RPGs

Monstrous Monday: Sea Dragons (BECMI special)

The Other Side -

It's another BECMI Monstrous Monday.  This is Expert Week and few creatures really exemplify the Expert experience to me (either B/X or BECMI) than sea monsters and dinosaurs.

As it turns out, the Field Museum agrees with me.
https://blockclubchicago.org/2020/02/28/move-over-t-rex-field-museum-is-bringing-in-ocean-dinosaurs-for-special-exhibit/

Or. At least they were going too.  Back when I planned this posting Covid-19 had not yet hit.

Sea Dragons are some of my son's most favorite creatures.  As before I am going to go with the BECMI format for the monster stat block.



Dragon, Sea
Armor Class: 3
Hit Dice: 12**
Move: 30' (10') Sea dragons are slow and clumsy on land.
   Swimming: 270' (90')
Attacks: 1 bite + 1 breath weapon (steam)
Damage: 5d8+5
No. Appearing: 0 (1d4)
Save As: Fighter: 12
Morale: 10
Treasure Type: H
Alignment: Neutral
XP Value: 2,700

Breath Weapon: Cloud of steam, 60' x 40'

Sea Dragons are an ancient type of dragon that some scholars believe are among the first of dragon kind.  They are known to swim in the deepest of seas where they make meals of all but the largest of sea creatures.

Sea Dragons also attack boats that swim into their territory.  They attack with a bite only and a dangerous breath weapon of superheated steam.  The steam is stored in a pressurized organ in the dragon's body.  This allows it to survive at depths that would crush other creatures.  It also allows the steam to become hot enough to melt soft metals.  Protection from fire, magical, or otherwise offers no protection from this breath weapon.  Damage taken is equal to the number of current HP the dragon has, save vs Dragon Breath Weapon for half.

Unlike other dragons, Sea Dragons do not cast spells or speak. They can speak, but typically only to other dragons.

Sea Dragons keep treasure in undersea lairs, usually inaccessible to surface dwellers.

Sea Dragons are believed to honor ancient immortal members of their species called Apsû and Tiamat, representing the Sweet and Salt waters respectively.

Miskatonic Monday #39: A Lark in the Cage

Reviews from R'lyeh -

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

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

—oOo—
Name: A Lark in the Cage

Publisher: Chaosium, Inc.
Author: Noah Lloyd
Setting: London, 1895

Product: Scenario
What You Get: 10.70 MB fifty-eight-page, full-colour PDF
Elevator Pitch: A cuckoo in the nest reveals monsters and a monstrous plot, but which is the greater evil? 
Plot Hook: When the investigators are attacked by a monstrous man after a neighbour claims that her recently-born baby is not hers, could there be truth in her hysteria?
Plot Development: A missing lover and dead men in the Thames takes the investigators back and forth across the river whilst a feat of engineering—their final destination—goes on below.
Plot Support: Six pre-generated investigators, eleven NPCs and entities, two maps, and seven handouts.

Pros
# A scenario for Cthulhu by Gaslight
# A family affair
# Full play-through available here
# Acknowledges the attitudes of the period
# Includes ‘Bulwark of the Hudson’, a one-page prequel scenario
# Nice handouts
# Excellent use of an engineering marvel 
# Avoids clichéd investigators
# Good production values
# Decent investigative plot
# Mired in dirt and ordure

Cons# Acknowledges the attitudes of the period
# Wide margins
# Plot connections could be slightly clearer
# High potential for disaster
# Very specific in terms of time and place

Conclusion
# A good scenario for Cthulhu by Gaslight
# Avoids clichéd investigators
# Good production values
# Mired in dirt and ordure

A Operational Approach

Reviews from R'lyeh -

One of the interesting aspects of the treatment given Star Trek as a roleplaying game by Modiphius Entertainment is that it examines directly the role of crew and positions aboard ships and at postings in Starfleet. No other Star Trek roleplaying game has done this, but to date, there are three supplements for the Star Trek Adventures: The Roleplaying Game which focus on the six departments of Starfleet. These are organised division by division, so The Command Division supplement focuses on the Command and Conn departments, The Sciences Division supplement on the Science and Medical departments, and The Operations Division supplement focuses on the Security and Engineering departments. Each supplement details the various branches and departments within each division, their role in Starfleet, an expanded list of Talents and Focuses for characters within each division, plots and campaigns which focus on characters within each division, supporting characters from within each division—including canonical NPCs, and more.

As with much of the Star Trek Adventures line, The Operations Division supplement is presented as an in-game—and in-world—briefing to members of both the Engineering and Operations departments. It quickly sets out the roles of members of both departments, so that the Engineering officer is responsible for running and maintaining the ship’s engines and much of the technology aboard ship, as well as fixing anything which breaks down, goes wrong, or is damaged, whilst the Operations officer is responsible for handling day-to-day tasks aboard ship, plus roles such in security and at tactical stations. So at their most basic, the Engineering officer fixes the ship whilst the Operations officer runs the ship and protects it. In comparison to the roles defined for the other departments in The Command Division and The Sciences Division, those in The Operations Division are not quite as obviously flashy or as prestigious, and if the supplement were to keep to that remit, then it would not be very interesting. Fortunately, The Operations Division goes beyond that.

The supplement begins by highlighting the differences for the roles it covers between the three series that fall under the remit of Star Trek AdventuresEnterprise, Star Trek: The Original Series, and Star Trek: The Next Generation. This is because the divisions undergo the most changes between the three, most obviously the shift in roles and shirt colours for Engineering and Security officers between Star Trek: The Original Series, and Star Trek: The Next Generation. Then it begins by examining the different agencies within Starfleet which make up the Operations Division—Fleet Operations, Starfleet Intelligence, Starfleet Corps of Engineers, and Section 31. Both are examined from two sides, what each agency’s mission is and what it actually does before discussing how it can be brought into a game. So Fleet Operations oversees the deployment and disposition of Starfleet personnel and resources throughout Federation space and oversees Mission Operations, Science Operations, Tactical operations, Shipyard Operations, and Starbase Operations. The section on Starfleet Intelligence highlights how it conducts enlightened operations in comparison the agencies of other galactic powers, such as Cardassia’s Obsidian Order, this in reaction not only to the practices of those other agencies, but also some of the morally grey operations run by Starfleet Intelligence in the past. Accompanying this section is ‘Recruited to Starfleet Intelligence’, a new career event for use during character generation, and some ideas as to how to involve plain Starfleet Player Characters in Starfleet Intelligence missions.

