It's the first of the new month and time to introduce a new character!  Although this one is not really a new character. 

Back in January, I posted stats for Sarana, my version of Stevie from the adventure Tanglewood Keep in DL15 Mists of Krynn. I had a lot of fun with it to be honest. I am planning to use Tanglewood Keep with Sarana/Stevie in my War of the Witch Queens campaign.  I think it would be a lot of fun and it would fit great theme-wise and provide the multiverse hoping I really want to do with the campaign. 

The adventure is not a difficult one, nor particularly original, but it is fun.  

Though...there is one little issue.  The crux of the adventure is to regain a crystal to make a magical travel mirror work again.  The characters have to get the crystal and return to Sarana/Stevie's home so they can return to their own world.   The questions arise. Why can't Sarana/Stevie get it herself? Failing that why can't her Kender friend Twill Topknot get it for her?

The answer is timing.

The PCs have entered Krynn at two important points in time.  First, the PCs have entered Krynn during the events of the Dragons of Autumn Twilight novel and the DL1 Dragons of Despair module.  This means that, among other things, there are no gods.  No gods also mean no healing magic.

The second point deals with the accident of Twill Topknot and this brings me to my character for this month. 

In Tanglewood Keep, Twill is a 3rd level kender thief.   He is essentially a Tasselhof stand-in.  But I wanted to try something new.  In particular, I really wanted to try out Sara Thompson's combat wheelchair for my Old-School games.  This past summer when this was causing a stir I joked "I was going to make one and put a Kender in it!"  Well.  The idea was actually too good to pass up.

Putting Twill in a wheelchair makes a lot of sense since I need him to NOT to be able to help the characters; the Keep is not easily accessible.  

I am currently rereading the Dragonlance saga and the comment has been made that there are no old Kender.  They usually die before that due to accidents.  This is Twill's tale. He was adventuring when he slipped and fell off a cliff.  He was discovered by Sarana who used her witchcraft to heal him the best she could. While she could heal his wounds and kept him from dying, she could not heal everything.  With no healing magic from the gods, she did an admirable job. 

Thankfully for Twill, Tinker the gnome was able to craft him a "mobility chair" which Twill thinks is the best thing ever.  He has a pocket for his maps, cool little baubles, and a place for his hoopak staff.

Since my War of the Witch Queens is a B/X flavored game, I thought that my current favorite Basic-era game Old School Essentials would be great for these stats today.

Twill Topknot
Male Kender Bard, 3rd level, Neutral Good

Strength: 10
Intelligence: 13
Wisdom: 9 
Dexterity: 18 (agility) / 9 (movement)
Constitution: 13
Charisma: 15

HP: 12
AC: 4

Saves
D: 13  W: 14  P: 13  B: 16  S: 15 

Initiative: +3
Movement: 20

To Hit AC 0: 20

Weapons: Dagger 1d4 

Hoopak staff 1d4

I decided that Twill is better suited in my game as a Bard (I was not doing Bards in a vacuum last month).  One of the things I found endearing about Tasslehoff Burrfoot was his rich store of stories he knew and wanted to tell. I enjoyed it more on my recent re-read (and was profoundly irritated with Flint every time he told Tass to be quiet).   So a Kender storyteller bard sounds great to me.  I'll make an Arcane Bard since there is no divine magic in Krynn at this point.  Plus the Arcane Bard for OSE still has some thief skills to use.  

In my mind, Twill lives (platonically, for now) with Sarana.  She thinks it is to protect him (he doesn't need it) and he thinks it is to protect her, being from another world (she doesn't need protecting either).  So Twill stays with her in her little house in a haunted forest. He tells her stories that she delights in and she makes him tea. He shows her all his wonderful maps of Krynn and talks about dragons (still only a story now) and she tells him about wonderful worlds she has seen.

No wonder she has no real desire to leave Krynn.  But don't assume anything untoward! This is Krynn and there is a certain morality in place (that I seemed to have completely missed at 14 when I read it the first time).

Sarana and Twill

Twill's Mobility Chair

Being a good-natured sort, Twill is quite proud of his remarkable "mobility chair."  He will gladly show off the pockets it has for his maps, dagger, and that really interesting thing the PC's just dropped and he was keeping safe.   There is even a place on the back for his hoopak.  He credits Tinker (a tinker gnome, naturally) for building it and Sarana for enchanting it to cover any ground or terrain. 

In fact, he will often state that life with his new chair is even better now, though he will admit he misses wiggling his toes. 

Thanks to Sarana's magic the chair can travel over any terrain that Twill himself could do save for anything involving swimming or climbing, with that he can levitate.  The wheels have permanent Floating Disk spells on them to provide levitation.  Since the chair is new he is still learning how to navigate stairs. 

Using the Combat Wheelchair 2.1 for 5e Twill's is a modified basic wheelchair. 

You can get (and modify) your own Twill Topknot mini from HeroForge.

ETA: Since I posted this I noticed that Hero Forge has added three wheelchair options.  

Here is a new version of Twill with his cat.

At the heart of Delta Green: The Roleplaying Game is the conspiracy with the US government which knows about the ‘Unnatural’ and the existential threat it represents to humanity, let alone the USA, and secretly appropriates funds and agents from a wide variety of Federal agencies to investigate ‘Unnatural’ incidents and prevent them from becoming both a greater threat and their triggering revelations as to their nature to the wider public. As detailed in the Delta Green Agent’s Handbook and Delta Green: Need to Know, most Player Characters in Delta Green: The Roleplaying Game will be Agents from the Law Enforcement, Intelligence, and Military communities. These include the Centers for Disease Control and Prevention, the Central Intelligence Agency, the Environmental Protection Agency, the Federal Bureau of Investigation, U.S. Marine Corps, and more. Each examination of the various agencies and organisation details its budget, whether its operatives can carry weapons and have powers of arrest, how it is organised, what its remit is, areas of friction with other agencies, and in addition to advice on roleplaying a member of said agency, offers suggestions as particular Professions and their associated skills. In terms of roleplaying, each agency or organisation is not just a set of skills for the Player Character, but part of his background, what he does on a daily basis, his areas of knowledge and specialities, and so on, all of which go towards suggesting how he might first encounter the ‘Unnatural’ or be recruited by Delta Green itself. However, they are not the only agencies or organisations belonging to the Federal government, and whether inside the government or outside, the conspiracy that is Delta Green has a long reach into the many agencies and organisations connected to the Federal government. Which is where The Complex comes in.

Delta Green: The Complex is a supplement for Delta Green: The Role-Playing Game published by Arc Dream Publishing. It presents over twenty dossiers covering numerous Federal agencies—many of them not new to the setting of Delta Green, but new to Delta Green: The Role-Playing Game. In turn, it presents each organisation in the standard fashion. Thus each entry covers the organisation’s budget, whether its operatives can carry weapons and possess powers of arrest, how it is organised, what its remit is, areas of friction with other agencies, and in addition to advice on roleplaying a member of said agency, offers suggestions as particular Professions and their associated skills. In terms of federal agencies, it breaks them into six categories—Law Enforcement, Defence, Intelligence, Interior, Public Safety, and Research. Thus, the ATF, Customs and Border Protection, and the U.S. Secret Service fall under the Law Enforcement category, and the Intelligence category includes the National Counterterrorism Center, the Office of Naval Intelligence, the NSA, the Defense Intelligence Agency, the National Geospatial Intelligence Agency, and the National Reconnaissance Office. The Research category includes NASA, DARPA, and National Nuclear Security Administration. Each of the Defence, the Interior, Public Safety, and Treasury categories has the one entry each, the U.S. Coast Guard, the National Park Service, Federal Emergency Management Agency, and the IRS respectively. Of these, The Complex notes that many Delta Green agents are drawn from the Natural Park Service, since the great natural parks that it oversees are likely to be where agents of the ‘Unnatural’ perform their dread ceremonies, strange creatures are to be encountered far from civilisation, and so on.

In addition, The Complex adds an eighth category. This is the Private Sector. It includes the Constellis Group, Lockheed Martin, Consolidated Analysis Center Incorporated, Booz Allen Hamilton, and the RAND Corporation. This is where the supplement gets interesting, enabling a broader range of ‘Friendlies’ as Delta Green terms its civilian ‘agents’ rather than those from the federal or military sectors. However, rather than being an academic or a private investigator a la traditional Lovecraftian investigative roleplaying, the entries in these categories allow Agents with military, intelligence, law enforcement, and technical backgrounds who can be connected to the federal government, but not employed by, or part of, the federal government. The Constellis Group, for example, formerly known as Blackwater and thus connected to number of scandals, provides security personnel and training; Lockheed Martin, is a military engineering contractor, which pushes at the boundaries of science and technology, so a Player Character could even be a test pilot for the company’s infamous ‘skunk works’; and both Consolidated Analysis Center Incorporated and Booz Allen Hamilton provide specialised contractors in intelligence, analytics, cybersecurity, and more for various federal agencies, potentially providing its employees with a wider experience of having worked for numerous agencies rather than the single one. Lastly, the RAND Corporation is a non-profit thinktank whose studies and research influences government policies.

All suggest potential new ways to approach investigating the ‘Unnatural’. For example, a Constellis Group security team could be contracted to guard or investigate something in the field when a government organisation wants to keep its hands clean, a Lockheed Martin teams of engineers could be brought into examine a strange piece of technology, and so on. However, as interesting and as useful as the information is on these non-governmental organisations is, especially in how to play an Agent from these organisations, the Handler is left somewhat on her own when bringing said organisations into play. Perhaps some advice on having them in a campaign could have been included in The Complex.

Details of the various agencies and organisations do make not make up all of the content in The Complex. Sidebars cover how Background Checks are run, the ATF traces firearms and handles trace requests from other agencies, the U.S. Coast Guard’s use of the terms ‘cutter’ and boat’, what a SCIF or ‘Sensitive Compartmentalised Facility’ is and how it works when accessing classified material, which countries are part of ‘Five Eyes’ Coordination (FVEY), what ‘Type 1 Hotshots’ are—teams of twenty wildland firefighters drawn from various agencies and services, and ‘Firing and Prosecution in the Private Sector’. This is all useful extra information which may come into play should the various organisations figure in a Handler’s campaign.

Physically, The Complex is as cleanly laid out and as decently illustrated as you would expect for the supplement for Delta Green: The Role-Playing Game. It does not have an index, but the supplement is short enough that it covers both the various agencies and the extra information found in the sidebars.

Arguably there are a sufficient number of agencies and organisations and their associated professions to be found in Delta Green Agent’s Handbook such that The Complex is not a supplement that the Handler needs to buy. However, the expanded information upon the various federal agencies is useful, enabling the Handler to create NPCs as well as player Agents from these agencies, and perhaps have the Agents clash or have to deal with these agencies as part of their investigations into the ‘Unnatural’. The inclusion of corporations and thinktanks from the Private Sector is undeniably interesting and it offers different approaches to investigating the ‘Unnatural’ that the simply using the federal agencies might not. Overall, The Complex is a useful and interesting supplement which provides new options for player Agents and potentially new avenues to investigating the ‘Unnatural’.

Since the publication of Call of Cthulhu in 1981, the Mythos has proliferated into numerous other genres and roleplaying games, including the fantasy of Dungeons & Dragons. For example, Wizards of the Coast published Call of Cthulhu d20 in 2001, whilst Realms of Crawling Chaos from Goblinoid Games explored the Mythos for the Old School Renaissance. More recently, Petersen Games presented the entities, races, gods, and spells of the Mythos for Dungeons & Dragons, Fifth Edition, enabling the Dungeon Master to bring those elements of cosmic horror in her fantasy campaign. What though, about using Dungeons & Dragons, Fifth Edition to run campaigns involving cosmic horror in the more modern periods normally associated with Lovecraftian investigative roleplaying—much like Wizards of the Coast did with Call of Cthulhu d20? For that, there is Whispers in the Dark from Saturday Morning Scenarios, also the publisher of Harper’s Tale: A Forest Adventure Path for 5e, a campaign for Dungeons & Dragons, Fifth Edition, suitable for a younger or family audience. Whispers in the Dark is definitely not, being a horror setting in which stalwart Investigators confront the forces of the Mythos or ‘Yog-Sothothery’, and do not always succeed or come away unscathed—physically or mentally. The starting point is Whispers in the Dark: Quickstart Rules for 5e.

Whispers in the Dark: Quickstart Rules for 5e requires the Player’s Handbook to run and play. Other than that, it provides the Game Master with everything she needs to get started. This includes rules for Player Character generation, equipment, adjusted rules for damage, healing, resting, and lingering injuries, madness and sanity, a set of pre-generated Investigators, and a lengthy scenario set in 1875 in New Orleans. The setting is thus our world, but of course, one beset by cosmic threats from beyond and those that would foolishly entreat with them. Using the Dungeons & Dragons, Fifth Edition mechanics means that Investigators in Whispers in the Dark will look like their fantasy counterparts. However, there are differences. First, an Investigator does not have a Race in the traditional sense, since all Investigators are Human, or appear so. Instead they have an Ancestry, of which three are provided in Whispers in the Dark: Quickstart Rules for 5e—Human, Human (Lengian), and Human (Deep Blooded), the latter two of which tie a Player Character into the Mythos itself. For example, an Investigator with the Human (Deep Blooded) Ancestry, has Darkvision, Deep Ancestry—which enables the Investigator to hold his breath for hours, Deep Connections—which potentially grants the Investigator Deep One contacts in any coastal town or city, and speaks Aklo, but is Monstrous, suffering a penalty to Persuasion checks. Instead of a Class, an Investigator has a Background, a profession or calling, such as Antiquarian or Hobo, which provide Skill, Tool, Weapon, and Saving Throw Proficiencies, and more. Feats such as Ardent Scholar, Gifted Healer, and Whimpering Minion add further colour and flavour to Investigators. Where in Dungeons & Dragons, Fifth Edition a Player Character will gain new features as he acquires Levels, an Investigator can acquire new skills, languages, tools, weapons, feats, and so on. The maximum Level in Whispers in the Dark: Quickstart Rules for 5e is tenth Level.

Henry Brinded
First Level Antiquarian
Medium Humanoid (Lengian)
Armor Class 11
Hit Points 5
Speed 30 ft.

Strength 08 (-1) Dexterity 13 (+1) Constitution 12 (+1)
Intelligence 16 (+3) Wisdom 10 (-0) Charisma 17 (+3)

Sanity: 18 (+)

Saving Throws: Charisma, Intelligence, (Advantage versus spells and other magical effects)
Skills: Arcana +5, History +5, Investigation +5, Persuasion +5, Sleight of Hand +3
Proficiencies: Arcana, History, Investigation, Persuasion, Sleight of Hand, Simple Weapons, Intelligence, Charisma
Languages: Egyptian Hieroglyphs, English, French, Greek, Latin, Leng
Savings: $1000
Income: $600/month
Equipment: A set of fine clothes, a notebook, several pencils, and collection of curiosities

Whispers in the Dark offers a number of options for making skill checks, including training being required in an Intelligence-based skill to avoid rolling at a Disadvantage, and always making the roll of one on a twenty-sided die, always a failure. These though are optional rules, whereas, there are plenty in Whispers in the Dark which are not. These include making healing more realistic, so Short Rests at eight hours and Long Rests at seven consecutive days, during which an Investigator will be doing little except sleep and rest, will make most players reconsider rushing into action as they might once of have done in their Dungeons & Dragons, Fifth Edition games. An Investigator reduced to zero Hit Points or less, must make Death Saves as per Dungeons & Dragons, Fifth Edition, the Difficulty Class is twelve rather than ten, but the Investigator can be stabilised with a successful Medicine skill check—unlike in Dungeons & Dragons, Fifth Edition where the Medicine skill is of little use given that a Cleric can cast healing magic, it assumes a much greater prominence in Whispers in the Dark. In addition, if the Investigator does survive, his player will have to roll on the ‘Lingering Injuries Table’, which may mean, for example, that he has a ‘Lost Eye’ and so is at a permanent disadvantage on Wisdom (Perception) checks that rely on sight and on ranged weapon attacks.

