Otomo’s Akira (1982-1990). And his cover for Space Circus’s Fantastic Arrival (1979), where American astronauts caper about on the Moon—while on fire—is similarly uncomfortable. Waterfall, in various edits, has also appeared on several LP covers.

Americanism is a pointed critique of both WWII-era (the photos are from the ’40s) and ’80s America, consumed with consuming and not much else, though the world (including Hiroshima and Nagasaki) may burn. The ironic nonchalance of the juxtaposition is, once again, striking. The Statue of Liberty is drowned (a long-standing visual motif in sci-fi) in a 1977 photo, and an untitled piece from 1984 shows the noble lady once again, this time hurtling over (or towards) the New York skyline under the power of six American ICBMs—which huddle beneath her skirts!

Kimura’s work was collected in 1979’s appropriately title Visual Scandals by Photomontage, as far as I know the only such collection published in the US.

Now in its thirteenth year, Free RPG Day in 2020, after a little delay due to the global COVID-19 pandemic, took place on Saturday, 25th July. As per usual, it came with an array of new and interesting little releases, which traditionally would have been tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Again, global events meant that Gen Con itself was not only delayed, but run as a virtual event, and likewise, global events meant that Reviews from R’lyeh could not gain access to the titles released on the day as no friendly local gaming shop was participating nearby. Fortunately, Reviews from R’lyeh has been able to gain copies of many of the titles released on the day, and so can review them as is the usual practice. To that end, Reviews from R’lyeh wants to thank both Keith Mageau and David Salisbury of Fan Boy 3 in sourcing and providing copies of the Free RPG Day 2020 titles.

One of the perennial contributors is Paizo, Inc., a publisher whose titles for both the Pathfinder Roleplaying Game and the Starfinder Roleplaying Game have proved popular and often in demand long after Free RPG Day. For 2020, the title released for the Pathfinder Roleplaying Game is Little Trouble in Big Absalom, and the title released for the Starfinder Roleplaying Game is Starfinder: Skitter Home. As in past years, this is an adventure involving four of the cheerfully manic, gleefully helpful, vibrantly coloured, six-armed and furry creatures known as Skittermanders—Dakoyo, Gazigaz, Nako, and Quonx. They were introduced in the Free RPG Day adventure for 2018, Starfinder: Skitter Shot, in which as the crew of the starship Clutch performed salvage tasks in the Vast beyond the Pact Worlds and then came across a derelict luxury liner, before being boarded by pirates and forced to crash land on a nearby world and survive as detailed in the Free RPG Day adventure for 2019, Starfinder: Skitter Crash. The foursome return in Starfinder: Skitter Home—not to have adventures, but to have fun!

Starfinder: Skitter Home shares elements with Little Trouble in Big Absalom. Both are written for player characters of Fourth Level and both consist of two adventures which can be run together or separately—and in any order. In Starfinder: Skitter Home, the four Skittermanders have come to their home world of Vesk-3 for a vacation—first for a party and a celebration, and then for a leisurely safari. The party, detailed in the scenario ‘Festival of the Exclipse’, is at Reetamander, a festival celebrating a lunar eclipse on the skittermanders’ home world. There are games to play, market stalls to peruse, songs to sing, and once the eclipse is over, food and drink aplenty. Events—or rather the intervention of a horrid villain—means that things go awry, but the heroes do get to have some fun first. Unfortunately, the villain turns the Reetamander against its celebrants and the heroes must come to their rescue and stop him from enacting his inconceivable plan! Overall, ‘Festival of the Eclipse’ is a fun adventure, intentionally raucous—even a little riotous, and a very positive adventure since it plays into the helpful nature of the Skittermanders and there are some nice rewards for the Player Characters being helpful.

The second part, or scenario, in Starfinder: Skitter Home is much darker and a shift in tone. In ‘Hunters Hunted’ the heroes have been given the gift of an underground hunting expedition into the caves beneath Vesta-3 where stridermanders—massive, terrifying cousins of the skittermander species—are said to be found. Unfortunately, when the Skittermanders arrive at the hunt agency, it seems all trips into the caves are off, because contact has been lost with the last trip which went into the caves. Of course, the Skittermanders, being as naturally helpful as they are, they offer to join the search for the lost hunting party and pointed to an ancient side tunnel which nobody has been able to check yet due to the agency being short-staffed. ‘Hunters Hunted’ is a mini-dungeon, consisting of just eight locations, and focusing on stealth and exploration. It is all perfectly playable and enjoyable, but not quite as much fun—and nowhere near as raucous as ‘Festival of the Eclipse’. There is a sense of urgency to it though, as the surviving members of the lost party are hurt and very much in need a rescue.