Of course, the Starfleet Corps of Engineers has a reputation as being made up of miracle workers, but that reputation often only extends as far as building, fixing, and maintaining starships. What its description makes clear is that it does a lot more, ranging from the investigation of alien technologies and disaster relief to distress call response to terraforming support. It also highlights how it works hand-in-hand with civilian agencies also, and together these all lend themselves to scenario ideas which can bring a Starfleet Engineering officer into the spotlight. A nice touch is the inclusion of the Starfleet Corps of Engineers Safety Regulations for ‘Investigation of Technological Elements of Indeterminate Origin’ which would add flavour and verisimilitude when running that type of episode. Lastly, there is Section 31. Now this is supposed to be the agency which handles threats which jeopardise the continued existence of the Federation by any means necessary, believing that the ends justify the means. What is not given here is a definite description of Section 31, but rather what it might be, so it might be a rogue agency, a complete fantasy, a story spun by one man—Luther Sloan, a plot by the Tal Shiar, and so on. This enables the Game Master to tailor Section 31 to fit her campaign and what she thinks the agency wants to be. In general though, Section 31 should operate through layers of intermediaries and obfuscation.

As per the other volumes in this series, the chapter on Operations Division characters present guides to creating Player Characters who have attended either Security School or Engineering School. For both there are guides to creating effective—or at least focused—Engineering and Security officers, along with  a range of new Focuses and Talents. So for Security officers, there are the Criminal Organisations and Forensics Focuses and the Combat medic and Lead Investigator Talents, and the Advanced Holograms and Reverse Engineering Focuses and Maintenance Specialist and Miracle Worker Talents for Engineering officers. For the Security officers there are possible roles a Player Character or NPC might have on a combat squad such as Explosive Ordnance Expert or Field Medic, and if the game is set during Enterprise, a guide to creating MACO or Military Assault Command Operations officers. 

Unfortunately, the Engineering officer does not really have any more options like the Security officer, although both his player and the Game Master are likely to get fun out of the Technobabble Table. Similarly, they are likely to get a lot of use out of the Advanced Technologies chapter, which covers the tools and technologies to be found aboard a starship or starbase, and elsewhere. So micro-optic drills, engineering tricorders, hperspanner, sonic driver(!), and so on, along with starship systems like artificial gravity and inertial compensators, replicators and transporters, and more. Experimental technology covers some of the more dangerous technologies which Federation has explored, for example, Doctor Richard Daystrom’s M-5 multitronic unit and Synaptic Scanning Technique for transferring human minds into android bodies, or perhaps even into computers. In addition, rules cover jury-rigging devices, something that Engineers are probably going to find themselves doing a lot.

One of the best sections in both The Command Division and The Sciences Division is for the Game Master, suggesting how they might be used in storylines. It divides the possible plot components into red, gold and blue—diplomacy, combat, or science components respectively—and expands upon them. So red plot components can include conspiracies, diplomacy, first contact, and more, whilst blue components can include deep space exploration, evacuation, research, and so on. For The Operations Division, this does exactly the same for Security officers and Engineering officers. Again, this is a really good section for both roles, but bolstering it with details such as Starfleet Regulations for Away Missions, handling criminal investigations, recovering derelicts, diagnostics, and alien technologies. Just as with The Command Division and The Sciences Division, this is one of the best sections in The Operations Division.

In comparison to The Command Division and The Sciences Division, the ‘Operations Personnel’ chapter feels much shorter. It provides various NPCs, like the Starfleet Security Officer, the Engineer’s Mate, and the MACO Soldier Supporting NPCs and the Informant and the Engineering Specialist Minor NPCs. It includes three Major NPCs, notably Luther Sloan of Section 31 and Doctor Leah Brahms of the Daystrom Institute. She was only listed in The Sciences Division despite its coverage of the Daystrom Institute, so it is good to see her included here.

Rounding out The Operations Division is ‘Red Alert’. This is a set of skirmish rules intended to use Modiphius Entertainment’s miniatures and tile sets in order to handle small unit engagements. Although they could be run as a straight Star Trek miniatures combat game—and the rules are available to download for free to that end—they really are designed as an extension of the roleplaying combat rules. What this means that whole engagements can be handled more tactically with more detail. The rules cover squad creation, combat actions, and terrain particular to Star Trek such as Jefferies Tubes and Turbolifts. The support for the rules is not extensive, really only covering Federation, Klingon, and Romulan warriors and their weapons, so a Game Master may want to create her own content beyond the rules and support given. The rules come with a complete six-mission mini-campaign in which the crew of the Enterprise-D have to withstand a Klingon assault on the ship in the middle of a diplomatic summit. The rules are decent enough and they do give scope for Operations officers—Security officers in particular—to do more and bring their training to the tabletop.

Physically, The Operations Division supplement is again a decent looking book. Notably though, whilst the artwork is decent, it often feels bland and not really relevant to content it is placed alongside. There are fewer in-game reports, diary entries, and so on, and in many cases, they are not all that interesting or inspiring for the Game Master. The reduced in-game content also means the layout does not feel as busy and has a bit more room for its contents to breath. The layout is done in the style of the LCARS—Library Computer Access/Retrieval System—operating system used by Starfleet. So everything is laid out over a rich black with the text done in soft colours. This is very in keeping with the theme and period setting of Star Trek Adventures, but it is imposing, even intimidating in its look, and whilst it is not always easy to find things on the page because of the book’s look, it is easier in The Operations Division supplement because it is less cluttered than in other supplements for the line. Lastly, in comparison to the other books in this series, this feels less busy, better organised, and therefore a little more accessible.

In comparison to other supplements for Star Trek Adventures, what is missing from The Operations Division is more starships. This might have felt like an omission in any other supplement, but to be blunt, the treatment of starships has not always felt well-handled in those supplements, so the lack of them here is not really an omission. That said, what might have been useful here is the inclusion of some starbases since engineers are responsible for building and maintaining them as much as they are starships.

If there is an issue with The Operations Division, it is perhaps that it does not delve into the day-to-day aspects of running and maintaining Starfleet which Operations is responsible for. In places, it touches upon some of the approaches and procedures that Security and Engineering officers follow, such as for Away missions, but more would have added verisimilitude to running Star Trek Adventures. Not necessarily all of the time, but occasionally, at the very least, and what it would allow is to make the breaking or sidestepping of such procedures more dynamic. Which is, after all, what the Player Characters are going to do. 