The three omissions in Whispers in the Dark: Quickstart Rules for 5e are that it does not do magic, though it hints at its nature in a word beset by Yog-Sothothery, and it does not include any Mythos creatures or entities and it does not list any Mythos tomes. This though is fine, it after all, being a quick-start rather than the full rules. It does include rules for Sanity and Madness, just as you would expect for a roleplaying game of Lovecraftian investigative horror. Every Investigator has a Sanity Score, equal to his Charisma plus Wisdom modifier. The resulting score provides a modifier just an Investigator’s primary abilities. This modifier is applied to all Sanity checks, which will be against a Difficulty Class set by the Game Master, triggered by discovering ‘Forbidden Knowledge’ in a Mythos tome, encountering ‘Unspeakable Horrors’, ‘Mind-Numbing Terror’, ‘Primal Fear’, and ‘Brushes With Death’, the latter being when an Investigator is reduced to zero Hit Points. Unlike other ability scores, an Investigator’s Sanity Score can fluctuate up and down—mostly down. There are two consequences to this. The first is that of course, an Investigator’s Sanity modifier can also fluctuate up and down—mostly down. The second is that a player will also need to track his Investigator’s Sanity Score as it fluctuates up and down.

When an Investigator does fail a Sanity check, the amount lost is always determined by a roll of a four-sided idea—and doubled if the Sanity check is a fumble. As is traditional in Lovecraftian investigative roleplaying, Sanity loss is a downward spiral, once an Investigator having lost Sanity, the harder it is to succeed at a Sanity check, so the greater the likelihood of losing Sanity, and so on and so on. Whilst Sanity loss spirals downward, the effect of the loss spirals upward. In addition to the point loss, the Investigator suffers a bout of Madness, for example the Investigator loses sight while his mind processes the weirdness before him (and is effectively blind for a Turn) or his stomach churns and rumbles as her body reacts to the unnatural scene before him (and is effectively Poisoned for a few Rounds). The first bout of Madness is termed a ‘transient episode’, which lasts until the end of the encounter that triggered the Madness, but if an Investigator loses Sanity whilst in this ‘transient episode’, the ‘transient episode’ escalates into ‘short-term episode’ and last until the Investigator has had a Short Rest. If the Investigator loses further Sanity whilst in this ‘short-term episode’ or loses half of his Sanity, the bout becomes a ‘long-term episode’, which requires weeks of downtime to recover. It is also possible to recover Sanity loss between adventures. Lastly, indefinite Madness occurs when an Investigator’s Sanity is reduced to a quarter of her maximum Sanity and that cannot be cured, short of a wish spell or divine intervention. Here then is another marked difference between Whispers in the Dark and the archetypal roleplaying games of Lovecraftian investigative horror—the possibility of recovery from indefinite madness and the existence of the Wish spell! Divine intervention is always possible—typically at the hands of Nyarlathotep—but at a cost.

Whispers in the Dark: Quickstart Rules for 5e comes with a beginning scenario, ‘The Crow Road’. Intended for Investigators of First and Second Level, this is set in and around the French Quarter in New Orleans in 1875 during the period of Reconstruction following the American Civil War. As the city suffers a rash of gruesome murders—murders which echo the Jack the Ripper kills in London a decade or so later—the Investigators are engaged to look into the deaths. Either because they come across one of the bodies after a night out in the French Quarter or because the local police consults them for their expertise with the outré. Built around combination of a number of timed encounters over the course of a few days and particular locations, this is not obviously an investigation into the Mythos a la Lovecraft, but long-time devotees of the Mythos and Call of Cthulhu will recognise the scenario’s links to the Mythos. ‘The Crow Road’ is an engaging scenario, nicely organised, especially the way in which the clues are arranged, and will take two or three sessions to complete. It will need a bit of careful preparation upon the part of the Game Master given its structure. The scenario is supported by a short guide to New Orleans and six pre-generated Investigators, all Second Level and all pleasingly detailed and encompassing a solid range of skills and backgrounds. Of course, players are free to create their own Investigators using the rules presented in Whispers in the Dark: Quickstart Rules for 5e to play ‘The Crow Man’.

Throughout Whispers in the Dark: Quickstart Rules for 5e there are notes for the Game Master. These do note the issues with H.P. Lovecraft, but in the main they highlight the differences between Whispers in the Dark: Quickstart Rules for 5e and Dungeons & Dragons, Fifth Edition. These being that there no dungeons or fantastical creatures, and violence has consequences in that it might land the Investigators in gaol. Instead, play relies on finding and interpreting clues, rather than on going toe-to-toe with the threats behind the mysteries inherent to the setting.

Physically, Whispers in the Dark: Quickstart Rules for 5e is presented in full colour and engaging fashion. Many of the new rules presented in Whispers in the Dark: Quickstart Rules for 5e are highlighted in red to make it easy for the Game Master to spot them. The artwork varies in quality though, and if ‘The Crow Road’ scenario is missing anything, it is a map of New Orleans.

Mechanically, the tone in Whispers in the Dark: Quickstart Rules for 5e is very different to that of Dungeons & Dragons, Fifth Edition. Fundamentally, Investigators are frail—mentally and physically—in comparison to the heroes of Dungeons & Dragons, Fifth Edition. Play is radically shifted to investigation and interaction, the emphasis on combat greatly reduced. There is a sense of the Whispers in the Dark setting being more fantastical than traditional Lovecraftian investigative horror in the mention of the Wish spell, but that will have to wait until the full roleplaying game.

Whispers in the Dark: Quickstart Rules for 5e is a crossover title, designed to attract players of Dungeons & Dragons, Fifth Edition into Lovecraftian investigative horror with its familiarity of mechanics. It is not though, a crossover title in the other direction. Players of Call of Cthulhu or Trail of Cthulhu are far less likely to use Whispers in the Dark: Quickstart Rules for 5e as a stepping-stone into playing Dungeons & Dragons, Fifth Edition. They might want to play ‘The Crowman’ because it is an investigative horror scenario and it is set during a period rarely visited in other Lovecraftian investigative horror roleplaying games. Another option would be to adapt ‘The Crowman’ to those Lovecraftian investigative horror roleplaying games, but the period setting of Whispers in the Dark: Quickstart Rules for 5e suggests another possibility. It feels reminiscent of Masque of the Red Death and Other Tales, the Gothic Earth setting published by TSR, Inc. for Advanced Dungeons & Dragons, Second Edition in 1994. Perhaps it could be used in conjunction with that setting, especially with the forthcoming Van Richten’s Guide to Ravenloft for Dungeons & Dragons, Fifth Edition.

As an introduction to Lovecraftian investigative horror, Whispers in the Dark: Quickstart Rules for 5e more than ably makes the shift over from Dungeons & Dragons, Fifth Edition, making it easy for players of the world’s most popular roleplaying game to make that shift too. Players of other roleplaying games of Lovecraftian investigative horror may find the shift towards Dungeons & Dragons, Fifth Edition a little more difficult to adjust to, but either way, the players of both games will find ‘The Crowman’ an entertaining and horrifying scenario, one which definitely deserves a sequel.

Working on something here that might become a regular feature.  I love movies. One of my first semi-professional gigs was writing movie reviews.  So really this is just me getting back to my roots.  My reviews, such as they are, will be like my October Horror Movie reviews, though I am likely to provide a little more detail since I doubt that any of these movies need to be protected by spoilers.  Also, I want to talk about any potential game material from the movies.

So let's start this with a movie from deep in the recesses of my mind and see if it lives up.  A special nod to Tim Knight over at Hero Press for reminding me of this cinematic gem. 

The Archer: Fugitive from the Empire (1981)

I remember this one from first aired on TV back in 1981.  I remember the next day at school all the D&D guys (we had multiple groups going on back then) were talking about a "heartbow" for their characters. 

The movie starts with a long voice-over about the 12 warring clans and a world "that was or will be."  Anyway our story focuses on Toran of Malveel (Lane Caudell) the son of King Brakus (George Kennedy) is out hunting with his archery master Mak (George Innes) who wields "Elbe" the Heartbow, when he encounters Estra (Belinda Bauer) a sorceress (or seer, or witch) who is promised to kill Toran for what his grandfather did.

This one features Star Trek DS9's Marc Alaimo (Sandros), who, along with Victor Campos (Slant) might be the only decent actors in the bunch. Not only that but the script is fairly non-sensical. Game of Thrones it is not.

Anyway, Toran manages to get himself exiled. This turns out to be a good thing since Sandros betrays the king to Gar, the Draikian (Kabir Bedi), the leader of the Snake-men. But not before Toran can be blamed for his father's death.  Toran leaves his father to find the wizard Lazar-Sa, the only one that can help him become king.

Toran and Mak head out to find the wizard.  Of course, Mak isn't going to make it so the Heartbow is given to Toran.  The scene is different than I remember it, but not too different. 

Toran eventually encounters Slant (Victor Campos), a thief and opportunist.  Anyway, we hear from Lazar-Sa and he directs them to the first of three tests.   

The movie never really picks up at any point and ends with Gar getting a glove that is the evil equal of the Heartbow.  None of that I recalled. 

The ending isn't really an ending and sets up a series.  Lazar-Sa isn't found (there were three tests right?) and...well that is it really. 

Gaming Content

Well. The obvious is the Heartbow, but I'll get to that soon.  It is nice to see snakemen here, orcs are so over used.  Snakemen are fun and are always good for bad guys.  Plenty of  stats for them but I think that Astonishing Swordsmen & Sorcerers of Hyperborea does the best with them.  The snakepeople remind me a bit of the Duran Duran video Union of the Snake. 

Elbe The Heartbow - In D&D 4 or 5 this would be a masterwork bow that you would need to "Attune" too in order to use.  In other D&D it just means you have a limited number of such powerful items you can use (the limit is three in D&D 5).  Elbe can convert any arrow to a magical bolt of energy. 

In truth, go see Tim Knight's post, he details all the magic items in this failed TV pilotmovie better than I am here. 

--

Tim Knight of Hero Press and Pun Isaac of Halls of the Nephilim along with myself are getting together at the Facebook Group I'd Rather Be Killing Monsters to discuss these movies.  Follow along with the hashtag #IdRatherBeWatchingMonsters that is if I can get my co-admins to agree this is the best hashtag for this!

Almost from the start, Call of Cthulhu has been fascinated by South and Central America. From the Peru chapter in the original The Fungi from the Yuggoth in 1984, the scenarios ‘The Pits of Bendal-Dolum’ and ‘The Temple of the Moon’ from 1986’s Terror from the Stars, all the way up to the Peru prequel chapter found in Masks of Nyarlathotep: Dark Schemes Herald the End of the World and the Bolivia chapter of The Two-Headed Serpent: An Epic Action-Packed and Globe-Spanning Campaign for Pulp Cthulhu. Perhaps the best treatment of the region is The Mysteries of Mesoamerica, published by Pagan Publishing in 2009. What has run through each of these scenarios and support is a fascination with the strange, complex, if notoriously bloodthirsty stone age cultures found throughout the region, with their rich pantheons of gods, and the sophisticated structures they left behind in the wake of their societal collapses and later subjugation at the hands of the Spanish invaders. The latest supplement for Call of Cthulhu, Seventh Edition to visit the region is A Time for Sacrifice.

A Time for Sacrifice is published by New Comet Games, following a successful Kickstarter campaign. It is the publisher’s third title for Call of Cthulhu, Seventh Edition, following on from The Star on the Sure – Struggles Against Evil in 1920s New England and Devil’s Swamp – Encountering Ancient Terrors in the Hockomock, both of which were ambitious in terms of their production values, but ultimately let down by their lack of development and editing. A Time for Sacrifice is an anthology of five scenarios set deep in the jungles of Mexico’s Yucatán Peninsula, in Honduras, and on the island of Cuba during the nineteen twenties and early nineteen thirties. It is not, however, a sourcebook on the region with regard to the Cthulhu Mythos or Call of Cthulhu, with the aforementioned The Mysteries of Mesoamerica probably the best source as well having its own excellent scenarios. Otherwise, as the publisher mentions, the Keeper will need to do her own research with regard to the region and its history. As with the previous two books for Call of Cthulhu from New Comet Games, the production values for A Time of Sacrifice are high, including full colour throughout and glossy paper, but it remains to be seen if the issues with editing and development.

A Time for Sacrifice opens with ‘Egg Out of Time’, the first of three scenarios by the anthology’s publisher, Ben Burns. It opens en media res, the Investigators members of an expedition on the Yucatán Peninsula, running to the rescue of a college and fellow expedition member who has fallen ill mysteriously at the entrance to a ruin, and then racing him to the nearest hotel. Then upon receiving a note intended for their ill colleague, they come to the aid of an expedition which has been attacked by the locals who appear to be performing a pagan summoning of some kind. Of course, it turns out to be a bait and switch and the likelihood is that the Investigators will need to find a way to stop the terrible danger they have unleashed. ‘Egg Out of Time’ does have an entertaining idea at the heart of its plot, but as presented it never really lays out the groundwork for the plot and it compounds this problem with a page-and-a-half of exposition explaining the plot which the Keeper is expected to read out to her players. In terms of a story, this works fine, but in terms of a roleplaying scenario, it is unengaging and breaks the narrative. This combined with the underwritten set-up, the insufficient advice on who the Investigators might be and why they are on the expedition, as well a lack of information that they might know at the start of the scenario—instead the Investigators are expected to research much of it—and ‘Egg Out of Time’ launches A Time for Sacrifice in underwhelming fashion.

It is followed by Brian Courtemanche’s ‘Pyramid Scheme’, which specifically takes place after the Wall Street Crash of 1929, at the start of the Desperate Decade of the nineteen thirties. The bulk of this scenario is again set on the Yucatán Peninsula, but it begins in New York. Here the Investigators—who are presumed to have conducted numerous previous enquiries into the outré—are hired by a lawyer to infiltrate Ritterville, a company town in Mexico belonging to Ritter Nautical and Industrial Supply, a rival to his employer’s company. Research soon reveals that the owners of Ritterville suffered terribly during the Wall Street Crash and possess some outré interests, so the lawyer wants the Investigators to determine what is happening in the town. The set-up leads to delightful opening scenes which capture the desperate nature of life during this period, but which otherwise set the Investigators on a linear path—and not just because they will be taking a number of train and boat trips to get to their destination. The timing of these journeys structures the scenario quite tightly, so that the Investigators will have limited scope for optional activities throughout. Consequently, the scenario feels like a connected series of scenes, but many of them are at least engaging and there is a constant sense of the Investigators being toyed with throughout and this sense of being played continues right into the dénouement which has the Investigators actually engaging in a pok-ta-pok faceoff! The scenario has a knowing title and borders on a Pulpy sensibility and would not be too difficult to adapt to be run using Pulp Cthulhu: Two-fisted Action and Adventure Against the Mythos.

Ben Burn’s second scenario in the anthology is ‘Space Between Time’, which at first is not set in Central or South America at all, but on the island of Cuba, before actually switching to the island of Cozumel, off the coast of Mexico. The Investigators are hired by Miskatonic University to attend a cultural exchange conference in Cuba, but the team leader, Doctor Donald Sanderson has other plans. He has evidence that his father, William Sanderson, whom everyone claims to have been killed on an expedition when Donald was a boy, is still alive and he wants the Investigators’ help in finding him. If the Investigators agree—and there is no scenario if they decline—he takes them to where his father disappeared, and into the strangeness that is the ‘Space Between Time’. This is a space between from travellers can access any world, any time, and any dimension, and contained within are any number of dangers and things best left untouched, although Investigator and player curiosity may dictate otherwise. Apart from one or two interesting interactions with the Mythos, ‘Space Between Time’ is primarily the equivalent of an escape room made all the more dangerous because something is hunting the Investigators. There is very much the danger of a ‘Total Party Kill’ here if the Investigators do not solve the mystery to the scenario, and even if they do, the end result may not be all that satisfying given that one Investigator may need to sacrifice himself to let the others escape.

The fourth scenario is ‘The Thirteenth Bak’tun’ by Jonathan Bagelman. Set in Mexico, this is the best written of the five scenarios in A Time for Sacrifice. The Investigators are hired by Miskatonic University to join an expedition already in the field as experts and extra security, but by the time they reach Vera Cruz, they learn that it has been attacked by bandits and the task becomes a rescue mission. The scenario nicely brings in Mexico’s febrile interwar politics—the one scenario to really make use of the setting in the anthology—and comes with a lot of backstory and a solid plot. However, in places it feels a little like a tourist handbook and the plot itself is essentially a variation upon one which has been seen again and again in Call of Cthulhu, that of a Serpent Person wanting to restore his people to greatness after their millennia old slumber. Overall, the scenario is decent and could even serve as the lead into a campaign of the Keeper’s own devising, or even perhaps tied into The Two-Headed Serpent: An Epic Action-Packed and Globe-Spanning Campaign for Pulp Cthulhu.