Rounding out Starfinder: Skitter Home are the Skittermander pre-generated characters. There are four of these provided for use with Starfinder: Skitter Shot. They include a Priest Mystic, a Xenoseeker Mystic, a Spacefarer Soldier, and a Scholar Mechanic, all Third Level (up one Level from Starfinder: Skitter Crash). Each is detailed on a full page, complete with background and a really nice illustration, as well as the stats. Players will need to refer to the Starfinder Alien Archive for full details of the Skittermanders, but really, they should be played as they appear—bumptious, gleeful, up for a challenge, and manically helpful!

Physically, as with Starfinder: Skitter Shot and Starfinder: Skitter Crash, Starfinder: Skitter Home is very nicely laid out and presented. The artwork is excellent, the writing clear, and the maps—placed inside the front and back covers—easy to use. All exactly as you would expect for a scenario from Paizo, Inc.

If a group has played Starfinder: Skitter Shot and Starfinder: Skitter Crash before it, then doubtless they will be pleased to return to playing the humorous, if not silly, Skittermanders. Players new to Starfinder and Skitterfinders may find the rules of the Starfinder Roleplaying Game slightly more complex than they expect and they certainly will not have the same sense of attachment to the Skitterfinder quartet as someone who has played either—or both—Starfinder: Skitter Shot and Starfinder: Skitter Crash will have. Either way, the likelihood is that they will enjoy ‘Festival of the Eclipse’ more than they will ‘Hunters Hunted’, as it gives more scope for fun and action, and gives more for them to do, whereas ‘Hunters Hunted’ is just a bit too straightforward an adventure to be really exciting. Overall, Starfinder: Skitter Home is very nicely presented, but really one for fans of the Starfinder Roleplaying Game rather than a good introduction to it.

Now in its thirteenth year, Free RPG Day in 2020, after a little delay due to the global COVID-19 pandemic, took place on Saturday, 25th July. As per usual, it came with an array of new and interesting little releases, which traditionally would have been tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Again, global events meant that Gen Con itself was not only delayed, but run as a virtual event, and likewise, global events meant that Reviews from R’lyeh could not gain access to the titles released on the day as no friendly local gaming shop was participating nearby. Fortunately, Reviews from R’lyeh has been able to gain copies of many of the titles released on the day, and so can review them as is the usual practice. To that end, Reviews from R’lyeh wants to thank both Keith Mageau and David Salisbury of Fan Boy 3 in sourcing and providing copies of the Free RPG Day 2020 titles.

The Junior Braves Survival Guide to the Apocalypse Quick-Start is the second title for Free RPG Day 2020 to be ‘Powered by Kids on Bikes’, the other being Kids on Brooms. Published by Renegade Games Studios and based on the Junior Braves Survival Guide to the Apocalypse graphic novel series, the players take on the roles of Junior Braves, essentially the equivalent of young scouts who are have gone away on camp for week to learn outdoor skills, good citizenship, and teamwork. Unfortunately, since they went away, something has happened, something which has caused apocalypse and brought society to its knees. Of course, being away from their family, friends, and society at large, the Junior Braves have no idea exactly what happened, so part of playing through the Junior Braves Survival Guide to the Apocalypse Quick-Start is about establishing what happened as much as it is establishing contact with their friends and families.

The Junior Braves Survival Guide to the Apocalypse Quick-Start comes nicely complete. It includes a good explanation of the rules, six pregenerated Player Characters, and a sandbox ready for a group to play. In this way, it is complete and presents a ready-to-play package in a way which Kids on Brooms failed to be.
Instead of character generation, the Junior Braves Survival Guide to the Apocalypse Quick-Start includes six Tropes—or basic character types. These are Honcho, Rustic, Ruffian, Tinkerer, Dreamer, and Tribe Master—the latter the leader of the troupe whom the Game Master roleplays as well as the NPCs. Each of these has its own special ability. For example, when the Dreamer earns a Brave Token—the equivalent of luck points or tokens—his player must give one to another Junior Brave, and the Ruffian gains a +3 bonus to solve problems involving force or chutzpah when his player spends a Brave Token. As per Kids on Bikes, each Junior Brave is defined by six stats—Brains, Brawn, Charm, Fight, Flight, and Grit—to which are attached to a die type, from a twenty-sided die for the character’s best stat down to a four-sided die for his worst stat. The ten-sided die represents an above average stat, whereas an eight-sided die represents a below average stat. So, a Honcho has a Charm d20, Fight d12, Grit d10, Brawn d8, Brains d6, and Flight d4, and a Rustic has Brawn d20, Charm d12, Flight d10, Brains d8, Fight d6, and Grit d4.