Like the other two books, The Operations Divisions is at its best when dealing with specific elements of the Star Trek setting, but unlike the other two books, its treatment of Security officers and Engineering officers is better balanced, although it definitely feels as if Security officers get slightly better treatment. This is not counting the ‘Red Alert’ rules, the inclusion of which does favour Security officers, because the ‘Red Alert’ rules do feel a bit much like filler in The Operations Division since they are available elsewhere. This is not to say that a group would not get any play out of ‘Red Alert’, but of all the content in The Operations Division, ‘Red Alert’ is very much an option.

Overall, The Operations Division is a solid supplement for Star Trek Adventures. Fundamentally, what The Operations Division does is take the less glamorous roles in Star Trek—Security officers and Engineering officers—and makes what they do both interesting and challenging.

Another Six Ways

Reviews from R'lyeh -

One of the great features—amongst many—of 13th Age is how it handles characters, making each Player Character unique, emphasising narrative gameplay elements, and upping the action. Published by Pelgrane Press, a wide range of character Classes were presented in both 13th Age and 13 True Ways, but one of the aspects of 13th Age is that Player Characters can only advance to Tenth Level. What this means is that campaigns are relatively short and new campaigns can be begun relatively easily and relatively regularly, so having a wider range in terms of character choice is always useful. Now whilst presenting new Player Character Classes has not been the focus of titles from Pelgrane Press, it does mean that there is scope for other publishers to provide a Game Master and her players with such options. This is exactly what Kinoko Games has done with Dark Pacts & Ancient Secrets.

Dark Pacts & Ancient Secrets presents six new Classes—the monstrous Abomination, the destiny-shaping Fateweaver, the mind-bending Psion, the berserking Savage, the dashing Swordmage and the dark-souled Warlock. All come with the Class Features and Talents, plus features specific to the Class just as you would expect for a Class for 13th Age. In addition, each is accompanied with notes on the Play Style for the Class, ideas for Backgrounds, the Icons associated with the Class, which of the Dungeons & Dragons-style Races it works with, options for Multi-Class versions, and ‘Riffs and Variations’, essentially extra ideas on how each Class would play. This is not all though, for Dark Pacts & Ancient Secrets also includes notes how some of the Classes from the 13th Age core book and 13 True Ways would work with the new half dozen it provides, as well as various new magic items. These are also designed to work with the six Classes in Dark Pacts & Ancient Secrets.

The first new Class is the Abomination. This takes the transformed monster of Gothic fiction, horror films, superhero comics, and the like, and brings it into 13th Age as a combat monster! So that could be the Beast of Beauty and the Beast, the Wolf Man of The Wolf Man, and the Incredible Hulk of Marvel comics. Now by default, the Abomination cannot transform, although with the right Talent it is possible, but it could be a failed experiment, a thing which crept out of hell, and so on. It relies upon its natural weapons in combat, which it then augments with an element such as poison or fire which it can spit. As an intimidating, raging combat beast, it can be made dragon-, snake-, and troll-like amongst other flavours, make it harder, and so on, all depending upon the Talents chosen. The Abomination has Maneuvres like a Fighter which trigger on a flexible basis, so the player rolls to attack and then selects the Maneuvre which the roll has triggered rather than selecting the Maneuvre beforehand. The Abomination can be played as a raging, rampaging beast of a monster, but with the appropriate selection, the player gets to do that as well as roleplay out the tragedy of the Abomination’s existence.

In comparison to the Abomination, the Fateweaver is a step up or two in terms of complexity. Fundamentally, the Fateweaver breaks the Fourth Wall in order to manipulate the dice and the narrative. Naturally the Icons take an interest in the Fateweaver, perhaps a wandering fortuneteller or disgraced court jester, because of his ability to manipulate and shape destinies—which is their job after all! To model this, the Fateweaver receives Talents such as ‘Astrologer’, which enables the character to predict the future and if correct, regain a spell or recovery, or increase the Escalation by one; ‘Stage Performer’, which allows the Fateweaver to reroll an attack or action in a scene or battle as long as he has an audience; if the Fateweaver thinks life to be a joke, then ‘Harlequin’ lets him add an extra effect to a spell—as long as the other players (and not the other characters) think it is funny. A Fateweaver can also cast two types of spells, standard spells and Meditations. To use the Fateweaver meditates to enter a state known as Focus to connect to threads of reality, once he has Focus, a Fateweaver expends to both cast a spell and gain the spell’s Focus effect. For example, Reveal What Was Hidden shows the Fateweaver something on the battlefield or nearby that the rest of the party had not seen, or Mantra of Cleansing, which allows the Fateweaver to make a saving throw against an ongoing effect.

Potentially, the Fateweaver is a dynamic support character, but the intricacies of its design mean it is not easy to learn and harder to master. The disruptive nature of the style of play may also mean that the Class may not fit with every single campaign. That though, will come down to what sort of campaign the Game Master wants to run.

Then there is the Psion. Again, this is more complex, but where the Fateweaver feels all new, the Psion is familiar in what it does and how it works. Psions specialise in three of six disciplines—Blaster, Egotist (body alteration), Nomad (teleportation), Seer (clairsentience), Shaper (object creation, including arms, armour, and constructs), and Telepath (including mental control of others). These are fuelled by Psionic Power Points, which are recovered by resting. Every Psion has the base at-will minor powers for all six disciplines, but over time, can learn the greater powers of their selected disciplines. They can also offset the set cost of their powers by selecting certain Talents, but for the more potent powers a player will still need to husband his character’s Power Points throughout a scenario. Whether it is powers like ‘Withering Limbs’ or ‘Stretchable Forms’, there is the feel of superhero or Jedi powers to the Psion’s abilities. In other words, these powers are more obvious in what they are and how they work, but at the same there is a wider range of them, allowing a player to better tailor his character. Some extra notes suggest how the powers might be tied to other sources and mapping them onto the various schools of magic in Dungeons & Dragons. For the setting of 13th Age, the Dragon Empire, there are some interesting suggestions as who or what might be a Psion’s patron, since psionics do not actually quite fit the setting.