The anthology ends with ‘Doorway of the Gods’, Ben Burns’ third scenario. Again, linear and again, the Investigators are hired by Miskatonic University to join an expedition, this time in Honduras. After another sea voyage beset by strange dreams, the Investigators arrive in Honduras to learn that contact has been lost with the expedition and once at the site—at the base of a step pyramid with a strange doorway, that everyone is missing. However, the author drastically ups the action in this scenario—first, crew and passengers on the sea voyage from Boston being hunted by something which returns to the ship again and again; second, the Investigators and their guides are hunted at the site of the missing expedition; and third, the head guide, having learned that his men have been snatched, is not only determined to enter through the strange doorway, but has come armed for bear! Or is that Dimensional Shambler? M1921 Thompson Submachine Guns with drum rounds, Short Magazine Lee–Enfield Mk III rifles, twelve-gauge shotguns, .38 automatic pistols, and grenades! It is such a radical change of tone after the previous four scenarios, but ‘Doorway of the Gods’ essentially becomes a ‘Search and rescue’ mission combined with a ‘bug hunt’, and with such an emphasis on action and combat, is really better suited to Pulp Cthulhu: Two-fisted Action and Adventure Against the Mythos than standard Call of Cthulhu, Seventh Edition.

As with previous titles for Call of Cthulhu, Seventh edition from New Comet Games, A Time for Sacrifice is physically ambitious. So, it is full colour throughout and fairly heavily illustrated. However, the artwork varies greatly in quality—some being quite decent, some bland, and a lot of it being quite dark and murky, whilst the numerous handouts, also in full colour, are dull and rarely benefit from being in colour. Similarly, the maps vary in quality, many being quite plain, others having something of a period feel. Of course, it goes without saying that all of the scenarios in A Time for Sacrifice demand another edit, let alone the need for further development in some cases.

As an anthology, A Time for Sacrifice is at best uneven in tone, plotting, production values, and support. In addition to preparing anyone of the five scenarios in its pages, Keeper will need to research some basic background on the Mayans, and both the Mexico and Honduras of the period—not just for herself, but for her players and their investigators too. As a campaign, which the publisher suggests that the five scenarios could form if run in chronological order, A Time for Sacrifice would need a great deal of work upon the part of the Keeper. Although they share a general location and themes—the Mayans and Mesoamerica in common, there is little here to hang a campaign on. Better still to use them as one-shots or pick and choose the ones that a Keeper wants to run, just as she might with any other anthology. Whilst there are perhaps one or two decent scenarios in the collection, in the main, their set-up is too similar and their plots linear, such that running one too soon after another would make it too familiar. Ultimately, it is difficult to get really excited or enticed by A Time for Sacrifice, and the combined effect of the anthology is to make Mesoamerica mundane.

Fear’s Sharp Little Needles: Twenty-Six Hunting Forays into Horror is an anthology of scenarios published by Stygian Fox for use with Call of Cthulhu, Seventh Edition. Published following a successful Kickstarterter campaign, it follows on from the highly-regarded Things We Leave Behind in being set in the modern day, in dealing with mature themes, and in containing contributions from a number of tried-and-tested scenario authors from the last decade or so. What sets it apart though, is that Fear’s Sharp Little Needles contains some twenty-six scenarios, all but one of them, short, sharp stabs of horror—typically each five or six pages in length and thus the length of a magazine scenario or so. All twenty-six can work as one-shots, all but the last can work as convention scenarios, and all but the last require minimum preparation—the latter feature making Fear’s Sharp Little Needles a useful anthology for the Keeper to pull off the shelf at the last minute and have something ready for her gaming group with relatively little effort. In many cases, the scenarios would also work with just the one player and Investigator and the one Keeper. However, with a little more effort, many of the scenarios in the campaign would also work in an ongoing campaign, and in fact, some of them would work with Arc Dream Publishing’s Delta Green: The Role-Playing Game and some of them are actually linked together. Fear’s Sharp Little Needles also has its companion in the form of Aspirations.

Aspirations – A Modern Day Call of Cthulhu Supplement for Fear’s Sharp Little Needles differs from Fear’s Sharp Little Needles in that it is not just a collection of scenarios. It includes both scenarios and articles, adding extra mysteries and strange situations to be investigated, a potential patron, and more, all for the Modern Day. As with Fear’s Sharp Little Needles, each of the nine entries in the anthology is quite short, no more than seven pages in length, but typically four pages in length. All nine are fully illustrated and many of them come with maps too. The anthology opens with ‘All for a Good Cause’ by Jeffrey Moeller. This presents a potential patron for the Investigators, a Hollywood-based charitable organisation, The Barry Crawford Trust. Named for a now dead actor renowned for his hedonism, it is run by his wife, an adult entertainment actress, and has a secret agenda all of its own—its head hates the Mythos! The foundation will secretly fund investigations into strange mysteries and Mythos activities, and even help out with legal fees and help when the authorities are alerted to the Investigators’ inquiries. All that the foundation asks in return is that they hand over any Mythos artefacts and tomes for destruction. However, their contact seems just a little twitchy, and there is more going on here, nicely hinted at with the illustrations which the Investigators might be able to find and so double as handouts, but what ‘All for a Good Cause’ provides is a ready-made patron and the basis of an over-arching narrative structure into which the Keeper can run any modern-set Call of Cthulhu scenario, whether from elsewhere in Aspirations or Fear’s Sharp Little Needles, or indeed, any modern-set campaign.

Jeffrey Moeller follows ‘All for a Good Cause’ with ‘The Blackthorns’. This details Fair Oaks, a popular and highly regarded suburb—easily located to a town or city of the Keeper’s choice—which hides its dark secret behind its obvious idyllic. It suffers from a rash of disappearances, especially child disappearances. Two weeks ago, another boy disappeared, whilst another boy was found unconscious. If the Keeper is using The Barry Crawford Trust as a patron, the foundation sends the Investigators to the suburb to look into the disappearances, suggesting a  potential supernatural link to them. Alternatively, the Investigators might be hired as Private Investigators by the parents of the missing boy. The is some delicacy required here, since it does involve children, but the investigation does present an interesting moral twist upon the Mythos, and in a long-term campaign, that twist might just be too compelling for an Investigator or two. Certainly the Keeper is encouraged to review their actions in past scenarios and campaigns.

Adam Gauntlett provides three entries in Aspirations. The first of these is ‘Dead Mall’, set in and around the dying Diamond Arcade mall in New England, where a blogger charting the region’s dying mall was found dead in the car park of hypothermia on an otherwise warm night. Investigation reveals that the mall is located on site which has been beset by lethally cold weather in the past, so could this death be connected? ‘Dead Mall’ is a short investigation, clues quickly pointing to one of the facility operators in the mall itself. It is likely that the investigation will end in a confrontation and turn physical, so the Investigators will need to be prepared. If using The Barry Crawford Trust, the Investigators’ contact will suggest that witchcraft might be involved.

‘Dead Mall’ is followed by ‘Granny’s Tales’. Rather than a mini-scenario, this details a Mythos tome, but one unlike the traditional ‘bound in unknown leather’, battered, and deeply annotated volume typically beloved of Call of Cthulhu. Granny’s Tales is a seventies adult underground comic, one inspired by artist R. Crumb before it goes off in its own Mythos-inspired direction. Consisting of twelve issues, the early issues are easy to find, but the last one is almost never seen for sale. There are echoes of The Revelations of Gla’aki in Granny’s Tales, in format if not content, and this Mythos tome is nicely detailed and ready to add to a Keeper’s campaign.

The third entry from Adam Gauntlett is ‘The Bay of Nouadhibou’. Again, this is different in being a set-up rather than a full scenario. It will take the Investigators to the Islamic Republic of Mauritania in West Africa where there have been reports of a radical cult operating in the derelicts of the ship graveyard off the city of Nouadhibou. With its mix of religious militantism, slave gangs, immigrant transfers, and Mythos activity on the edge of the Sahara desert, ‘The Bay of Nouadhibou’ is the most suitable entry in Aspirations to use with Delta Green: The Role-Playing Game and it is a pity that this runs to just four pages, as it deserves to be developed into a fuller scenario all of its own.

In Jo Kreil’s ‘Bring Me Your Sick’, William Northfield is dying of cancer and in his search for a cure has begun attending and donating large amounts of money to a health spa where he has been receiving surprisingly effective treatment from its owner, Doctor Baum. The Investigators might be hired by one of Northfield’s relatives or the Board of Directors of his company, either being concerned at the time and wealth that he is pouring into the health spa. The Investigators may benefit having a scientist or doctor involved, or least have one as a contact, but very quickly their enquiries point towards the clinic and a terrible confrontation with Doctor Baum and exactly what he is planning.

Where ‘Granny’s Tales’ detailed a Mythos tome, ‘The Treader of the Stars’ by Brian M. Sammons and Glynn Owen Barrass describes an Alien entity previously presented in their short story, ‘Fall of Empire’ from the Steampunk Cthulhu anthology published by Chaosium, Inc. On the rare occasions it turns its extradimensional attention to earth it whispers secrets into the minds of its cultists who in return build it a body of flesh—from any source. Including mass murder. Once brought to Earth, it enjoys our dimension, causing chaos and rending reality before disappearing again. Along with full stats, the entity is given a detailed description of what it looks like and what it is capable of, which is quite a lot. However, it is not accompanied by any suggestions as to how to use it or scenario hooks, so of all the content in Aspirations, this is not the most immediate of use, or indeed, the easiest

Simon Yee’s ‘Urban Pentimento’ adds another location, this time Japan. This describes Unsu City, a small town which stands in the shadow of Hiroshima and whose secrets are tied into events at the end of World War Two. The town has not just a strange history, but also a Christian of a strange denomination, a satellite office for a German computer company, ghosts lingering from World War Two in the hospital, and a literally underground nightlife… This is a setting waiting for a plot to be developed around it and to it, so will need some development upon the part of the Keeper. It could also have benefited from a map or two.

Rounding out Aspirations is ‘The Lumber Barons’ Ball’ by Chitin Proctor with John Shimmin. This is very much more of a scenario and is very modern in that it involves Kickstarter! Brian Carr successfully funded the first part of his twenties-set horror web comic, Carcosa, on Kickstarter and the second part has been chosen as a Kickstarter Staff Pick, which means that a new interpretation of the King in Yellow will probably be reaching a wider audience. If The Barry Crawford Trust is their patron, then the Investigators will definitely be pointed towards preventing such an occurrence. As well potentially tying in a lost typeface into the Mythos, the scenario provides some solid investigation which the Investigators can do from home before trying to locate Carr at his home in Muskegon, Michigan. Here the investigation is more physical as the Investigators have the opportunity to stay in the converted apartment house and explore the rest of the building as AirBnB guests. The finale takes on the grand affair typical of a scenario involving the King in Yellow, but injects an extra degree of menace and topicality by fronting it as a protest against police shootings. This adds a feeling of freshness to the otherwise decaying and decadent whole affair. Overall, ‘The Lumber Barons’ Ball’ brings Aspirations to a pleasing finish, though some of the content is a little dense and will careful preparation upon the part of the Keeper, and again, it could have done with an extra map or two.

Physically, Aspirations is a slim book, but neatly and tidily presented in full colour with plenty of illustrations and decent maps. In some cases, though, the Keeper will need to provide extra maps herself.

As a companion to Fear’s Sharp Little Needles: Twenty-Six Hunting Forays into Horror, the truth is that Aspirations is not essential. Its content is extra and does not add to or develop the content to be found in Fear’s Little Needles. In some ways, that is a pity. Perhaps The Barry Crawford Trust presented in ‘All for a Good Cause’ could have been expanded to cover how it might involve the Investigators in each of the scenarios in Fear’s Little Needles—or at least those which would have been appropriate. As it is, Aspirations leaves the Keeper to do that and as a result is very much a mixed bag, feeling a little too much like the things that there was no room for in  Fear’s Sharp Little Needles. That is, a decent handful of scenarios, one or two settings or ideas begging for richer development, and some needing development upon the part of the Keeper to be truly useful or usable. Overall, Aspirations – A Modern Day Call of Cthulhu Supplement for Fear’s Sharp Little Needles is more an anthology for the completist than a must-have.

Closing on one of the last of the named mythos for One Man's God.  I go to one that has a lot of importance for the creation of the D&D, the Nehwon Mythos of Fritz Leiber's Lankhmar series.

You can now get Lankhmar RPG products for both 1st and 2nd AD&D as well as for Savage Worlds and Dungeon Crawl Classics.  To say it has left its mark on our hobby is a bit of an understatement.  Yet I find I really know very little about the stories.  I remember reading one of the books. It was either in late high school or my early college days, in either case, it was the mid-late 80s.  I recall reading the book and not really caring for the characters all that much.  I have been planning to reread them someday, but they keep getting pushed lower and lower on my to-be-read pile.

For this reason I had considered not doing these for One Man's God.  But the more I thought about it the more I realized it was a perfect chance to "level-set" what I am doing here.  Seeing if another culture's god can be redefined as AD&D Monster Manual Demon. 

Now I am certain that others with far more knowledge than me will have opinions one way or the other and that is fine.  They are welcome to share them.  A key factor of "One Man's God" is just that, one man's opinion on the gods. And that one man is me.  

So strap on a long sword and dirk and let's head to the City of Lankhmar.

Nehwon and Lankhmar in particular seems to have a lot of Gods.  I kind of lank this to be honest.  But how many of them are "Demons?"

We know there are demons here.  Demons and witches are described as living in the wastes. The wizard Sheelba of the Eyeless Face is said to be so horrible that even demons run from it.

Astral Wolves

These guys are great! Love the idea, but they feel more like undead to me.

Gods of Trouble

Ok, these guys start to fit the bill.  They are semi-unique, chaotic-evil, and have 366 hp. But they also have a lot of powers that demons just don't have.  They have worshipers, but no indication that any spells (for clerics) or powers (for warlocks) are granted.   They just seem to be powerful assholes.

Leviathan

There is a demon Leviathan and this guy looks a lot like him.  But this one is neutral and does not have any other powers except for being huge.

Nehwon Earth God

This guy appears to be an actual god, even if evil and non-human. 

Rat God

AH! Now we are getting someplace. Non-human, cult-like worshipers, described as the manifestation of men's fears, and chaotic evil.  I see no reason why the Rat God here could not be a type of demon with a larger power base.  At 222 hp he is actually pretty close to Demongorgon's hp.

The Rat God has some personal relevance for me.  I was riding the bus home in high school one day and there was a group of kids that were playing D&D. I listened in and guess in their game if you wanted to make boots that aided in your ability to move silently they had to be made from the pelt of the Rat God!  I always wondered what their other games must be like.

Rat Demon (Prince of Rats)

FREQUENCY: Very Rare
NO. APPEARING: 1
ARMOR CLASS: 2
MOVE: 18'
HIT DICE: 222 hit points
% IN LAIR: 50%
TREASURE TYPE: P, S, T
NO. OF ATTACKS: 2
DAMAGE/ATTACK: 4-40
SPECIAL ATTACKS: Nil
SPECIAL DEFENSES: See below
MAGIC RESISTANCE: 20%
INTELLIGENCE: Supra genius (18)
ALIGNMENT: Chaotic Evil
SIZE: L (10' tall)
PSIONIC ABILITY: I

The Demon Prince of Rats is nearly powerful as other demon princes but he saves his interests and attention only for his rat and wererat followers.  He desires to overrun the Prime Material Plane with his children and feed on the bodies of all the living.

Spider God 

Same is true for this one.  I mean if rats are a manifestation of human fears then spiders are as well. This creature is also CE and at 249 hp that makes it more powerful than Lolth at 66!

Tyaa

Could be a demon, but had more goddess about her.  Again though, Lolth is both Goddess and Demon.  We will later get a demoness of birds in D&D during the 3e days in the form of Decarabia.  Tyaa requires her cult to sacrifice a body part, Decarabia cut off her own legs so she would never touch the ground again.

Bird Goddesses and Demoness, separated at birth?

Obviously there a lot more here that could be done with these and the monsters/gods/demons that were not featured in the D&DG.

The word is out that next D&D book/campaign setting is going to be Ravenloft and I could not be more pleased!  

What do we know so far?

It will be released on May 18th, 2021 and it has both the normal and game store exclusive covers.  I have already preordered both.