Tropes in the Junior Braves Survival Guide to the Apocalypse and thus the quick-start do not have skills, but in keeping with the theme of the game, they have Skill Patches, each sewn onto their Skill Sashes. Example Skill Patches include Orienteering, Woodworking, Knots & Ropes, Radios & Codes, and Sign Language. Each of these grants a +3 bonus to skill rolls—or possibly +1 bonus if only tangentially relevant. A Junior Brave will also have a Flaw, which can complicate his actions and increase the Target his player needs beat on a die roll. If a Junior Brave fails a roll due to his Flaw, he earns two Brave Tokens rather than the one usually awarded for failure. Lastly, a Junior Brave has some equipment and gear, stored in his ‘Pack and Pockets’. These consist of a pocketknife, sleeping bag, and a canteen, plus three items he would have had with him on the camp. Some of these are limited use items and will likely run out during the adventure included in Junior Braves Survival Guide to the Apocalypse Quick-Start.

Mechanically, the Junior Braves Survival Guide to the Apocalypse Quick-Start uses the same mechanics as Kids on Bikes, Teens in Space, and Kids on Brooms, with each of a Junior Brave’s stats being represented by a single die type. For a Junior Brave to do something, his player rolls the appropriate die for his Trope’s stat and attempts to roll over a difficulty number set by the Game Master, for example, between ten and twelve for an impressive task that a skilled person should be able to do. A player can add a +3 bonus if his Junior Scout has an appropriate Skill Patch and a +1 bonus for any Brave Tokens he wants to spend—or his fellow players want to spend if their Junior Braves are collaborating. However, complications increase the difficulty of the target number by three for each one. If the die roll beats the difficulty number, the Junior Scout succeeds, but if the roll is equal to the difficulty number, then he succeeds at cost, as in ‘Yes, but…’. It should be noted that the mechanics in Junior Braves Survival Guide to the Apocalypse Quick-Start that player-facing in that only the player roll dice—the Game Master never does.

A potential cost of failure is Stress and Trauma. Stress typically consists of bruises, cuts, scrapes, panic attacks, depression, and other forms of distress. Stress can add a complication to an action, but overnight rest or reassurance can get rid of Stress. However, should a Junior Brave suffer more than four Stress, he suffers from a Trauma. This represents serious injury or distress and until the Junior Brave recovers—which takes either medical treatment or weeks of rest—he cannot use one of his Stats.

Just as the Junior Braves Survival Guide to the Apocalypse categorises damage into Stress and Trauma, it divides its adversaries and dangers into Troubles and Threats. Troubles are the overall danger, the ultimate cause of the danger that the Junior Braves must face and , such as a zombie uprising, alien invasion, and the like, whilst Threats are individual parts of the Troubles the Junior Braves will encounter upon returning from camp. Notably, Threats are scaled down in Junior Braves Survival Guide to the Apocalypse, so if a town is taken over by a biker gang, Junior Braves will deal with a few of the Bikers rather than whole gang. The point is that as much as Junior Braves Survival Guide to the Apocalypse is a post-apocalypse roleplaying game, it is lighter in tone and scaled to the capabilities of the Junior Braves, who are , after all, still children.

Rounding out Junior Braves Survival Guide to the Apocalypse Quick-Start is a complete set of starting characters, as well as ‘Perils at the Pit-Stop’, a complete campaign starter. The Junior Braves return home from camp and taking a break from the journey in the town of Penelope, discover the clerk at the gas station was dead and zombie-like. What has happened and is it like the zombie television show the Junior Braves are definitely not allowed to watch? ‘Perils at the Pit-Stop’ includes a full description of the town, its current factions, and hints at some of the mysteries going in within its boundaries. It is essentially a mini-sandbox, a place for the Junior Braves to explore and make discoveries, and so there is no single defined plot or outcome, though there are several Troubles which they will encounter.

Physically, the Junior Braves Survival Guide to the Apocalypse Quick-Start is a simple black and white booklet. It is well written, the artwork is good, and the map nicely done.

Like other ‘Powered by Kids on Bikes’ roleplaying games, the Junior Braves Survival Guide to the Apocalypse Quick-Start is easy to pick and up and play, the rules are simple—made all the easier by being player-facing, and the set-up easy to grasp. Unlike Kids on Brooms, the Junior Braves Survival Guide to the Apocalypse Quick-Start comes with everything necessary to play. So with just the five characters and the given scenario, ‘Perils at the Pit-Stop’, the Junior Braves Survival Guide to the Apocalypse Quick-Start should provide both a couple of sessions’ worth of play and a good introduction to the full roleplaying game and the setting.