The Savage though is a front rank combatant, able to use Frenzy dice to fuel their powers, heal themselves, or increase damage. These dice increase in size and number as the Savage gains Level. Gained through successful hits, they can be spent on Frenzy Powers. Some of these expend Frenzy dice in return for their effect, such as ‘Frenzied Leap’ which enables the Savage to leap across the battlefield, or ‘Iron Determination’ which grants a reroll on a failed save or death save. Others though, such as ‘Cry for Blood’, which inflicts damage on multiple nearby enemies, and since it is a melee attack, the Savage gains a Frenzy die. The Talents for the Savage add colour as much as a mechanical effect, so ‘Born to the Saddle’ makes the character a skilled rider, especially in combat, whilst ‘Full Metal Berserk’ allows him to wear heavy armour without penalty rather than the standard leather and hides. The background for the Savage in the Dragon Empire, the setting of the 13th Age is also interesting, placing it outside of the empire, their being from beyond civilised lands. The Savage Class is slightly problematic in that it is not dissimilar to the Barbarian Class. This is more thematic than mechanical though.

Where the Psion feels familiar to longtime players of Dungeons & Dragons-style games, the last two Classes will be familiar to more recent players. The first of these is the Swordmage, which as the title suggests combines swordplay and arcane magic. The Swordmage is primarily a defensive Class, placing Sigils on their opponents using the Mark with Sigil spell. What this does is force the enemy so marked to focus on the Swordmage and then punish them when they attack an ally. So a Sigil of Vengeance lets the Swordmage teleport immediately to the marked opponent and attack him if the opponent is attacking someone else. Other Sigils inflict damage or force rerolls on the opponent, and so on. A Swordmage starts off with one Sigil and gains more as he gains Levels. In addition, a Swordmage automatically has Mage Armour and can redirect it with his off hand to increase his Armour Class. Most Swordmage Talents alter how the Swordmage fights and casts spells and sigils, again adding flavour as much as mechanics. Thus ‘Skull Blade’ gives access to Necromancer spells and ‘Twin Blade Style’ grants the ability to fight with two weapons and apply its effects to all spells which deal weapon damage. Most Swordmage spells are colourful blade attacks which do arcane damage. For example, Keen Blade enables a Swordmage player to reroll dice on an attack and take the best, whilst Freezing Strike inflicts cold damage and immoblises the target! Overall, the Swordmage here has a Manga or Martial Arts feel to it.

The sixth and last Class is the Warlock. This will be familiar to various versions of Dungeons & Dragons, but here specialise in blasting spells which inflict damage, curses which have harmful effects, and hexes which have a range of  mostly protective effects. Thus Hungry Shadows blasts a target with negative energy—even more if the target is cursed, Burning Retribution both burns and curses the target, and Demon Tongue grants rerolls on Charisma-based rolls. As with versions elsewhere, the Warlock presented here has a Warlock Pact, but being for 13th Age, it is with an Icon rather than something nebulous. So a Divine Pact is with the Priestess, a Knightly Pact is with the Crusader, and so on. This grants the Warlock a minor effect, typically triggered by the Escalation Die, and then essentially provides the flavour for how the Warlock casts his magic.  All of the Warlock spells can be cast at-will, so they are not quite as powerful, but they are flashy and fun. Further, the Warlock can have any of the spells and adjust their flavour to his Pact.

Beyond the six Classes it details, Dark Pacts & Ancient Secrets gives various Talents for the Classes from 13th Age core book and 13 True Ways. So ‘Lycanthrope’ for the Barbarian will transform the character into the Abomination when the Barbarian rages, and the Eldritch Knight can use the ‘Mark with Sigil’ feature of the Swordmage. Again, these flavour the various Classes slightly, but do not push a Class over into the other. Lastly, Magic Items adds items specific to the six Classes in Dark Pacts & Ancient Secrets, and more. Abominations can take severed body parts—poison glands, slappy tails, troll hearts, and more—and add them to his body as Grafts, whilst Crystals, such as Jewel of Storing or Reflecting Bead, are designed to work with the Psion Class. There are lots of magic items given here, all useful for adding a little more flavour and feel to playing 13th Age.

Physically, Dark Pacts & Ancient Secrets is tidily presented. The book is decently written, whilst the artwork in the main consists of full colour pieces for each of the six Classes. If there is an issue with the art, it is perhaps that veers too far towards the ‘Chainmail Bikini’ school of art. The art overall, is done in a Manga style.

Fundamentally in coming to Dark Pacts & Ancient Secrets, both players and the Game Master has to ask themselves if they want or need extra character Classes for their campaign. None of the half dozen in the supplement are necessary to play 13th Age, but of course they expand the range of options available and in some ways what sort of stories can be told. Obviously the tragedy of the Abomination and the Warlock eventually having to come to terms with the Pact made to gain his powers. Some Classes may be too close to others to have them at the table together, for example the Savage and the Barbarian, so a gaming group may want to be careful in its choice of Classes available. Some of the Classes make you wonder whether the ‘Archmage Engine’ of 13th Age could be used for other genres. For example, take the Abomination Class and do a superhero character like Hulk, and whilst that might be the most obvious, there are Talents scattered throughout Dark Pacts & Ancient Secrets which lend themselves to other superheroes or genres.

Dark Pacts & Ancient Secrets is solid support for 13th Age. If as a 13th Age Game Master you want more Classes, the Dark Pacts & Ancient Secrets provides a decent range of new Classes and more to bring into her campaign.

Friday Night Videos: BECMI Special, Chart Action 83!

The Other Side -

So June is BECMI Month and I am going to be doing some BECMI-flavored versions of regular features.

Since the Basic Set of BECMI came out in 1983 I thought it might be fun to pull out a play-list from 83.

But not just any play-list.
No, this one follows the line up of a cassette tape I bought back in 83, likely at the K-Mart.  I remember getting it because it was the only tape I could find with my then favorite song "Shock the Monkey" by Peter Gabriel.

Of course, I can only mean K-Tel's "Chart Action '83!"


Does it have anything at all to do with D&D or BECMI?
Not at all!  But it is what I was listening to then.

Here is the full cassette version playlist below.



What were you listening to in 83?

#FollowFriday BECMI Edition

The Other Side -

It's another #FollowFriday here at the Other Side.

Since this is the first week of BECMI Month I thought some good old-school sites and accounts were in order.


Remember.  It is often not just enough to join these sites, you need to engage with them as well.