Thirty Domains of Dread will be detailed. These include Lamordia, Dementlieu (both from the original 2nd Ed set), Kalakeri (new), and Falkovnia (revised).

Likewise, we are getting old, new, and revised Darklords. One that seems to be causing a stir is  Dr. Viktra Mordenheim and her creation Alyss. Not sure if she is a genderswapped Viktor, a daughter or something else.  I mean, lets be honest, even Hammer did the wives and daughters of all their great movies. Ravenloft can too.

Gothic Horror will be covered as well as more traditional "ghost" stories, psychological horror, dark fantasy, and D&D's own brand of cosmic horror.  Which is good, I love all that Far Realm stuff.

While the book is called "Van Richten's Guide" the eponymous Van Righten disappeared before he could complete his last volume "Van Richten's Guide to Witches."  So I am expecting, and am promised, new monster hunters to carry on his legacy.   Our cover girl appears to be Ezmerelda d’Avenir, one of the newer vampire hunters in Barovia.

There are two new sub-classes, College of Spirits Bard and the Undead Pact Warlock.

For lineages, there are dhampir, hexblood, or reborn characters, which offer vampire, hag, and undead lineages, respectively. 

Characters can also get "dark gifts" to aid them in their fights...or to help them become the monster they truly want to be.

There will be 40 pages on monsters; some new and some familiar ones.  I am expecting to see a Brain in the Jar myself. 

And a new adventure. A new take on the House of Lament.  

It also sounds like they have a wide variety of voices and inputs on this which is great; horror is a universal concept. Many are horror authors.  I while I do love my Gothic Horror, I also love all horror.  I am looking forward to seeing the Vistani become something more than an uncomfortable stereotype. 

So folks are complaining about the "loss" of Falkovnia, but's let's be honest here. Falkovnia and Vlad Drakov were nothing more than the "leftovers" after Barovia and Strahd mined all the Dracula lore. I never even used it much back in the 2e days and I am certainly not missing it now. Falkovnia is now a zombie apocalypse land and I think that works better to be honest.  We didn't really have one of those.  

Sithicus may or may not show up, but Lord Soth certainly won't.  Also not a surprise really. Those rights were a tangled mess anyway.

I am rather looking forward to this book.  Ravenloft was MY game for all of 2nd Ed AD&D and college. I bought every campaign book, adventure, and yes even novel I could get my hands on.  I was contributing to the Kargatane official netbooks of Ravenloft material.  My 2nd Ed AD&D is Ravenloft; I don't separate the two.

My only question is do I put this on my D&D5 shelf, my horror shelf, or my Ravenloft shelf?

Links

• D&D Beyond
• ENWorld
• The Piazza
• Gizmodo
• INverse

Well.  Not actually, but I am considering completely redoing all the Outer Planes in my D&D-like games, and the lower planes in particular.

My goal here is to restructure it is such a way that it works better for me and what I am doing in my games, and yet still be compatible enough with other iterations of the game, de that original game, OSR, or other OGL sources, that I can grab something off the shelf and make it work.  

Over the years I have talked about Hell, the Abyss, and other places such as Xibalba, Tartarus, and Tehom.  Pathfinder has added some of these realms into OGC, or rather have made SRD connections to Public Domain names (like Abaddon). 

I would also like to work in places like Sheol as well and homes for all the demon species I have been working on. 

Hell

Hell of the D&D universe is much more akin to the ideas of Hell from Greek myths, Dante, and Milton than it is from Judeo-Christian sources.  There are some ideas here from other myths as well.  

According to Dante, the main named devil in Hell is Lucifer/Satan.  He also mentions Geryon and names 12 individual Malebranche devils ("evil-claws") on Hell's eighth level, called here Malbolge.

According to Milton, the main devils are Beelzebub, Belial, Mammon, Moloch, and Satan. But on his way to Hell, possibly when he passes through Night and Chaos, are Orcus, Demogorgon, and Hades.

One of the first things I need to do is at least come up with some names for the Nine Circles / Nine Layers of Hell.  At least most people agree on nine.

Layer Name (D&D) Name (Pathfinder) Name (Dante)* Deadly Sin (Dante) 1 Avernus Avernus Limbo Virtuous Pagans 2 Dis Dis
Lust 3 Minauros Erebus
Gluttony 4 Phlegethos Phlegethon
Greed 5 Stygia Stygia City of Dis Wrath 6 Malebolge Malebolge
Heresy 7 Maladomini Cocytus
Violence 8 Caina Caina Malebolge Fraud 9 Nessus Nessus Pandæmonium* Treachery

I can't use the "D&D Column" with an OGL/OGC book, but the "Pathfinder" one is fine.  Well. It is fine, but lacks something for me. For now though I am going to use these.

*City of Pandæmonium

From Milton (Not Dante). This is the great city in the lowest circle of Hell. I am certainly going to use this.

Once I get my layers worked out I'll need to figure out who rules them.  The current (and some former) rulers are here.  Using D&D layer names.

Layer Name Archdevil Deadly Sin (Mine) 1 Avernus Druaga/Tiamat/Bel/Zariel *  2 Dis Dispater Envy 3 Minauros Mammon Greed 4 Phlegethos Belial/Fierna Sloth 5 Stygia Geryon/Levistus Wrath 6 Malbolge Beherit/Moloch/Malagard/Glasya Lust 7 Maladomini Baalzebul/Beelzebub Gluttony 8 Cainia Mephistopheles Pride 9 Nessus Asmodeus *

I do like the idea of aligning Lord/Layer with a Deadly Sin. 

Now, not all of these Archdevils are OGC, and frankly I would rather use one of the Ars Goetia demons as the rulers.  In other cases, I am making changes.  Tiamat is a Chaotic Evil "Eodemon" in my games. Geryon is also now a "rage demon."  Druaga, or maybe now just Druj, will also be something else. 

At the moment I have about 650 demons and devils detailed for my Basic Bestiary II but none are sorted or detailed beyond basic descriptions. I need to start figuring out who "lives" where.

Links

• Going (Up) to Hell? Cosmology
• Post 666
• Oh Hell!
• G is for Geryon as a demon, not a devil
• S is for Satan, or what is Asmodeus keeping in his basement?
• Druaga, OMG: Babylonian, Sumerian, and Akkadian, Part 1 (now a demon)
• Buer, The Great President of Hell

Here is a monster that has been rummaging around in the back of my mind for a while now. I have renewed my search for this creature thanks to getting all caught up on the new "Nancy Drew" series which has a solid supernatural vibe to it. 

The word seems to come from Beowulf, but there is a lot of debate over what it means exactly. 

We can go to the root word, āglāc, which can mean distress, torment, or misery.  It later derived the Middle-English word egleche meaning warlike or brave.  The Dictionary of Old English describes it as an awesome opponent, a ferocious fighter.  There is so much confusion and speculation on this word there is even a recent Master's Thesis on it, Robinson, Danielle, "The Schizophrenic Warrior: Exploring Aglæca in the Old English Corpus." Thesis, Georgia State University, 2015. 

Given the Beowulf connection, I did look to the troll connection; I always thought of Grendel as some sort of troll.  But I have already done a Troll-wife (a type of hag) and a Trolla (a type of troll witch).  There also seems to be a demonic or even diabolic association with this creature. But I have also already done demonic trolls.  Given the Old-English and Middle-English sources of the word I even thought that something along the lines of a proto-hag might work, but I have done those as well in the Ur-hag. 

Robinson details some comments from Tolkien on his reading of Beowulf and spends time talking about the monster (and true to her thesis, the noble warriors) that appear in the poem.

Both Grendel and his mother are described as aglæca. While I like to think of Grendel as a troll and his mother as more of a troll-wife, maybe there is more to it. 

Grendel by Joseph Ratcliffe Skelton

Aglæca
Large Humanoid

Frequency: Very Rare
Number Appearing: 1 (1)
Alignment: Chaotic [Chaotic Evil]
Movement: 180' (60') [18"]
Armor Class: 4 [15]
Hit Dice: 8d8**+16 (52 hp)
  HD (Large): 8d10**+16 (60 hp)
Attacks: claw, claw, bite
Damage: 1d6+4 x2, 1d8+4
Special: Cause fear, magic required to hit, regenerate 1 hp per round, infravision, sunlight sensitivity. 
Size: Large
Save: Monster 8
Morale: 12 (12)
Treasure Hoard Class: XIX [D] x2
XP: 1,750 (OSE) 1,840 (LL)

The aglæca is a large humanoid creature that appears to be something of a mix of both ogre and troll. It is blue-ish grey in color with patches of dark blue that are the color of bruises. It smells of rotting meat,  decay, and the sea.  Its long muscular arms end in large hands with great claws. Its mouth has large fangs and tusks and maybe most disturbingly, its eyes burn with a fierce intelligence.

It is believed to be a descendant of the great giants and Jötunns of the north and the ancestor to the more common ogre and troll. Some scholars speculate that there is a bit of demonic blood in this creature, or even something more evil and primal.   

The aglæca causes fear (as per the magic-user spell cause fear) to any that sees it.  It will use this power to fearlessly attack opponents.  It will use its claws and bite in an attack. While it is intelligent and knows the value of weapons in combat, its berserker-like fury will cause it to abandon weapons in favor of its own hands.  The aglæca will take anything it kills back to their caves to eat. Their preferred food is humans followed by elves, halflings, and dwarves.  

Only magic weapons or magic can hit it and it can regenerate 1 hp per round.  The aglæca prefers to fight at night or in the dark.  It attacks at -1 in light and at -2 in bright sunlight. Aglæca speaks the local languages and giant. They are fearless in battle.

The origins of the aglæca are a mystery. It is speculated that they are very, very old creatures. Thankfully they are very rare and getting rarer to find all the time.

Grendel's Mother by Joseph Ratcliffe Skelton

Aglæc-wif
Medium Humanoid

Frequency: Very Rare
Number Appearing: 1 (1)
Alignment: Chaotic [Lawful Evil]
Movement: 180' (60') [18"]
  Swim: 180' (60') [18"]
Armor Class: 4 [15]
Hit Dice: 6d8**+12 (39 hp)
Attacks: claw, claw, bite
Damage: 1d6+3 x2, 1d8+3
Special: Cause fear, magic required to hit, regenerate 1 hp per round, infravision, witch magic. 
Size: Medium
Save: Monster 6
Morale: 12 (12)
Treasure Hoard Class: XIX [D] x2
XP: 1,250 (OSE) 1,280 (LL)

The aglæc-wif is the smaller female of the aglæca species.  It is conjectured that there may in fact be larger female aglæca that are not aglæc-wif and the aglæc-wif might be another related creature.  So far the only aglæc-wif that have been recorded have been a pair with a larger aglæca.

Like the aglæca, the aglæc-wif appears to be related to the troll and/or ogres.  They also are quite intelligent and while they are perfectly happy to murder and eat any human they see, they are not just ravenous monsters.  The aglæc-wif also possesses the infravision of the aglæca but is not hampered by light or sunlight.  Also, like the aglæca, these creatures feed on humanoids, but they prefer humans to all other forms of food.

An aglæc-wif can attack with claws and bite like the aglæca, but she is also capable of using spells as a 4th level witch of the faerie, sea, or winter traditions.  Their preferred spells are charm-based. Any magic that provided protection from or special damage to Sea Hags is also effective on an aglæc-wif.

It is speculated that like a troll-wife the aglæc-wif can join a covey of hags as a third hag. Though none have ever been reported as doing so.

 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: Hand of Glory

Publisher: Chaosium, Inc.
Author: Allan Carey

Setting: Jazz Age Yorkshire
Product: Scenario Set-up
What You Get: Twenty-three page, 29.91 MB Full Colour PDF
Elevator Pitch: Sometimes fate hands you a terrible choice.
Plot Hook:  A day’s walk takes a terrifying turn atop the Yorkshire Moors. Maybe the locals really are weird, maybe they just don’t like outsiders. Or both.Plot Support: Plot set-up, single period maps, three handouts, and five pre-generated Investigators.Production Values: Clean and tidy, decent map, lovely handouts, and clearly done pre-generated Investigators.
Pros
# Type40 one-night, one-shot set-up
# Potential convention scenario
# Solid moral choice# Superb handouts
# Pre-generated Investigators nicely fit the set-up# Easily adjustable to other periods# Nasty, even cruel scenario# Minimal set-up time# Playable in an hour or two!

Cons
# Nasty, even cruel scenario
# Stark, difficult choices# Playable in an hour or two!# Investigator interaction hooks and relationships could have enhanced the tension.
Conclusion
# Great production values
# Minimal set-up time# Underwritten Investigator relationships undermine simple, really nasty plot.

Imagine a roleplaying game which gives you two hundred pages of character options. Imagine a roleplaying game with a large expansive setting. Imagine a roleplaying game which builds the details of its setting from its character options—all two hundred pages of them. Imagine that Player Character generation in such a roleplaying game—with all two hundred pages of its options would take a mere five minutes. Actually less. Imagine a roleplaying game in which the Player Characters are adventurers and treasure hunters across this large expansive setting. Imagine that such a roleplaying game has Old School Renaissance sensibilities in terms of its simple mechanics—simple mechanics which are explained in four pages—and the dauntingly dangerous nature of its world. Combine all of these aspects together and what you have is Electric Bastionland, a roleplaying game of failed careers, debt and treasure hunting, and exploration and survival, across, under, and beyond a vast metropolis which is created and improvised through play and from tables.

Electric Bastionland: Deeper into the Odd is published by Bastionland Press, following a successful Kickstarter campaign. As its title suggests, it is an expansion to the author’s earlier Into the Odd and Bastion Ein Sof, but a standalone expansion, one that takes the seemingly formerly wretched city of Bastion into the Electric Age and sees it glow with the fierce yellow of Electricity and grow and encroach upon other cities, to become a modern metropolis of bright lights and possibilities. It is a city that juxtaposes the familiar and the odd, the latter making those that engage with the oddness also odd. It is a city without a council, but many councils and many boroughs. It is a city which is constantly being built, but nobody claims to have built. It is a city of modernity with the sensibility of the past. It is a city of electricity and the consequences of that electricity—strange transmissions on the Radio, unnerving headaches near power stations, and machines that serve themselves. It is a city without a history and a city whose history has become a physical thing. Bastion is the present. Deep Country, beyond the limits of the city where everything was better, but simplistic and inconvenient, is the past. The Living Stars are the future. Connecting the three—Bastion, Deep Country, the Living Stars—is The Underground. It connects everything, tests everyone, and lies beneath reality, but it will get you where you want to go—eventually. Bastion as a city and a setting has the feel of La Belle Époque and of La Ville Lumière, and then hints of the Jazz Age verging on an ecumenopolis, but stranger, weirder, and odder the closer you look. Just how strange, just how weird, and just how odd, begins with the Player Characters.

Each Player Character begins play in debt, their career a failure, desperate to pay off this debt such that they embark on ‘great’ treasure hunts. Working with a fellow band of Debtors, they know that if they can find it, the treasure will surely be enough to pay off their debts. Yet they have a rival, and he also knows of the treasure. Tarry long in their expedition and the rival may retrieve the treasure and so their debt remains, grows even. In working to retrieve the treasure the Debtors will encounter the oddities and the weirdness of Bastion. Both will rub off on the Debtors, leaving also weird and odd, and that is in addition to the scars and bruises they may gain along the way. If they survive, they may also become Grizzled as well as scarred.

A Player Character in Electric Bastionland has three abilities—Strength, Dexterity, and Charisma. These are rated between three and eighteen. He has a six-sided die’s worth of Hit Protection and a six-sided die’s worth of New Pounds—this is not a lot of money. Together with his fellow Debtors, he owes £10,000. The exact nature of the debt is determined by the Failed Career of the youngest player. For example, a Fashionista owes The Lion Council—a literal council of lions—£10,000 and its members want the debt to be repaid in interesting meat, whilst a Petty Officer simply owes The Petty Court that amount, but can pay off half that amount by personally attending The Petty Court and representing himself in a tediously long trial of trivial affairs. Every Debtor has a Failed Career. Exactly what is determined by cross matching the Debtor’s lowest Ability score with his highest, and that gives a page number.