Facebook

Let's start with the big one, the BECMI Facebook group.
Run by TSR Alum Bruce Heard it has been a treasure trove of BECMI information for me for years.
https://www.facebook.com/groups/BECMI/

Another is the BECMI D&D page on Facebook.
https://www.facebook.com/BECMI.DD/

Twitter
Want to see what is new in the BECMI/D&D world?  Check out Twitter.

Bruce Heard
https://twitter.com/Ambreville

TSR in the World
https://twitter.com/DNDCollecting

Blogs
Let's go with a Bruce Heard trifecta, here is his blog, About Bruce Heard and New Stories.
https://bruce-heard.blogspot.com/
In particular, I am focusing on this post for my War of the Witch Queens campaign.
Revisiting BECMI Skills, https://bruce-heard.blogspot.com/2018/09/GeneralSkills.html

MeWe
Over at MeWe there are a lot of groups that need some more followers and people to interact.

Mystara
Dedicated to the B/X, BECMI and later AD&D 2nd Ed world of Mystara.
https://mewe.com/group/5bbbf54aa5f4e527d1dec722

Instagram
And this one I just found and his art is really fun.
https://www.instagram.com/justindrawscomics/

He also does a Keep on the Borderlands themed web comic.
http://thekeepontheborderlands.thecomicseries.com/comics/first/


Jonstown Jottings #20: Heortlings of Sartar

Reviews from R'lyeh -

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


—oOo—What is it?
Heortlings of Sartar is a short supplment for RuneQuest: Roleplaying in Glorantha, part of the author’s ‘Monsters of the Month’ series.

It is a twenty-five page, full colour, 2.05 MB PDF.

Heortlings of Sartar is well presented and organised. It is not illustrated and needs a slight edit.

Where is it set?
Dragon Pass, specifically Sartar, but its contents can be used wherever Heortlings and Sartarites might be encountered.

Who do you play?
Heortlings of Sartar is primarily for the Game Master who will portray its very many NPCs.

What do you need?
RuneQuest: Roleplaying in Glorantha.

What do you get?
Stat blocks.

Forty-two of them.

One is issue with RuneQuest: Roleplaying in Glorantha is the complexity of its stat blocks, especially in the time it takes to create them for NPCs. RuneQuest II—or RuneQuest Classic—solved this issue with a number of supplements such as Fangs, RuneQuest Source Pack Alpha: Trolls and Trollkin, RuneQuest Source Pack Beta: Creatures of Chaos 1: Scorpion Men and Broos, and RuneQuest Source Pack Gamma: Militia & MercenariesHeortlings of Sartar is essentially the equivalent of those supplements, but with a bit more context and written for use with RuneQuest: Roleplaying in Glorantha.

Heortlings of Sartar
provides the stats for the types of NPCs that the adventurers are likely to encounter throughout Sartar. They fall into four categories—the nobility, free folk, unfree folk, and outlaws. So the nobility includes the notables to be found in Sartarite villages and settlements, such as a Lhankor Mhy Lawspeaker, Priestess of Ernalda, Storm Voice, Thane, and Village Chieftain. The free folk covers Landholders, Merchants, Crafters, Militia Warriors, Healers, Herders, and so on, whilst the unfree folk gives stats for Stickpickers, Tenant Farmers, Thralls, and the like. Lastly, Bandits, Lunar Deserters, and Tricksters are listed under outlaws.

Each NPC is presented on its own page and clearly laid out, both for ease of reading and printing. Where NPCs have an allied spirit—such as the Lhankor Mhy Lawspeaker the Priestess of Ernalda—these are given their own stat blocks, although this does mean that the pages for these NPCs are slightly more cramped in comparison to the other NPCs. Where the Player Characters might encounter more than one of a type of NPC, for example, the bandits or the Lunar deserters, they are given more generic stat blocks with four to a page. It should also be noted that none of these NPCs have every skill they might have listed, but rather just the ones which are pertinent to to their roles. This obviously cuts down on probable clutter and anyway, the supplement suggests standard values for the skills they do not have.

One notable omission from Heortlings of Sartar is the inclusion of stats for either a Clan Chief or a Tribal King. Again, this is by design since both should be unique individuals rather than simple stat blocks.

Although every NPC comes with a thumbnail description, they do feel underwritten in places, leaving the Game Master wanting a little more explanation. For example, the fact that there is a difference between the hunting styles of Odayla and Yinkin worshippers is mentioned, but not explained. In addition, the none of hunter characters have pets.

Lastly, for a supplement intended to be as utilitarian as it is, it is lacking one last, very useful feature—a list of names. The inclusion of this would have made Heortlings of Sartar just that little bit easier and faster to use. 

Is it worth your time?
Yes. Heortlings of Sartar is as utilitarian a supplement as the Game Master might imagine, but utilitarian means useful and practical—and Heortlings of Sartar is certainly that. Perfect for when the Game Master needs the off-the-shelf stats for a local NPC.
a list of names. 
No. Heortlings of Sartar will be of little use to you if your campaign is not set anywhere near Sartar or you like to create your own NPC stats.
Maybe. Heortlings and Sartarites get everywhere, so eventually the Player Characters might run into them, so then Heortlings of Sartar might be useful.

Review: B7 Rahasia (BECMI Special)

The Other Side -

"You soon are lead to an elven maid, whose veiled grace and beauty outshines all others present as the sun outshines the stars-she is Rahasia.
"Will you aid me?" she asks."

Module B7 Rahasia

B7 Rahasia is an adventure for the BECMI version of the Basic rules.  Since module B5 the Basic modules all featured the new BECMI trade dress, but B7 Rahasia is an older adventure with some solid history in the D&D game.  But I am getting to the middle of the story.

Back in 1979 Tracy and Laura Hickman wanted to play AD&D but needed money to be able to buy the Dungeon Master's Guide. So like so many after them they wrote an adventure to sell so the could afford to pick up the DMG.   That adventure was Rahasia.

Later the Hickmans would go to work for TSR and here they would give us what is arguably one of the greatest adventures of all time, Ravenloft, but before that, they republished Rahasia in 1983 under the RPGA banner.  In fact, RPGA 1 Rahasia and it's sequel RPGA 2 Black Opal Eye were the first two RPGA adventures for the new BECMI Basic game.

Rahasia is for levels 1-2 and then Black Opal Eye for levels 2-3.


These currently go for a lot of money on eBay now.  RPGA2 Black Opal Eye is available on DriveThruRPG, but the RPGA1 version of Rahasia is not.

Rahasia would get a third printing again in 1984 as the new adventure module B7 Rahasia.
This new version was a combination of the two earlier editions.

For this review, I am considering the PDF from DriveThruRPG and my original print copy from 1984.

Module B7 Rahasia
Tracy and Laura Hickman. 32 Pages, color cover, black & white interior.
Cover art by Jeff Easley. Interior art by Jeff Easley and Tim Truman
Maps by Diesel & D.C. Sutherland Ill

This adventure is a primary example of what has been called "the Hickman Revolution" and while it was independent of the design of the BECMI rules, it does dovetail into the rules and feel rather well.  The Hickman Revolution can best be explained with the original requirements the Hickmans set for themselves in their adventures.
  1. A player objective more worthwhile than simply pillaging and killing.
  2. An intriguing story that is intricately woven into the play itself.
  3. Dungeons with some sort of architectural sense.
  4. An attainable and honorable end within one or two sessions playing time.
Another very strong point is an NPC/Antagonist that is more than just a mindless monster.  This can be seen in Dragonlance and can be seen in its ultimate form in Count Strahd from Ravenloft.

These all exist in one form or another in this adventure.  We have an evil cleric known as the Rahib, but is he really our "Big Bad" of this tale?  No. But again I jump ahead.

The plot begins as a simple one.  The characters agree to help an elven maid named Rahasia defeat a great evil that has come to her lands. This evil, the Rahib, has captured two elf maidens (Sylva and Merisa), Rahasia's father, and her fiancee. So the characters have to rescue the Prince this time!  He has also taken control over a group of elven cleric/monks (essentially) known as the Siswa.

This is an important bit, so I am going to interrupt myself here.  The Siswa are all mind-controlled, normally these are the elves that guard the temple, so they really should not be killed.  In the Hickman Revolution simply killing things is never the way to go.  This is true here.  The characters need to find ways to incapacitate the Siswa, but not kill them.

Defeating the Rahib is fine, and getting to him is the first half of the adventure.  The second half is discovering the REAL Big Bads.  You might have seen them on the cover.

Part 2, or the part that was covered in Black Opal Eye, deals with the real villains of this piece.  Here we learn that the Rahib had made a deal with the spirits of three dead witches, Karelena, Solorena, and Trilena.  These witches have now taken over the bodies of the elf maids and want to get Rahasia for Trilena.  They can accomplish this with the Black Opal Eye. When all three witches are freed they are much more powerful, so getting them before they can get Rahasia is the goal. Failing that any female character with a Charisma of 15 or higher is the target.

There are some traps, some false leads and some clues in the form of wine bottles.  But all in all a very effective adventure with some nice twists.  More importantly, it also gives us three (well four I guess) memorable NPCs.  While the Rahib can be defeated, and ultimately forgotten about, the witches, Karelena, Solorena, and Trilena, are far more interesting and really should come back again in a future adventure.

There are maps, pre-rolled characters to use, and of course an elven princess who will be in your debt.

The adventure also features something that the "new" BECMI modules all would feature, new monsters.
Here we get the haunt, the water weird (an AD&D import), and the bone golem who will not see an AD&D rendition until Ravenloft.

Ravenloft Connections
I have often stated that I feel that Barovia, the lands of the mists featured in the Ravenloft adventure and line, came from the B/X & BECMI world of Mystara.  Here is another connection.  First, the idea of body-snatching undead witches is a strong horror trope.  I am sure there are dozens of horror movies made before 1979 that feature this.  I am sure I have seen at least a dozen or more of these myself.


Plus like Ravenloft, Rahasia was written by the Hickmans. Even in the 5e era the Curse of Strahd adventure for 5e lists Rahasia as an influence.  Plus there are some other solid connections.  Like finding the same wines in Rahasia's Wizard tower and in Ravenloft Curse of Strahd.



For 5th Edition
Thanks to the efforts of the Classic Modules Today group there is a conversion guide for B7 Rahasia.  Classic Modules Today: B7 Rahasia (5e) is 10 pages and includes all the various stats you need to covert this adventure over to 5th Editon D&D.  In truth the conversions are very straight forward but it is nice to have them all in one place.  Plus for $1.95 it is really worth it.  Given the Ravenloft connections, I could see this as an adventure for 1-3 level characters in Curse of Strahd very easily.  You need the complete B7 module, that is not included here and there is no adventure information other than the stats. The Bone Golem and the witches, Karelena, Solorena, and Trilena get full stat blocks.

War of the Witch Queens
For me this is also a great starting module for my War of the Witch Queens campaign.  Three dead witches combing back from the grave to possess the bodies of three others?  If it can be done once, it can be done again and I have some great long term NPCs to harass my characters with.  Plus the mere fact that they came back now points to the upheaval in the Occult world that this War is having.
It also makes for a solid case for this game to be run using the BECMI rules.
Now there is a thought...

Other Posts & Links

BECMI: They Keep Killing Aleena

The Other Side -

This is going to irritate some people, but no honest discussion about the BECMI Basic set can occur without a mention of the doomed cleric Aleena and Women in Refrigerators

Briefly, Women in Refrigerators is a trope where the plot of a male character is moved forward by the death (or disability or rape) of an associated female character.  Also often the female character is not returned to the status quo; ie she stays dead or disabled.

This trope was masterfully, and somewhat depressingly, detailed by then comics-fan and now best-selling comic writer, Gail Simone (writer of Batgirl, Wonder
Woman, Red Sonja, and The Secret Six).  The name comes from Green Lantern #54 where then GL Kyle Raynor finds his girlfriend murdered and stuffed into a refrigerator.  So not just a murder, brutal one designed to antagonize the character by an enemy.

Now the issue of Green Lantern in question was from 1994.  Gail put up her original website in 1999.  If that was the only example one might excuse the writers a little.  But it was far from the only one.

Simone compiled a list in 1999, simply called The List, of all the comic book women who have been killed, depowered, raped, or disabled.  The list is long and sadly we could double it today.  Or as comic writer Mark Waid has said:
Jesus H. Christ in a birchbark canoe, is that a list disturbing in its length. And, yes, there are even more male characters who could make up a similar list--but it would be a smaller PERCENTAGE of male characters than this is of comics' females. Brrr...Lots of comic writers do it.  Lots of television writers do it.  I spent a better part of the early 2000s (just prior to starting this blog) trying to draw attention to this trope and the damage it causes on television.

It's also lazy writing.

But What About Aleena?