Every Failed Career is given a two-page spread and with one hundred Failed Careers in Electric Bastionland, that is the aforementioned two hundred pages of character options and a third of the book already taken up! However, each Failed Career is described in relatively broad detail. Along with an illustration, each Failed Career is accompanied by a simple explanation, some sample names, and the reason for the Debtors’ debt. Besides one or two items of equipment, each Failed Career gives options which add further detail and flavour. Exactly is determined by many New Pounds a Debtor has and how many points of Hit Protection he has. For example, the Necro-Engineer specialises in the most modern means of dealing with the growing industry of corpse production. His name might be Do, Jincey, Gognon, or Zephryne; he owes money to The Jolity Engine, a sentient, building-sized gambling machine; and he owns sombre formal wear and a shovel. A pair of tables ask two questions—‘how did you get your start in the corpse disposal industry?’ and ‘what was your great project? (you couldn’t get funding)’. If Necro-Engineer begins play with £6, then the answer to the first question is, by ‘Chasing Scavengers Away’ and he is accompanied by a barely-domesticated hyena which sticks with him. If he begins play with £2, he was a ‘Professional Grave Visitor’ and has a lifetime’s supply of bouquets from various florists around the city. As to his greatest project, if the Necro-Engineer only has the one point of Hit Protection, it was The Incineration Dome and he has a fire-proof protective suit which fits over his formal wear, whereas if he has four points of Hit Protection, it was The Protein Reclamation Initiative and he has a jar of flavour-masking rub, which makes anything palatable! Each of these tables is different for each Failed Career, but each balances the amount of Hit Protection and New Pounds with a piece of equipment or a power or other benefit. The lower the amount of Hit Protection and New Pounds, the potentially more powerful the piece of equipment or power or other benefit—and vice versa.

Name: Slipper
Failed Career: Academic Debater
Strength: 13
Dexterity: 13
Charisma: 11

Hit Protection: 5
£5

Debt: Conglomerated Taxes (You are exempt from certain taxes, gaining an effective 50% discount on pets, hair products, and offal.)

Possessions: Cane (d6), pocket-watch

What Can You Debate Forever?: Formal Wear (Headgear)
What Did Your University Provide As A Leaving Gift?: A Novelty Umbrella (also a clarinet).

Go through the list of Failed Careers and what Electric Bastionland is doing is not just providing the means to create characters, but detailing aspects of the world. Thus, Gutter Minder Failed Career might establish that the Debtor is Rat given human form in a lab experiment or a former High Society member, the only survivor of a mob uprising. The first establishes that somewhere in Bastion, someone is experimenting on animals, and that perhaps there might be a laboratory where they might be working on more, that there might be other, similar creatures out there, and so on. The second that of an uprising which could be any number of reasons. From the Trench Conscript which suggests a war and a battle and a Criminal Bureaucrat who specialises the legal loopholes which make every crime legal to the Wall-Born which suggests Bastion is surrounded by walls to the Integrated Alien passing as human which suggests a Science Fiction aspect to the city and the Un-Revolutionary, who seeks to prevent, even undo change in a city that is changing, the Failed Careers each hint at and add aspects to Bastion. Of course, not all of them will come into play necessarily, though those pertaining to the Debtors currently being played, certainly should.

Mechanically, Electric Bastionland shares much in common with the earlier Into the Odd. If a Debtor wants to undertake an action, his player rolls a twenty-sided die against the appropriate Ability, aiming to equal to or under to pass. For initiative in combat is handled with a Dexterity save. Combat is equally as simple. A player rolls the die for the weapon used to determine how much might damage be inflicted—there is no ‘to hit roll’. The target’s armour is subtracted from this and the remainder is subtracted from first his Hit Protection and then his Strength. Once damage is inflicted upon his Strength, a Debtor must make a save against his Strength in order to avoid being debilitated—which of course gets harder and harder the more Strength lost. Lastly, should a Debtor be reduced to exactly zero Hit Protection without suffering damage to his Strength, then he also scarred, which can be anything from an actual scar to doomed to die! And that is it in terms of mechanics, which are fully explained in just four pages! They are mostly player-facing, meaning that the players will probably roll more than the Conductor—as the Game Master is known in Electric Bastionland, and combat is in general, short and nasty, and best avoided if possible.

The last third of Electric Bastionland is for the Conductor. Advice, even direction for the Conductor, is to the point and laid out in short, easily grasped bullet points in ‘Preparing The Game’. The point of the roleplaying game is to find the treasure which will lift the Debtor out of penury, and so the treasure should be valuable rather than useful, there should be an explanation as to why it has not been found yet, and it should be thought-provoking. In a series of three bullet point blocks, the Conductor is guided through a range of subjects covering preparing and conducting the game, essentially presented as the principles behind the game. In turn, Bastion, Deep Country, and the Underground are presented in the same fashion, looking at how to understand, map, stock, and conduct (or referee) each of these weird and wonderful locations, often accompanied by tables that the Conductor can use as inspiration.

The advice for creating the inhabitants of Bastion is to make them interesting and memorable. Although they make up the majority, Humans are not the inhabitants of the city and beyond. Others include Mockeries, creatures of felt, wood, and string given life, hated by animals, but loved by children. Each has a particular talent and acts as if on the stage. In Bastion, they tend to be based on animals, Mock People though are loathed and Mock Objects stick to the Underground. Machines, connected to the Underground or a part of it, initiate change and monitor it, creating and modifying rather than destroying—and that can include the Debtors when encountered on their treasure hunt. Aliens are more advanced than the inhabitants of Bastion, but typically just a very specific way, and cannot truly integrate into society. Out in Deep Country, some have become gods or monsters of myth and legend. Monstrosities are each unique, each made rather than born, each mundane before it became what it is now.

The last part of Electric Bastionland is ‘The Oddendum’, a collection of short articles which the Conductor can include in her game. The first of these though, ‘A Player’s Handbook: Strategy Guide’, is not for the Conductor, but the players. It is a two-page spread on how to play Electric Bastionland and explore its city and beyond, and it is very useful. However, situated so very near the end of the book, it feels very much out of place, when really it should have been placed earlier, after the rules explanations and examples, where prospective players could have more readily found it. The rest of ‘The Oddendum’ covers a wide range of subjects, from Oddities, the strange devices and things whose workings defy explanation, but which might be magic or Sci-Fi and which everyone will want to buy or steal to an explanation of why the designer named the Game Master the ‘Conductor’ and how the city of Bastion is not a refuge or sanctuary to come back to from the Deep Country or Underground, but a continuation of the adventure. It includes sections of advice for the Conductor alongside sections of things to put in the game, so ‘The Balancing Act’ examines the balance between mechanics and making things interesting is followed by a list of Noble Weapons. This is followed by ‘Example Content’ such as ‘Unions and Rituals’—cults, clubs, and armies, ‘Dedicated Followers of Fashion’—an emporium of haute couture, and ‘The Bureaucrolabyrinth’, a table for running and complicating any bureaucratic process. All of these can be added to a Conductor’s game as she desires, but these final pieces do feel a bit of a jumble. And that in a way is fine, since Bastion as a setting is not meant to be a coherent whole, it is meant to be cluttered and discordant, part-patchwork, part-tangle.

Finally, the designer steps in with ‘The Last Word’. Here the designer makes clear that Electric Bastionland is designed to be played by anybody, to be played at the table, and to be created at the table. Further, that what it is not is a textbook intended to be studied. For the most part, the designer succeeds. Electric Bastionland is simple enough that it can be played by anyone, and it is definitely not a textbook, but very much more of a toolkit, one set of inspirations after another. Mechanically though, despite its simplicity, Electric Bastionland is not very forgiving—especially in combat where every attack succeeds and what matters is the amount of damage rolled. This is an issue continued from Into the Odd and it may be off-putting for some players. Electric Bastionland does include advice that addresses this—all of it good, but despite the simplicity and the advice, Electric Bastionland is not necessarily a roleplaying game for the beginning Game Master—or Conductor, since it relies heavily on improvisation. Which simply may be too daunting for the prospective Conductor. For the more experienced Game Master, the advice and simplicity will be nowhere near as daunting and should nicely ease her into running her first Electric Bastionland treasure hunt.

One side effect of the improvisation inherent to running and playing Electric Bastionland is that unlike the earlier Into the Odd, there is no traditional adventure or scenario, or in this case, treasure hunt, included in its pages. Into the Odd had a hexcrawl, a town, and a dungeon, and whilst Electric Bastionland has sample boroughs, what it does not have is a sample treasure hunt. Perhaps including one would have pulled away at the degree of improvisation which the designer of Electric Bastionland wants the Conductor to engage in and the lack of proscription that he wants Electric Bastionland to have, but certainly a working example of how treasure hunt can be put together and improvised might have been a useful edition, especially for the new or less experienced Conductor.

Another issue that Electric Bastionland shares with Into the Odd is just how much play can be got out of the roleplaying game. The set-up is simple: the Player Characters are in debt and each having a Failed Career need to find treasure to pay off what they owe. In the process, there is a magical, fantastical cityscape and beyond to explore, interesting NPCs to interact with, interesting other Debtors to interact with, obstacles to be overcome, and more. But what then? What next once the debt is paid off? There is potential in perhaps the Debtors having become part of the city becoming involved in its events and in perhaps exploring further aspects of their Failed Career, but that is beyond the scope of Electric Bastionland. Ultimately, Electric Bastionland is best suited for short campaigns, and since it includes one hundred Failed Careers, each one very different, each one adding to the nature of the city, there are multiple stories to be told and debts to be repaid. Thus, Electric Bastionland is better suited for repeated play rather than long term play.

Physically, it feels odd that a roleplaying book as large as Electric Bastionland is not in colour, the use of one artist—Alec Sorenson—and the judicious use of yellow colour palette as a highlight gives the book a uniform look throughout. Further, the illustrations impart a strong sense of the ordinary and the outré which pervades the city of Bastion and beyond. In terms of look and layout, Electric Bastionland is notably spacious, which when combined with the three-bullet point motif which mostly runs throughout the book, makes everything accessible and easy to find. If there is an issue with Electric Bastionland as a book, it is that towards the end it becomes a little disjointed, a collection of things, and as much as that fits the tone of the roleplaying game, it may not be to everyone’s taste. Otherwise, the book is well written, it is engaging, and it is well presented.

There is an elegance which runs throughout Electric Bastionland: Deeper into the Odd, from the simplicity of its mechanics to the delightfully evocative nature of the Failed Careers which build story into a campaign and across the sprawling metropolis of Bastion. The city itself has a surreal, almost ethereal feel to it that is just waiting for the Conductor to improvise and work with her Debtors to explore and perhaps make a little more real. Ultimately, Electric Bastionland: Deeper into the Odd is a roleplaying game whose every page is begging you to be played and explored, and just for a little while, you really should.

As the Kickstarter for The One Ring Roleplaying Game, Second Edition continues apace, one of the most interesting additions to the new version is that of a Starter Set. Now The One Ring, originally published by Cubicle Seven Entertainment never actually did not receive a Starter Set, but publisher of the forthcoming second edition, Free League Publishing has an interesting track record with both the Alien Starter Set for the Aliens Adventure Game and the Tales from the Loop Starter Set for Tales from the Loop – Roleplaying in the ’80s That Never Was—and the forthcoming The One Ring Starter Set looks interesting. If Cubicle Seven Entertainment did not publish a Starter Set, then what it did publish was Bree. Instead of a Starter Set, what Bree can be best described as is a starting supplement.

Although this is not a starter set, it is focused on a smaller area and its three scenarios are designed for beginning Player Characters. It takes The One Ring further west from the Misty Mountains, Rivendell, and Eriador, and can serve as both an expansion to that supplement and region, both in terms of its description of the village of Bree and its immediate environs. And then, the three scenarios presented in Bree could easily be added to those set in Eastern Eriador, as detailed as in Ruins of the North. Alternatively, the Loremaster can use the content and scenarios in Bree as an introduction to The One Ring for both the players and their characters, and then go on to explore the wider area and undertake the scenarios set there with Rivendell and Ruins of the North. Essentially, come west from Rivendell with experienced Player Characters or go east from Bree with new ones. With established Player Characters, they could be of any Heroic Culture, but for new ones, it is intimated that players select either Hobbits of the Shire, Men of Bree, Bree-Hobbits, and perhaps the odd Dwarf Heroic Cultures for their Player Characters. This will serve to keep some of the mystery of the wider world to be revealed through the three scenarios in Bree and then on to Rivendell and Ruins of the North. This option would also work well with the forthcoming The One Ring Starter Set from Free League Publishing which focuses on The Shire, so the Hobbits who have had adventures in their homeland, can have their next in and around Bree.

Bree presents Bree-land and its four constituent villages—Archet, Combe, Staddle, and of course Bree for The One Ring. In character, despite the number of traders passing through Bree itself, the village and area is conservative, its inhabitants, both the Men of Bree and the Hobbits of Bree, its Big Folk and Little Folk, sensible and not given to adventures and wild doings. Those that are, of course, are deeply frowned upon, because there is just not something right about them. There is relatively little history to Bree and Bree-land, the village having stood at the crossroads of the Greenway which runs north into a land of dark hills and ruins and south towards the Gap of Rohan, and the East Road which runs from the Misty Mountains in the east to the Shire in the west, for many centuries. It is a bastion of quiet civilisation beyond which lies wilderness and danger, which mostly obviously relies upon the Bree-Wardens and their big sticks and the ancient hedge which encircles the village of Bree for its protection, but the reality is that neither could truly withstand a concerted effort by a force of Orcs or the influence of the Shadow… Thus, at the direction of Gandalf the Grey, the Rangers of the North undertake the duty to protect both Bree and Bree-land, though few Bree-landers realise it and most distrust any Ranger they see.

All four villages of Bree-land are described in some detail, though only Bree is given a map of its own. Understandably, The Prancing Pony, perhaps the most famous inn in all of Middle Earth is described in detail, as the owner, Barnabus Butterbur—the forgetful Barliman is his son—and full plans of the building are provided as is a table of encounters. The Prancing Pony is likely to be the focal point of most of the Player Characters when in Bree, but the supplement suggests several new activities which members of a Fellowship can conduct during the Fellowship Phase. The first is Opening Bree as a Sanctuary—though Bree is so small that the Fellowship will need to earn the trust of Bree’s important personalities and of the Rangers, and become regulars at The Prancing Pony. The others include Guard the East Road, Building the Refuge at Girdley Island—the latter to better support Ranger missions in the area; Write a Letter—this needs to be delivered, but can inform the recipient of the author’s arrival, ask for aid, arrange a meeting, and more; have a Chance-Meeting in the Inn; and more.

Bree adds one new Heroic Culture and makes alterations to a second. The former is Men of Bree, which enables players to create characters from Bree-land with one of six Backgrounds, as per other Heroic Cultures in The One Ring. They include a character having been away to the Blue Mountains as a caravan guard, serving as a Gate-warden, and having become aware of the presence of the Rangers in and around Bree-land. The Heroic Culture captures the sheltered nature and upbringing of the Bree-landers. For Bree-Hobbits, the supplement mixes elements of the Men of Bree and Hobbit of the Shire Heroic Cultures.

Although there are suggestions as to adventuring in and around Bree, the supplement comes with three scenarios which take place over the course of two to three years. They can take place in any year, but the supplement suggests that the first, ‘Old Bones and Skin’ takes place in the autumn of 2950, then the second, ‘Strange Men, Strange Roads’, the summer of 2951, and the third, ‘Holed Up in Staddle’, in the autumn of 2951. The scenarios could be run separately, but really work together as a trilogy which forms a mini-campaign. Each is nicely set up with an explanation as to when, where, what, why, and who before breaking the scenario down into easy parts. All three scenarios are relatively lengthy, and should take two to three sessions to complete.

The first scenario is ‘Old Bones and Skin’, which is in part inspired by a song by Sam Gamgee. It opens amidst a scandal, young Tomas Heatherton having failed to attend his uncle’s funeral, but the discussion of scandal is interrupted when the young man rushes into The Prancing Pony, white as a sheet and blathering about a ghost in the graveyard! This is the opportunity for the Player Characters to strike out as heroes for the first time, and lengthy investigation of the graveyard reveals a more corporeal threat—an old Troll! Chasing the Old Troll across the South Downs is a challenging task, but success leads to a trove of treasure—using the rules for treasure from the Rivendell supplement—and revelation of family secrets. These family secrets tie into the plot behind the trilogy, whilst the adventure will see the Player Characters first make a name for themselves. Although the Player Characters will find themselves going up hill and down dale, this adventure is a bit of a romp, in turns exciting and scary, and mysterious.

The second scenario, ‘Strange Men, Strange Roads’ requires a little bit of a set-up, but this gets the Player Characters their first assignment—meet a contact at the Forsaken Inn, a disreputable and unwelcoming stop further along on the East Road. Unfortunately, the contact is found dead and the most likely culprits are amongst a trade caravan heading back to Bree and beyond. Investigating a trade caravan on the move is a challenge and will require a mix of stealth and guile. The Loremaster has a good cast of NPCs to portray—perhaps slightly too many for the Loremaster new to roleplaying—and even as a murder mystery set in Middle Earth, the scenario has echoes of Film Noir. There are some pleasing encounters along the way, not all of them dangerous, and not all of them casting the villains as truly black-hearted. It should all come to a head in the corridors of The Prancing Pony and present the Player Characters with a moral dilemma. If there is an issue with the scenario it is perhaps that the events it sets up happen off screen. Now these could be played out, but would require more experienced Player Characters and the Loremaster to design the situation to be played out. Otherwise, this is another good scenario, one which brings the darkness to found beyond the borders of Bree to within its thick hedge.

The third scenario, ‘Holed Up in Staddle’ takes place entirely in Bree-land and in bringing the trilogy of scenarios in Bree to close, also brings the consequences of the first two scenarios to head as well. The Player Characters come to the aid of the Rangers in tracking down some of the villains, but despite the aid of a notable figure in the area, lose track of them. With no further leads, the Player Characters are forced to return to Bree. There rumour spreads that one of the richer families of Hobbits in nearby Staddle is acting out of the ordinary, its members having become more reclusive and insular than is the norm. Ideally, Player Characters will follow up on this and ferret out an idea or two as what might be going on. The finale of the scenario and the campaign will see them launch an attack on a Hobbit hole! Which will be a challenge for anyone not Hobbit-sized. The scenario is decent enough, but not as satisfying as the first two and it does feel like the authors are in a hurry to get to its climax and that of the campaign.

Overall, the campaign should ready the Player Characters for adventuring in the wider world beyond the borders of Bree-land. The three scenarios are sophisticated and deep and rich, and involve a good mix of tasks and challenges—physical, social, and combat. The campaign has more of a self-contained feel to it, being confined to one small area, but this more readily allows the Loremaster and her players to bring this smaller part of Middle Earth to life and to have the Player Characters invest themselves in it and in protecting it, likely to open up Bree as their first Sanctuary. One thing that the Loremaster will need to do is prepare a list of NPC names for inhabitants of Bree-land that the Player Characters might run into in any one of the villages and thereabouts, as well as for nefarious ne’er-do-wells—like certain members of the Ferny family—and strangers who might take an interest in their activities.

Physically, Bree is a relatively slim book by the standards of supplements for The One Ring. It is a pretty book, done in earthy tones throughout that give it a homely feel that befits the setting of Middle Earth. The illustrations are excellent, the cartography decent, and the writing is clear and easy to understand. It even comes with a good index.

Bree nicely fits onto the realm of Eriador as an expansion to or lead into Rivendell and Ruins of the North, as much danger and mystery as there is presented—and that danger is very well-presented and explained in Bree—there is ultimately a pleasing cosiness and homeliness to both the supplement and the area it describes. Bree is a charming introductory setting for The One Ring and a fantastic stepping stone onto exploring the wider Middle Earth.

It's been a bit since I did a Friday Night Videos, but maybe it's the dark of winter that has my mood looking to some new music from some of my favorite women-fronted bands.  And while we are at it let's make this a #FollowFriday too!  Follow them all and don't forget to buy their songs, albums, or whatever they have.  People have been saying "we don't need artists during this quarantine" and to that I say bullshit!  Artists have kept me living in all of this.  We need them more than ever.

Let's get into it!

Up first is a favorite of The Other Side, Arden Leigh.

Arden fronted the band Arden and the Wolves. Now she has a new project she is doing Prospertine. Which consists of her and Jeremy Bastard.  Their first single is Home.

You can follow her, The Wolves, and Prospertine on the web at:

Arden

• https://twitter.com/itsmeardenleigh
• https://www.instagram.com/itsmeardenleigh/
• https://www.youtube.com/channel/UCvfd_lTJAhNmiGzmvV6hI_A

Arden and the wolves

• https://twitter.com/ArdenWolves
• https://www.instagram.com/ardenandthewolves/

Prospertine

• https://twitter.com/ProspertineX
• https://www.instagram.com/prospertinemusic/

Another favorite here is the sister group Neoni.  Their newest song Notorious is now out.  It has a serious Lorde vibe and I mean that is the best possible way.

Neoni also gave Fandom the gift of covering "Carry On (Wayward Son)" for the Supernatural Series Finale.  For this alone they have earned a solid place in geekdom.

You can find and follow Neoni at:

• https://twitter.com/WeAreNeoni
• https://www.instagram.com/weareneoni/
• https://www.youtube.com/channel/UCQJ-a2IzCJ-gwlHvqvOWGhw

Taylor Momsen of The Pretty Reckless has been putting out some great music for while now.  Their newest album, Death by Rock and Roll has a lot of great songs on it. Personal, Taylor is getting better with each album and I have to admit I am pleased she quit acting to do this full time.

Witches Burn grabbed my attention right away.

It's going to be interesting to see where she is in a few years because I think she is just getting better with each album.

Find The Pretty Reckless here:

• https://twitter.com/taylormomsen
• https://www.instagram.com/theprettyreckless/
• https://www.youtube.com/channel/UCrrhJmM3H7eyxrevc4lpRIw

Speaking of getting better.

Confession time.  When they first came out I really didn't care for Evanescence.  I mean I recognized that Amy Lee had a powerful voice, but they never connected with me really.  Fast forward a few years and I am listening to her doing duets and singing background on other artists' songs and I am just impressed with her.  I think she is a better singer now than she was 20 years ago. Here is Evanescence's most recent one and as a bonus Lzzy Hale is singing backup. 

You can find Evanescence on the web here:

• https://twitter.com/evanescence
• https://evanescencestore.com/
• https://www.instagram.com/evanescenceofficial/
• https://www.youtube.com/channel/UCJeH7gl6PbDVV4DTldIOPOA

Check them all out!

Published in 2014, Colt Express is a super fun game of bandits raiding a train in the Wild West, which would go to be the 2015 Spiel des Jahres Winner. From one round to the next, each player programs the actions of bandit and then at end of each round, these actions are played out in order, and as each action happens, the bandits aboard the train interact with each other, plans go awry, and chaos ensues! The fact that this takes place aboard a cardboard model of a train that sits on the table in front of the players and they get to program their bandits’ maneuvres up and down and along the train, only serves to make the game more entertaining. In the years since, Colt Express has been supported by a handful of expansions, such as Colt Express: Horses & Stagecoach, including even a Delorean! However, as good as it looks and as fun as it is to play, Colt Express is at its best when there are players sat round the table and all six bandits are involved, and a game can devolve into maximum chaos and in the space of thirty minutes or so, tales of how each bandit successfully—or unsuccessfully robbed the Colt Express. So, what do you do if there are fewer than six players? Five players is fine, four maybe… With fewer players how do you back up to that maximum fun? Well, publisher Ludonaute has a solution—the Colt Express Bandits series.

The Colt Express Bandits series consists of not one expansion, but six. One for each of the six bandits in Colt Express— Belle, Cheyenne, Django, Doc, Ghost, and Tuco. Each expansion replaces its particular bandit in the game, but not when the bandit is being played by a player. Rather an expansion takes the place of a bandit who is not being controlled by a player and hands that control to the game itself. Each Colt Express: Bandits expansion adds new deck of eight Action cards which will control the bandit from one turn to the next and two special moves or effects.

So, what can each bandit do?

In Colt Express, with a “Liddle ol’ me?”, Belle cannot be targeted by a Fire or Punch action if another Bandit can be targeted instead. In Colt Express Bandits – Belle, her Action cards consist of Move—always towards where there is the most jewels to be picked; Punch—everyone in the same carriage and always towards the back of the train!; Theft—steal a Jewel from every Bandit in the same carriage; Robbery—jewels if she can; and Charm—make all of the Bandits aboard the train move towards her. Lastly, when she encounters the Marshal, she charms him into not shooting her! Belle is all about using her charm to steal as many jewels as she possibly can.

In Colt Express, Cheyenne is a pickpocket and when she punches a Bandit, also steals a Purse from her victim. In Colt Express Bandits – Cheyenne, her Action cards consist of a Double Move—two carriages if in the train or four if on the roof, or a Single Move—one carriage if in the train or two if on the roof, and always towards the most Bandits, after which she pickpockets a Purse from a random Bandit in her new location. She also a Bow Attack which replaces her pistol attack, enabling her to fire poisoned arrows at her rivals. These are treated like bullets as in the standard game and clog up a Bandit’s Action Deck. A poisoned Bandit must grab one of the Antidotes—to be found throughout the train—to be consumed per Poisoned Arrow taken. A Bandit who has suffered one or more Poisoned Arrows cannot win the game. Thus, Cheyenne is all about stealing Purses from her rival Bandits and preventing them from winning with her Poisoned Arrows. 

In Colt Express, Django is a crackshot and when he shoots another Bandit, he or she is knocked into the next carriage. In Colt Express Bandits – Django, he still has that capability, but here he fires a volley, the bullets hitting the nearest group of Bandits rather than a single Bandit! In addition, at the beginning of the game, each other Bandit receives two Ejection tokens, and at the beginning of each turn, Django places a Dynamite token in the carriage he is currently in if it does not have one. When the Explosion Action card is draw, all of the Bandits caught in the explosions are ejected from the train and must use their next action to reboard the train. Any Bandit ejected from the train in this fashion must give one of their Ejection tokens to Django and these are worth money at the end of the game. Django then, is also about using brute force, with a big gun or a big bang to drive everyone off the train and enable him to scoop up the loot.

In Colt Express, Doc is in smartest Bandit and always starts each round with seven Action cards rather than six like everyone else. In Colt Express Bandits – Doc gets to be cleverer too. First the Bandit who shoots or punches Doc earns his respect and his Respect card, allowing that Bandit’s Player to control Doc until another Bandit shoots or punches Doc. Doc also shoots special bullets which deny the shot Bandit particular actions, such as Fire, Floor Change, Punch, or Move, depending on the card. Doc also sets up a Poker Game, which forces every Bandit with loot to participate by contributing one of their already purloined loot, with Doc adding one from his stake. The player controlling Doc gets to redistribute this loot, Doc receiving two, and everyone else one bar a single Bandit who gets nothing. This is a slightly fiddly, slightly more complex expansion, the player controlling Doc getting to feather his Bandit’s own nest whilst ensuring his rival Bandits, including Doc does not receive as much.

In Colt Express, Ghost is the sneakiest of the Bandits and can place his first Action card face down into the common deck rather face up as is standard. In Colt Express Bandits – Ghost, he is after the Special Suitcase which replaces the Strongbox which begins play in the locomotive, guarded by Marshal. Any Moves he makes is always towards the Special Suitcase, but he also has combined action which enable him to do a Floor Change and then Fire, and his Fire and Punch actions affect every Bandit in the same carriage. Ghost is all about obtaining the Special Suitcase and will win the game if he has at game’s end, so when Ghost is in play, the game becomes about denying him the Special Suitcase as much as it is stealing as much loot as possible.

In Colt Express, Tuco can shoot up or down through the roof of the carriage he is, targeting a Bandit who is on the roof if he is in the carriage or a Bandit who is in the carriage if Tuco is on the roof. In Colt Express Bandits – Tuco, he can still do that. When he takes a Move Action, it is always towards the largest group of Bandits and as with other Bandits, his Punch and Shoot attacks affect multiple Bandits in or on the same Carriage. Tuco’s double-barrelled shotgun fires more bullets though and although Tuco cannot win by expending all of his bullets, he gets extra bullets and receives loot for each bullet fired. In addition, Tuco can swap places with the Marshal and if another Bandit forces Tuco to be in the same carriage as the Marshal, the offending Bandit receives a Wanted token. Each Wanted token adds to a Bandit’s final score, including Tuco’s. So Tuco wants to avoid the Marshal if he can because he is wanted and rival Bandits want to get Tuco and the Marshal together.

Set-up is simple enough. The Action deck for each Colt Express: Bandits expansion is placed to the right of the first player. Between the first player’s action and the second player’s action, one card is drawn randomly from the Bandit’s Action deck and added to the common deck which will be resolved at the end of the round. Each of the Bandits in the Colt Express Bandits series can be shot by his or her rival Bandits and when shot three times, he or she loses her next action.  Each also has his or her own winning conditions. Belle wins by having the most jewels at the end of the game. In which case all of the actual players and their Bandits lose! Cheyenne wins by being the richest of the Bandits at the end of the game who has not been poisoned. Django wins the game immediately if he gets all of the Ejection Tokens—essentially if every other Bandit is blown or shot from the train twice! He can also win by being the richest Bandit. Doc wins by having the most loot. Ghost wins by having the Special Suitcase at the end of the game or having the most loot. Tuco wins by having the most loot.

What is interesting is that elements of the Colt Express Bandits could be incorporated into the main game. So Belle could use her charm on the Marshal, Cheyenne could use her Poisoned Arrows, Django could seed the train with Dynamite and set off the explosions, Doc could play the Poker game, Ghost by possessing his Special Suitcase, and Tuco by avoiding the Marshal. However, they are not necessarily designed for that and they are not designed as written to be used as more than one entry in the Colt Express: Bandits expansion at a time. This is not to say that an enterprising group could do that, or even an enterprising player, with the latter actually controlling his own Bandit, whilst the game controls the rest. This would make it fairly complex in working out what happens and when, but if the players are methodical about it, then it should not necessarily be an issue.

Physically, each entry in the Colt Express: Bandits series is well done. The cards are the same quality as those found in Colt Express, the tokens are on thick cardboard, and the little rules leaflet—print in French and English is generally easy to read. However, the English translation is not quite as smooth as it could have been and it could have done with another edit.

Each of six entries in the Colt Express: Bandits series is, to varying degrees, interesting and engaging, and brings out more character from each of the Bandits. The owner of the game is free to pick and choose which of them he wants to, but the likelihood is that he will want all of them, to give him and his gaming group the option to play the Bandits that they want and still have the equivalent of six Bandits in the game. However, this does feel like an expensive option, when perhaps all six expansions could have been collected into the one box (that said, all six expansions in the series will fit the box for Colt Express) and then expanded perhaps with advice on using them for solo play—that is, one player Bandit and five game-controlled bandits and how they might interact. Or on adding the abilities given in this series to the standard play of the Bandits with any of the entries in the Colt Express: Bandits series. As it is, a gaming group, and possibly a single player will have to find that out for themselves how the entries in the series for themselves.

Colt Express is still a great game and the Colt Express: Bandits series adds further flavour and character to each of the Bandits in play. Some options are more complex than others, but overall, adding one or two of these to game should keep the game play fun and add a little challenge and chaos at the same time.

TSR's minigamesLast week I discussed how I saw Warlocks & Warriors as something of a "larger" minigame and thematically fitting in with Holmes Basic.   Today I want to fast forward to 1980-81 and talk a little bit about TSR's minigames.

I do not own all of these games, nor am I planning to hunt them all down. My FLGS has a few of them but I have other things on my list to find and buy first.  That being said having them all would be kind of fun.

There were eight total games and I own the first four, the same four that appeared in the 1981 Gateway to Adventure catalog.  The links below take you to their Board Game Geek pages.

Vampyre, my first one. This is for 2-6 players. Players hunt the minions of Dracula in an attempt to find and destroy his coffins.  There is a "wilderness" map and a map of Castle Dracula. Designed by Philip A. Shreffler. Art by Erol Otus.

Revolt on Antares. This game is for 2-4 players and is a "Sword and Planet" style adventure with three modes of play. Typical this boils down to the Terran Empire being the antagonists, protagonists, or neutral. Designed by Tom Moldvay and art by Bill Willingham and Erol Otus. Black Dougal makes an appearance here as well. Also listed for art are Jeff Dee (cover), David LaForce, and Jim Roslof

They've Invaded Pleasantville. For 2 players, a "Town" player and an "Alien" player.  Aliens have invaded Pleasantville as part of their global takeover plan. The town player must either stop or kill the alien sub-commander "Zebu-Lon" (wait a minute...) or get more than half of the townsfolk back to normal.  Designed by Michael Price with art by Erol Otus, Jeff Dee, David LaForce, Jim Roslof, and Bill Willingham.