Aleena, as many fans of the BECMI Red Box know, is the cleric in the first adventure who is designed to help the Character, and thus the Player, learn D&D.  The adventure is a solo deal, so naturally, there is a little bit of a railroad.  This can be excused because of the space needed and to serve the purpose of the text; It's not a "real" adventure, it is a teaching tool in the guise of an adventure. As a teaching tool, it serves this role well.  As an adventure, it is a bit contrived, but that is excusable.

However, no matter what the character (a fighter, and a male one as depicted in the art) does, Aleena will die.

Overtly this is designed to give the character a buy-in to the "Life and Death Drama" that is D&D.  Characters will die.   In that respect, it worked.  To this day you can find "Kill Bargle!" adventures and t-shirts[1][2] and other reminders of the fateful battle between Aleena and Bargle.  She has her own Facebook page.  I even contributed to a "Shrine of St. Aleena" adventure for 5th Edition.   If the goal was to get buy-in to D&D then one can say it worked.

That doesn't mean it still not lazy writing.

I know that is going to blow some of my old-school cred, but everyone that uses this trope always defends why their use of it is right and appropriate.  Granted this one was written in 1983, years before Gail ever wrote her essay or even before the Green Lantern comic appeared.  But it was not before the trope itself was known. Often called "Disposable Women" it has had a lengthy history in all sorts of literature.

In fact, the one that hit me the most was not Alex, Kyle Raynor's girlfriend, but Gwen Stacy, Peter Parker's girlfriend in the Amazing Spiderman issues #121 to #122 from 1973.  I remember reading these when I was a kid in the 70s.  My barber had all sorts of great comic books in his shop so I would read these.   Gwen's death bugged me. It was so pointless.  Even then I could see the purpose was to enrage Spider-man, but he was already committed. He was going to go after Green Goblin anyway.  I thought it was just dumping on the character and needlessly killing a character.

Another one was the original Batwoman, Kathy (not Kate) Kane in Detective Comics (Vol. 1) #485.  This was 1979 and was right at the start of my D&D involvement.   Her death also seemed to serve no purpose than to motivate Batman.  Well Batman, like Spider-man, already had lost people what purposes did this serve?  More to the point why bring a character out of retirement only to kill her? Unlike Gwen and Aleena, no one even remembers the sacrifice Kathy Kane made.

And don't even get me started on Batgirl/Barbara Gordon or Sue Dibny. Just to name two.

The point I am getting here is this.  If a kid reading comics can see problems with this in the late 1970s and early 1980's, certainly others could too.

None of this is made any better by describing Aleena in the books using the language one uses for a girlfriend. Which, in this case, Aleena was the stand-in for Frank Mentzer's ex-girlfriend Aileen and written to die.

In 1987, after pretty much of all the old guard of TSR was gone, GAZ1 The Grand Duchy of Karameikos was published for the Basic D&D game. In it, there is an Aleena Halaran, a mace-wielding Lawful cleric.  She is supposed to be the same Aleena, unless of course, you played through the Basic set, then she is Anielle Halaran.

Aleena and Baron SherlaneMy Own Takes and What Would I Do?

I ran a couple of adventures for my kids a while back using Bargle and Aleena. I ran T1 Village of Hommlet but included Aleena and Bargle and yes, she still died in it despite my personal objections. Morgan Ironwolf also made an appearance.  I later ran The Shrine of St. Aleena for the Second campaign.  The point here was to show that in this other campaign with the same players that somethings are "fixed points" in the multiverse.  Something not lost on my players.

Later I contributed to the 5e conversion of The Shrine of Aleena.  I guess I really can't change the past.

I guess to make my multiverse connections right I would need to have a raised from the dead Aleena show up in my third campaign, Into the Nentir Vale, and riff off of my 4e stats for her since that is my "4e converted to 5e" game.

IF, and that is a big IF, if I were going to change the intro adventure I would drop Aleena in favor of an older male wizard.  More of a Joseph Campbell-esqe mentor figure.  Someone of the Gandalf or Merlin mold to guide the new adventurer at the start of their own Hero's Journey.  Indeed in the Hero's Journey the older mentor or supernatural aid dies so the hero can go on.  Maybe even Bargle is a failed student of this mentor and you, as the "ego" character, take on this brave wizard's quest.

"But!" you say, "how can Bargle kill a wizard old enough to have an apprentice?"  Well, the same way Bargle killed a cleric of at least 2nd level. Aleena does heal the player at one point so she has spells so is at least 2nd level and an average of 7 hp. That is still more than a magic missile can effect.

"But!" you say again, "Aleena needs to HEAL the player how is a magic-user going to do that?" to which I say the wizard has one, and only one, potion of healing.  He GIVES this potion to you and you are healed.  Going back to the purpose of this whole thing is to teach you how to play D&D you have now learned TWO things you didn't know before. There are magic items that can heal you (and the wizard can always lament the lack of a cleric here) AND that such items need to be managed carefully, ie resource management.  The wizard gets to be heroic by giving you his last healing potion even though he needs more.  A potion of healing even gets introduced at the end of the sample solo adventure anyway.

Bargle and this Wizard have history.  So Bargle wants the wizard dead. The wizard wants to protect you because you are only first level. Another lesson learned! Protect the weaker members of the party, it is the right thing to do.

I would go as far as to say that a fighter and a wizard are much more iconic duo than a fighter and cleric.  Look at the cover of Holmes Basic, look at the cover of Moldvay Basic.  Look at the cover for Pathfinder. Having a wizard instead of a cleric makes far, far more sense to me.


Would it have had the same emotional impact?  Hard to say.  Hindsight is 20/20 and it is easy for me to point out these sorts of problems because I have been focused on them for so long.  Less certain is the cultural impact this isolated scene would have had independent or the cultural impact as the whole the Red Box Basic had in total.  For me, a wizard mentor falling battle would have had the same impact intended, because I have to say one of the big turn-offs for BECMI for me was this death. I had already at this time thrown out a copy of Lord Foul's Bane, I didn't have to spend my money here. So I didn't. Until now of course.

Morgan Ironwolf is mentioned in the same tones of reverence and often in the same breath as Aleena.  But we know far less about her and she is, as far as I can tell, still "alive" out there in the worlds of Dungeons & Dragons.