SAGA. For 2-6 players. Players amass treasure, lands, and glory. The one that has the most glory at the end of 20 rounds wins. Designed by Steve Marsh with art by Erol Otus, Jeff Dee, David LaForce, Jim Roslof, and Bill Willingham.  Willingham's cover is one of the best and this also features some great Erol Otus art. 

Other minigames include Attack Force, Icebergs, Remember the Alamo and Viking Gods. I don't own these games, but their production values seem a touch higher than the first four. 

Minigames, the Gateway to Adventure!

All the games feature a 16-page booklet with black and white art and a fold-out map.  Sometimes full color (Saga, Pleasantville, Antares) or two-color (Vampyre).  Vampyre is also the only one with the maps printed on both sides.  Each game also came with counters and two d6s. 

They are all certainly playable and fun on their own.  I had a lot of fun with Vampyre back in the day. But that is not why we are here today.  No today I am going to dip a toe a little bit into my Traveller Envy and mix these with my current D&D games.   Let me start out with my old favorite and one I have used as an adventure in the past.

Minigames as B/X Adventures

There is a lot to love about these little games.  The Souvenir font really hits that nostalgia button hard for fans of the Moldvay/Cook Basic and Expert sets. Not to mention some of the best-looking Erol Otus art.   This troll not only belongs in D&D, but he is BEGGING to be in D&D.

Erol Otus Troll from SAGA

Maybe it is the font, maybe it is the art but when I got these games the first thing I wanted to do was play them as part of my D&D games.  Of course, back then that meant Basic and Expert D&D.  Some of it also came from the desire to get the most out of my purchase with my limited paper route money.

Vampyre

My first minigame.  Now I am a HUGE Dracula and vampire fan so when I got the Cook/Marsh Expert Set and saw that there were vampires in it my first thoughts went to vampire hunts.  My first character was a cleric for this very reason.  The game Vampyre is set during the events of the novel Dracula with the same (or rather similar) characters.  So set in the 1890s. Since Ravenloft Masque of the Red Death was still a decade and a half away, I converted this to a simple Expert D&D monster hunt.   If I were to redo it I'd up the threat of Dracula.  In Expert, I made him a Greater Vampire. 

Vampire chic, circa 1981

The dual map, a "wilderness" and a "dungeon" again BEG to be used in the Expert game. The parallels between this game and the Ravenloft adventure. No surprise since both draw from the exact same source materials.  The trick the next time I use this is to make it less like Ravenloft.

SAGA

This is the next piece of "low hanging fruit."  Like Dungeon! the connections to D&D are obvious here.  SAGA has heroes fighting monsters, exploring, gaining treasure. Sounds D&D like to me! There is a nice little Risk-like map of the Viking world. This includes all of England, Denmark, and some of Sweden, Norway, and Ireland.  The map also had "Thule" about in the place where Iceland would be expected (and to the map's odd scale).  The map is also just great to look at. 

Outside of the troll featured above the monsters include Dragons, Drow (not just dark elves), Ghosts, Giants, and Witches!  I am happy to see that witches are the next more dangerous creature after dragons.  The game has some fun spells and magical runes with simple effects and some named magical swords. 

While there are no dungeons in this game it is full of ideas. 

This got me thinking about how Vampyre and SAGA could work together.  In SAGA you travel from mainland Europe to England for treasure and glory.  In Dracula, the last act is the heroes traveling from England back to mainland Europe to hunt the monster.   Maybe with something like Draugr & Draculas as the connective tissue the mini-campaign can be changed from one of just glory to one of monster hunting across the continent to stop the master vampire. Call it Vampyre Saga.  Hmm. That sounds a little bit like a supernatural teen show on the CW.  I'll play with it a bit.

The next two are a little hard to fit in.

They Invaded Pleasantville

The premise of this game is great and recalls 50s alien invasion movies. But as Carl Sagan pointed out in The Demon-Haunted World today's alien abductions were yesteryear's demon possessions.  So swap out the aliens for demons and now this sleepy Midwestern town is a village in the Realms where demons are running rampant.  Stop the Alien Sub-CommanderDemonic Lord.

Revolt on Antares

This game is a fun Sword & Planet game, but remove it from it's setting it is a fairly generic "Us vs. Them" game of rebellion and oppressors.  Sure there are a lot of ways I could use this, but it gets it further and further away from its basic premise.  Maybe it would make for a good Star Frontiers game.

In any case, there is a lot more fun to be had here. 

I was debating on whether or not to remark to the latest (and maybe the last) of the ongoing drama with Joss Whedon, but I think at least a summary and retrospective might be in order.  Besides one of the reasons of for the existence of this blog was due to the earlier incarnation of The Other Side getting hacked all the time by Whedon fanboys because they did not like my message then.  So. Here we are nearly 20 years later.

First, let's start with the most recent news.  On February 10th Charisma Carpenter took to Twitter to talk about how she had been treated by Whedon while filming her last season of Angel.  While widely known to many people in the fan community at the time, this tweet was a revelation to many.  Among the other issues were asking her if she would get an abortion to accommodate the Angel shooting schedule and storyline.  What followed was a tsunami of posts from fellow actors and people associated with Buffy, Angel, and Firefly. 

• Charisma's Tweet (2/10)
• Amber's Tweet (2/10)
• Clare Kramer's Tweet (2/10)
• Ray Fisher's response (2/10)
• Christopher Golden (2/10)
• Sarah Michelle Gellar's Instagram post (2/11)
• Michelle Trachtenberg's response to SMG with more details (2/11)
• Anthony Head (2/11)
• Eliza Dushku (2/11)
• J. August Richards (2/11)
• James C. Leary (2/11)
• James Marsters (2/11)
• Jose Molina (Firefly writer) (2/11)
• Marti Noxon (2/12)
• David Boreanaz (2/14). He also mentions that he has sent her his support in private.
• Julie Benz (2/14)

This has all lead to the #IStandWithCharismaCarpenter hashtag to trend.

The question that some are asking is why is this all trending now versus 18 years ago? Or why are the actors all coming out now as opposed to then?

Well, keep in mind that a lot of the actors and people involved DID come out with these allegations.  I remember talking online about it at the time, in particular, Charisma Carpenter's firing because she got pregnant (which is illegal by the way).  What is different?

First, the actors above have the advantage of a more robust social media infrastructure.  They can get their message out to more, quicker.  Cases in point all the Tweets and Instagram posts above.

Second, there was the MeToo movement which shifted the lens of belief from the auteurs to the actresses.  There are countless stories of Kubrick, Hitchcock, and of course Weinstein but that all changed in the last few years when such behavior would no longer be tolerated.  This gave Ray Fisher a chance to speak out about how he was treated on the set of Justice League.  Cases in point were the comments made by Kai Cole, Whedon's ex-wife on The Wrap.  This was also one of the reasons that Stunt Coordinator Jeff Pruitt And Stuntwoman Sophia Crawford shared their story yet again and that James Marsters felt he could share his story as well.

I mentioned Jeff Pruitt and Sophia Crawford above with a "yet again" they shared this story before. Back in 2000.  It was detailed by Jeff, quasi-anonymously, in his "The Parabal (sic) of a Knight."  He is the Knight, Sophia is the Handmaiden and the Young Prince who becomes King is Whedon. It is also fairly negative to SMG, but that is not what I talking about today.  While he had to hide this in a story, the Buffy fandom at the time dismissed all of Jeff's and Sophia's claims.  It only took 20 years before the fandom took them at their word.

Related to that is my third point. The fandom that revered and protect Whedon is largely gone.  Back in 2003 or so, Whedon was on the top of his world.  Any complaint would have been drowned out by the screaming fans that worshipped him. Case in point. Anytime I would post something to my older version of The Other Side my host would get attacked.  It got so bad that between 2005 to 2009 there was no "Other Side" on the web.  I created this blog since I figured Blogspot/Google would be better protected. Of course by that time I had decided to move on. 

People talk about "toxic fandom" and how it can be directed in a negative way at creators.  One facet they don't mention is how un-checked praise and even worship of creators can also be damaging to others that are trying to warn us about those creatives.  Woody Hall, Harvey Weinstein, Stanley Kubrick, Quentin Tarantino, and yes Whedon all built their cult of personality and auteur status.  These same cults also shielded them from scrutiny.

The "Big Question" everyone is asking is "Why now?"

As I mentioned above the climate has changed.  These actors are no longer in a place where Whedon can damage their career.  They have moved on to other things. Charisma has roles, SMG is living the stay-at-home mom dream she has always wanted (and her husband Freddie Prinze Jr. is doing great), Amber has books out and has been behind the camera more than in front of it.  So the control he once had on their lives is not there.  The fan network has largely gone away as well.

Also, and this can not be stated too many times, other people do not have to conform to your timeline of healing.  Michelle Trachtenberg said it took her years to even come to terms with it.  Eliza Dushku only talked about the sexual abuse she suffered at age 12 three years ago. Michelle Trachtenberg mentions that it took her till she was a woman of 35 to deal with things that happened to her as a teenager of 15. I know others he has been involved with as well. The gaslighting he has done to them still bothers (enrages) them.  You don't get to dictate how others heal.

The question also comes up of why didn't others speak up or stop it.  Well, I think I covered that, the ones that did were blacklisted and deemed "difficult to work with."  You also have actors like Anthony Head and Amy Acker that said they did not see this abuse but support the others all the same.   Again, it can't be said too many times but abusers work by targeting those they know they can abuse and get away with it.  Bullies always pick on those weaker than themselves.  In terms of the power structure, everyone was weaker than the Grand Auteur.

Back in the early 90s I had a job at a head injury facility. I was a Qualified Mental Health Professional for the State of Illinois. I took the job because my own research was on cognitive development.  The job was so depressing. I would call my girlfriend every night after my night shift (she was living 300 miles away at the time; its ok though we got married in the end) complaining about how awful it was.  Not the staff, they were great, it's just the despair.  She asked me many times why I don't just quit.  I couldn't. Apart from needing this on CV for my Ph.D. program, I also needed to eat, pay rent, and have a job that a working grad student could do at night.  I couldn't just leave. Neither could these actors, and I didn't have a contract holding me in a place like they did. 

The Second Big Question is, for me, Why do I even care?

Over the years through my work on the Buffy, Angel, and Ghosts of Albion RPGs I have gotten to know a few of the people involved here. They are good people. In the years following, I have been able to get to know more. They are also good people.  They deserved a lot better than what they were given.

I guess really it is no surprise when given the chance to do my own versions of the Buffy-verse the people that made it over were "played" by Charisma, Amber, Michelle, Eliza, and also  Alyssa Milano and Rose McGowan.

Truthfully the only answer one needs to give to a question of "Why should you care?" is "Because what happened was wrong."

Andrew Nette / February 17, 2021

In a June 2017 article in Fortean Times, the British magazine concerned with strange and paranormal phenomena, writer and broadcaster Bob Fischer discussed how the sensation of not being exactly sure what you were watching on television, or not being able to recall the details with any precision, was a common experience in relation to consuming visual culture in the 1960s and 1970s, before the advent of streaming, DVD, and VHS. This sense of “lostness”—of incomplete and unverifiable experience—is also what makes these memories such powerful nostalgia prompts.

The television viewing experience that most encapsulates this sense of lostness for me is a little-known, American-backed, Australian-made horror anthology series, The Evil Touch, that debuted on Sydney screens in June 1973 and in Melbourne a month later. Largely forgotten now, American critic John Kenneth Muir referred to the show in his 2001 book, Terror Television: American Series 1970-1999, as the “horror anthology that slipped through the cracks of time.” The Evil Touch has never had an official DVD release, although poor quality versions of some episodes can be found online, or as bootleg editions originally copied from television on VHS. It is not even known who now owns the rights. But the program was significant in many ways.

From the late 1950s to the early 1960s, Australian television programming was dominated by cheap to purchase overseas productions, mainly from the United States. While the balance started to shift starting in the mid-1960s, when demands for more Australian-made content grew louder, American product still dominated, and few Australian shows were sold overseas. The only Australian-made television show sold to the United States during this time that I am aware of is The Evil Touch. Produced in Sydney specifically for the American market, it was shot in color on 16mm film at a time when local television was still black and white; the first color broadcasts in Australia did not occur until 1974, and color did not roll out nationally until 1975.

The Evil Touch was also unusual for being the only locally produced entry in the once highly popular canon of horror anthology television. The anthology horror format, in which each episode is a different story with a new set of characters, originated in the 1950s, increased in popularity in the 1960s with programs such as The Outer Limits (1963-1965) and Rod Serling’s The Twilight Zone (1959 to 1964), and peaked in the 1970s. Debuting in 1970, Serling’s Night Gallery, a series of one-off stories with macabre and supernatural plots, was the beginning of modern horror television. Numerous shows followed in America, and anthology horror also proved popular in Great Britain, most notably the 1976 series Beasts, written by Nigel Kneale (who had scripted earlier science fiction television series and films featuring the scientist Bernard Quatermass), consisting of six self-contained episodes, each with a recurring theme of bestial horror.

The central figure behind The Evil Touch was silver-haired expatriate American television director and producer Mende Brown. Brown formulated the idea for the series, produced all 26 episodes, and directed 15. According to his 2002 obituary in Variety, he was born in New York, started in radio after World War II, and his first directing credit was a 1953 episode of the popular radio show Inner Sanctum Mystery, produced by his brother Himan. Working in film and television throughout the ‘50s, his first feature directing job was The Clown and the Kids in 1967, noteworthy for being shot entirely on location behind the then Iron Curtain in Bulgaria, with the cooperation of the country’s state film body.

Variety’s obituary dates Brown’s move to Australia as 1971, but other sources suggest he arrived in 1970. Either way, he soon set up his own company, Amalgamated Pictures Australasia, operating out of an office in Sydney’s then vice quarter Kings Cross, which at the time also played host to a large number of American service personnel on R&R during the Vietnam War. From this base of operations, Brown oversaw a number of projects prior to The Evil Touch. He directed and produced Strange Holiday (1970), based on Jules Verne’s 1887 novel A Long Vacation, and Little Jungle Boy (1971), a made-for-television children’s film shot in Singapore. In 1973, Brown also wrote and produced And Millions Will Die. Made in Hong Kong, the story pitted popular American television actor Richard Basehart, best known for playing Admiral Harriman Nelson in the science-fiction adventure television series Voyage to the Bottom of the Sea (1964-1968), as a secret agent battling a Nazi germ warfare expert who threatens to unleash a lethal gas on the British territory. 

The Australian Women’s Weekly described Brown as “An American TV producer and director who has decided that Australia is a good place to make films.” Emanuel L. Wolf, president and chair of Allied Artists Picture Corporation, which backed The Evil Touch to the tune of A$250,000, put it more bluntly when he visited Sydney to discuss possible film and television deals in August 1972. He told journalists there was a great advantage to making films in Australia because the costs were substantially lower, and the work restrictions were considerably less than those enforced by entertainment unions in America. At the cost of A$30,000-40,000 per episode, The Evil Touch was a glamorous, big budget affair by local standards, and a host of American television/film actors travelled down under to star in, and sometimes direct, episodes. “Never has Australia been so inundated with so many top name American movie stars,” declared the Australian magazine TV Week on August 4, 1973. In reality, most of these individuals were long past the peak of their careers; but in Australia, which was only just developing a domestic film industry of its own, they remained big names due to the continuing proliferation of American shows on local television. Many of them were also desperate for work, given the economic difficulties facing the American film and television industry in the early 1970s. “American actors are happy to come here, both for the money and the work,” Brown told a press conference to announce The Evil Touch in Sydney in October 1971. “They’re delighted to work anywhere they can get it.”

Brown milked the publicity generated by his overseas cast for all it was worth. Australian magazine and newspaper coverage from the time records a steady drum beat of fascination with visiting stars: Leslie Neilson; veteran actor Leif Erickson, familiar to Australian audiences as a cast member of the TV western High Chaparral (1967-71); Ray Walston, known as the Martian in My Favorite Martian (1963-66); and Vic Morrow, star of Combat (1962-1967). Others included Darren McGavin, US child model turned actress Carol Lynley, Susan Strasberg, Robert Lansing from Gunsmoke (1965-1969), and Julie Harris, whose career stretched back to the late 1940s and included a role in Robert Wise’s eerie 1963 ghost film The Haunting.

One lesser-known international actor to feature in The Evil Touch was Mel Welles. After appearing in television series and B movies in the US in the 1950s, Welles spent much of the 1960s in Europe, where his directing credits included the now infamous 1971 Italian horror Lady Frankenstein, a weird exploitation riff on Mary Shelley’s 1818 Gothic novel. The early 1970s saw him in Japan for a small role in a local science fiction action series, after which he found himself in Australia, where he appeared in one episode of The Evil Touch, “Wings of Death,” about an Australian family whose son disappears while they are travelling in an unspecified Latin American country. Welles plays a sleazy cop who heads up the local death cult that, unknown to the parents, has kidnapped the child. Having discharged his obligations to Brown, Welles spent his time organizing the only Australian showing of Lady Frankenstein, at Kings Cross’s Metro Cinema. To accompany this, he organized a live stage show titled “Orgy of Evil,” a self-styled history of nudity, violence, and torture. An advertisement in the Sydney Morning Herald in July 1973 billed the show as “A live stage presentation of evil, terror and horror beyond the mortal imagination.” It reportedly cost a fortune to mount, attracted the unwelcome attention of the city’s vice squad, and closed after only a week, at which point Welles fled the country.

In addition to American acting talent, American writers penned all but three The Evil Touch scripts. One of those writers was Sylvester Stallone, who was then trying to break into Hollywood. According to IMDb, he scored his first writing credit on an episode of the show under the pseudonym “Q Moonblood.” The US-centric nature of the show landed Brown into trouble with local entertainment unions, who threatened an international campaign against The Evil Touch. Brown was forced into negotiations, Variety reporting in early 1973 that his company reached an “entirely equitable agreement… Basically that is that one American star can be imported for each episode, with one Australian player to be co-starred and others featured.” As a result, the show played host to a plethora of local actors who went on to become major names in home-grown film and television.

The Evil Touch screened throughout America in late 1972 and, according to Variety, rated well. Australian viewers were far less taken with the show, however, and it lasted only a few episodes on Channel 9 before being dropped from the schedule. Heavy-handed censorship meant that horror was not a genre with particularly deep roots in local television or film, so audiences were possibly unaccustomed to it. Yet in Australia, as elsewhere, the 1970s were the era when Erich von Däniken’s Chariots of the Gods? was a staple of many bookshelves, when the occult became a suburban preoccupation, and when mysteries such as the Bermuda Triangle, UFOs, and the Loch Ness Monster were popular tabloid fodder. As such, The Evil Touch’s lack of success probably had more to do with its main competitor, the soap opera Number 96, which screened at the same time on rival Channel 0 (now 10). This featured the salacious goings on in an inner-Sydney block of flats, complete with ground-breaking television depictions of nudity and sex, including Australian television’s first gay kiss.

The Evil Touch continued to turn up regularly on late night television in Australia throughout the 1970s and 1980s, when I am fairly sure I saw my first episode, most likely left unsupervised with the television in someone’s den during one of the many boozy dinner parties my parents attended. The few grainy episodes I caught haunted me for years, even though I wasn’t exactly sure what I had seen. Indeed, until I started researching the show for a film festival presentation in 2016 and found some old episodes on YouTube, my memories of The Evil Touch were so blurred and uncertain, I wondered whether I’d just imagined it.

The one image I always remembered from The Evil Touch was its prologue. Each 25-minute episode followed the basic structure and tropes of 1970s anthology horror television. This included a mysterious host, in The Evil Touch’s case British actor Anthony Quayle. To the jazzy lounge music score of Australian composer Laurie Lewis, each episode opened with Quayle walking forward through swirling, multi-colored smoke (produced by holding a lit cigarette just below the camera) to briefly introduce the story. He would appear again at the episode’s end with some concluding remarks and an ominous farewell: “Until next week this is Anthony Quayle, reminding you there is a touch of evil in us all.” He would start to walk away, stop, and turn back and mischievously say, “Pleasant dreams.”

Host Anthony Quayle

Muir links the popularity of the anthology horror format in America in the early 1970s to several factors, which were echoed in Australia: the relaxation of censorship standards, which allowed shows to get away with more explicit horror and violence; advances in make-up and special effects; and the shift in the national mood due largely to the shocking prime-time news footage coming out of the Vietnam War. “Vietnam and Watergate were two turbulent and controversial public events which America had to digest,” he writes, “and horror television responded with a cathartic form of entertainment that acknowledged national fears yet reinforced positive values.” If there is a thematic strand running through 1960s/1970s anthology horror television, it is the sense of an otherworldly moral judge and jury operating to punish murderers, adulterers, and greedy businessmen for crimes they would otherwise get away with. The Evil Touch ran the gamut of genres, from science fiction to mystery murder tales, to horror, but nearly all the episodes utilize this punitive narrative form.

Less characteristic of the television anthology horror genre was The Evil Touch’s surreal, dream-like quality, and its deliberately non-linear storytelling style. With the exception of Quayle’s omniscient and enigmatic introductions and conclusions, the characters and events in each episode are given little context and there is usually no sense of narrative closure. The strange ambience of The Evil Touch is also the product of its generic setting, a deliberate strategy on Brown’s part to maximize its appeal to American audiences. While mostly shot in or around Sydney, landmarks and characteristics that could have been recognizable are de-identified. As TV Times put it in 1973: “The Evil Touch was made in Australia, but unless you recognize familiar faces among the bit players you might not suspect this, for by using cunning devices such as reversing film negatives, producer-director Mende Brown shows right hand drive cars belting through Sydney on the wrong side of the road.” To a local watcher, the overall effect is unnerving: Australia rendered largely anonymous for American viewers, almost a fulfilment of fears, dating back to the 1920s on the part of local left- and right-wing critics, that Australia would be subsumed by American popular culture. A particularly vocal critic was The Age’s television critic John Pinkney who, in a July 1973 column, lambasted the show’s American dominated look and feel, in particular the fact that Australian actors were required to speak with US accents. “Evil Touch conjures the Commonwealth of Oz into the status of a non-county,” he wrote.

In the aforementioned episode “Wings of Death,” outer Sydney stands in for a nameless Latin American republic. In “They,” an academic and his young son are vacationing in the Cornish countryside (most likely the cliff tops overlooking Sydney Harbour). The son gets lost on “the moors” and runs into a malevolent cult of ghostly children led by a creepy young woman, who he has already seen in his dreams. In what is undoubtedly a comment on the new forms of youth culture that were sweeping much of the world by the early 1970s, the group she leads has given up the “Old Ones”—anyone over the age of 15—and is also responsible for a string of deaths in a nearby town. “The Fans,” set in the American deep south, sees Vic Morrow as a cynical horror movie star who visits two elderly female fans as a publicity stunt. They drug him, dress him in his screen vampire persona, and imprison him in the basement of their large manor house in an attempt to drive the devil out of him. “The Trial” involves a rapacious property developer (Ray Walston) being pursued through an abandoned carnival ground (Sydney’s Luna Park) by a pack of circus freaks led by a discredited brain surgeon who lobotomizes him, in what feels like a macabre homage to Tod Browning’s 1932 horror classic Freaks.

The only episode obviously shot outside Sydney, “Kadaitcha Country,” is possibly the strongest. Leif Erikson plays a washed-up Christian preacher, who it is inferred has significant mental health issues. Given one last chance at redemption by his church, he is sent to a remote outback mission, where he clashes with an Aboriginal shaman (the “Kadaitcha Man”) who has the power to play with reality. While English spellings of the name vary (either “Kurdaitcha” or “Kurdaitcha”), it appears to refer to a type of shaman/sorcerer who lived among the Arrente people near Alice Springs in central Australia. There are also records of the term “Kadaitcha” being used to refer to Aboriginal law keepers. The episode was directed by Brown and written by Australian Ron Mclean, one of only two local writers to work on the show. The story fuses Indigenous myth (or at least a white director’s interpretation of it) with folk horror tropes in a way that would not be seen on cinema screens until Peter Weir’s The Last Wave in 1977. Not only does the episode rank as an early depiction of the clash between Indigenous spirituality and invading Christian faith, it also featured an Indigenous actor: Lindsey Roughsey, one of the traditional custodians of Mornington Island in the Gulf of Carpentaria, where the episode was filmed, played the Kadaitcha Man. This was something of a breakthrough, as it was not uncommon, well into the 1970s, to have white actors play Indigenous parts in black face.

Mende Brown would go on to produce one further film in Australia, a little-known hardboiled thriller, On the Run (1983), about an orphaned boy sent to live with his uncle (an aging Rod Taylor), who unbeknownst to the boy is a ruthless assassin. It was never released theatrically. Brown returned to the United States in 1991 and died in 2002. Episodes of The Evil Touch continued to rerun on television throughout the 1990s, from America to Japan and Malaysia, like ghostly messages relayed from a long-abandoned outpost of 1970s popular culture.

Andrew Nette is a writer of fiction and non-fiction. He can be found at www.pulpcurry.com.

Last week I talked a bit about Holmes Basic in regards to another game TSR put out in 1977, Warlocks & Warriors.  This led to a few more discussions online and some more reflection on my part.  It got me thinking about how much gamers of a certain age keep going back to Holmes.

I mean I get it, really.  There is a simplicity with Holmes that has appeal. This is not the strange mix that is OD&D or the complex rules for everything as AD&D.  It sits neatly in the middle and has a rule book that might be one of the clearest that 70s D&D has to offer.  It paved the way for Moldvay and Mentzer Basics, but it stands pretty well on it's own.

Holmes Basic and the Monster Manual

Once upon a time in the years between the Bicentennial and the dawn of the 80s was a time when the only Star Wars was "Star Wars" and home computers were just getting started there was D&D variant that I personally think a lot of people played.

For me that year was 1979.  The D&D was Holmes Basic and the Advanced D&D Monster Manual.  I, like many others, didn't care that "D&D" and "AD&D" were supposed to be different games. In fact I don't think I even knew until I got my Expert Set much later.  I mean yeah there were articles in Dragon about it, but I never saw those till much, much later.  Even then I don't think I cared.

But none of that mattered really.  Holmes Basic was likely set up as the gateway to AD&D and not really it's own line yet.  As has been discussed by others, most notably Zenopus Archives ("The Monster Manual is a Holmes Supplement." go read it), that the Monster Manual draws on Holmes for quite a lot of detail.  In particular it uses the "5" point alignment system of Holmes rather than the "9" point one of AD&D.  For example there are no Neutral Good, Neutral Evil, Lawful Neutral, or Chaotic Neutral monsters in it.  Those all don't appear until the adventures (GDQ series for example) and the Fiend Folio and Monster Manual II.

It also doesn't hurt that there are artistic similarities between these two books, not just their respective covers.

This was the central core of what was "D&D" for me.  

Looking over at the publication dates of various publications from TSR prior to 1982 you see there is a world's worth of playing here. Again, h/t to Zenopus Archives for this. Even prior to 1980 is full of great material.

Holmes Basic, the Monster Manual, and Eldritch Witchery give me so much potential. 

Warlocks & Warriors & Witches

Something dawned on me while reading some of the replies to my Warlocks & Warrior post.  What if the eponymous Warlock and Warrior were none other than Zelligar the Unknown and Rogahn the Fearless from adventure B1 In Search of the Unknown respectively.  It fits with the covers to be sure.

So if the Warlock is Zelligar and the Warrior is Rogahn, who is the Princess?  Well, if you spend any time here at all then you know who she is. She is Marissia (yes I am sticking with the wrong spelling). 

In my running of B1 Marissia is the daughter of Zelligar and one of the first witches in my games.  While there is a Melissa described in the adventure, I was really set on the name Marissia. 

From Melissa's room (key XXIV Mistress' Chamber) 

From Roghan's room (key XXV Roghan's Chamber)


Melissa/Marissia, again I was 10.

So how about this.  "Warlocks & Warriors" is a game played in my D&D worlds that is an homage to the time when the King offered the famed adventures Zelligar and Rogahn the hand of his beautiful young daughter to whoever rescues her first.  It doesn't matter who won because the daughter Marissia was having none of that. She decides to go with the much older Zelligar who adopts her as his own daughter and trains her to be a witch. She then also becomes the lover of Rogahn.  Sometime later the former allies Zelligar and Rogahn turn on each other.  That is the cover of the W&W game and why "Melissa/Marissia" is looking on in cool detachment. Their falling out with each other is what leads to their stronghold, the Caverns of Quasqueton, to lie in ruins.  Again, turning to Zenopus Archives, there is a good place to put B1 on the W&W wilderness map. 

This slight revision still fits with my original idea that Marissia/Melissa is Zelligar's daughter and Rogahn's lover.  While in 1977 having a blonde on your cover was no great stretch, she does have a similarity to all the versions of Marissia I have done or thought of over the years.

It works since "Milissa Wilcox" premiered on Scooby-Doo with a Leviathan Cross in 1978. The ghost had green hair, but the person behind it was blonde. That episode and Scooby-Doo, The Phantom of the Country Music Hall would have certainly been on my mind in 1979.  This is the strange alchemy that fueled my earliest D&D adventures and is still called a "Scooby-Doo Adventure" by my wife.

Yeah, a load of coincidence, and my former Advanced Regression Prof is likely shaking his head at me now.  But it works for this. 

The point is there is a lot packed into all of Holmes' Basic set and I know we didn't know what treasure we had back then.

Today is President's Day. Since we just got rid of the President from Hell, let's talk about a President of Hell. One of the things that I always found interesting reading demonology texts was the term President of Hell. One, in particular, is the Pseudomonarchia Daemonum, The False Monarchy of Demons.  

One of the first Presidents mentioned was Buer.  Here is what is said about him.

Buer is a great president, and is seene in this signe [*]; he absolutelie teacheth philosophie morall and naturall, and also logicke, and the vertue of herbes: he giveth the best familiars, he can heale all diseases, speciallie of men, and reigneth over fiftie legions.

Kind of cool really. In this case, a President is someone that runs a government. The Pseudomonarchia Daemonum lists 14 such Presidents. How they fit into the Gygaxian vision of the Nine Hells and the Archdukes remains to be figured out; likely two presidents per layer of hell. 

Buer also appears as a President in the Ars Goetia of The Lesser Key of Solomon.  

Buer then would be classified as a devil in the Gygaxian taxonomy. 

Buer

President of Hell
Large Fiend (Diabolic)

Frequency: Unique
Number Appearing: 1 (1)
Alignment: Chaotic [Lawful Evil]
Movement: 120' (40') [12"]
  Centuar: 180' (60') [18"]
  Spirit: 240' (80') [24"]
Armor Class: 3 [16]
Hit Dice: 15d8***+45 (113 hp)
  HD (Large): 15d10***+45 (128 hp)
Attacks: trample, bite, spells
Damage: 1d6+2 x5, 1d8+2
Special: Devil abilities, spell casting
Size: Large
Save: Monster 16
Morale: 12 (NA)
Treasure Hoard Class: XXI [B] x3
XP: 4,200 (OSE) 4,350 (LL)

Buer is a great President of Hell. He controls fifty legions of demons (a legion is 6,000 demons).  He will appear to mortals as a great red centaur. His true form is that of a lion's head with five goat legs radiating from this central head.  His whole body is aflame.  

Buer can cast spells as if he was a 13th level magic-user.  He can cast any spell dealing with fire (produce flame, fireball, etc) twice per day with additional memorization needed. 

He is a great patron of witches and warlocks, in particular warlocks.  The familiars he grants can heal their warlocks once per day for 1d6+ hp of damage and cure disease once per week. 

Buer is summoned by demonologists and malefic witches for his knowledge on logic, moral philosophy, and the sciences, of which he is particularly knowledgeable on.  He can grant a familiar to those that summon him.  These will be imps but can appear as a natural animal.  These familiars will work to bring their master to greater and great acts of evil.  If the magic-user (or witch or warlock) dies while they have this familiar their souls will be sent to Hell where the familiar becomes the new Master and tortures the former magic-user for eternity

--

So a few things I have to consider.  Buer is a President, one of 14. I need to figure out which ones go where.  I am still thinking two per levels 2 to 8, with none for the 1st and 9th levels.  I also want to come up with new names for the levels and the rulers, more or less.

Now I know that Buer was featured in Dragon Magazine's famous "The Nine Hells Revisited, Part 1 and 2" and there is some written about him there. While it is all good stuff, I want to reorganize these as I like. 

I am certainly going to do a lot more with thses.