I want to end with a comment made by Sarah Darkmagic about Aleena.  She quoted me years ago and I would return the favor here.  Sarah has said, " I pointed out that the D&D art I saw growing up didn't make me feel welcomed." this is combined with the entire treatment of Aleena did not make early D&D a welcoming place to women. I believe her. It wasn't.  She was not there in the early days, but I was, and often times the only women playing were girlfriends of the players.

She also makes the claim that Aleena was not very empowering for her. Again I have no reason but to agree. Aleena is NOT empowering. She is cannon fodder. She is fridge material.  She serves only one purpose here, to further the ends of a male character.

Simone said "if you demolish most of the characters girls like, then girls won’t read comics. That's it!" This is also true for every reader. And every gamer.

I am reminded of Whoopi Goldberg when she first saw Nichelle Nichols as Lt. Uhura on Star Trek. She went to her mother saying, "Come here, mum, everybody, come quick, come quick, there's a black lady on television and she ain't no maid!"  What would have happened if Uhura had been "redshirted" after an episode? What would've happened then?  What would have happened to Mae Jemison?

Granted this was years ago.  Today it is different. Hopefully, it is better.
It bears repeating, but representation matters.

But I still look at this section as the weakest point of the BECMI books and really kind of a low point for D&D in general.

My Posts On Aleena
More on Women in Refrigerators

BECMI: Other Versions and Homages

The Other Side -

I don't think it is a stretch of the imagination to say that the BECMI Basic box is the Red Box that most people remember. Indeed, when you say "Red Box" this is the set that most people think of.

A large part of this is due to the number of units sold. It has been claimed that this was the best selling version of D&D at least up to the modern age of 5e.   It was certainly one of the most widely distributed versions of D&D up to that date.

International

While I have seen French, German, Japanese, and more versions of this set, it was the one printed in England I wanted the most.


Reading this one is a neat little exercise in "what if."

What would this set have been like if it was a single volume?

The Japanese versions also looked great.


The French version seems closest to the American one.


Norway had a single volume version too, but their's appears to have been a hardcover.


Although I must admit I have always wanted the German version.  If I had known it had existed back then I would have grabbed it.  Sadly my German is terrible these days. Don't use it you lose it.


And some great pictures of Javier Murillo's Spanish editions.




In fact, Javier Murillo appears to be the leading expert on these foreign language editions.





There is an entire listing of the printed foreign editions at the Acaeum.

That is quite a legacy of print.
It should be no surprise then that the cover was often imitated.

Inspiration

Maybe more so than the AD&D Player's Handbook (or very close) no other version of D&D has inspired the look of other sets.  In fact, it has become its own shorthand to nostalgia.  Want to tap into those nostalgia dollars?  Make your box red.



Of course, nothing irritates the old-school crowd more than when this is used for a game they don't like.



and of course the D&D Cartoon,


a puzzle, again from Javier Murillo,



and the early "skin" for DnDClassics.com, which now points to DMsGuild.com,



Not to mention a bunch of t-shirts.




That's an awful lot of red.

Now certainly someone in the old-school gaming community will say something stupid like "sacrilege!" or some other nonsense, allow me to remind you what TSR was doing themselves back in the day.






BECMI: Basic Set Review

The Other Side -

How does one go about reviewing a game I know so well but in a book I know very little about?  More to the point how does one review a classic?

Well as my oldest son says, "with determination."

In this particular case, I am going to review the actual boxed set I was able to pick up a few years ago, the PDFs from DriveThruRPG and I will compare it to the version printed in the UK.



Basic Set (1983)
The third set of books to be released as the "Basic set" was the Mentzer "Red Box" Basic that would become the "B" of the BECMI line.  So many copies of this set have sold that it has become synonymous with "the Basic Set" and "the red Box" in D&D circles.  The set itself contained two books, a Player's Book (to be read first) and a Dungeon Master's Book (to be read by the DM).

Already we have a departure from the previous Holmes (1977) and Moldvay (1981) Basic sets.  While those older sets had one book for rules (48 and 64 pages respectively) and an included adventure (B1 and B2 respectively) this set only has the two books.  This is not the issue it might seem at first since this set features a rather infamous solo adventure and a programmed adventure that can be used with a DM.

The box set also came with dice, a crayon for coloring in the numbers, and some information about the RPGA.

It is helpful to look at the books independently.

The Player's Book
The Player's Book is 64 pages, color art cover, black & white interior art.

This is the familiar D&D game. The title page tells us that this is Dungeons & Dragons created by Gary Gygax and Dave Arneson.  The editor, though many will say the actual architect of the BECMI line, is Frank Mentzer.  He is so tied to this edition that it is also called the Mentzer Basic book.

While Holmes did a good job of organizing the Original D&D game into something that could be used as and introduction to the game (or too AD&D maybe), it was the Moldvay edition that really tried to make an introductory game to new players.  The Mentzer set takes this to the next level by giving us a true introduction to the game.

The target audience is 10-12-year-olds but it takes care not to talk down to the audience, there even seems to be a choice in language to try and educate as much as possible too.  TSR expected their target audience to be young, educated, and (for better or worse) male.  But I will touch on that later.

Up first you are taken on one of the most infamous solo adventures ever.  You are playing a fighter and you have to investigate a dungeon.  You meet a cleric named Aleena, and a goblin and an evil wizard named Bargel.  The rest is a tale told in many taverns across the known world. 
While I have a number of issues with the solo adventure, and I'll discuss those elsewhere, it is an effective tool for grabbing people and getting them into the game.  The adventure explains aspects of your character and makes them salient in the situation. In the education biz we call this "situational learning" and it is an effective tool.

After the adventure, we get to the part where your character is explained to you. What the ability scores mean, what the saving throws are for, how to hit with weapons.  It is the "what is Roleplaying" section of every other RPG book writ large.

There is another Solo adventure, with some nods to the two M series for solo dungeons.

So now that the player knows the basics of play the various character classes are introduced. Here we have the Cleric, Fighters, Magic-User, and Thieves for humans and Dwarves, Elves, and Halflings. The text is very, very explanatory.  Great for a brand new player but feels wordy to me now.  Granted, these were not written for someone with 40 years of experience.  Heck, no one had even a quarter of that yet when this was written so my point of view is out of sync with the design goals of this game.

Looking over the classes I notice a few things.  The class descriptions are very self-contained.  Everything you need to know about playing a Cleric for example is right there. Including the Saving Throw tables WITH the class.  A vast improvement over the constant flipping through pages we had to do with AD&D at the same time.   Also, I noticed how weak the thief was then. No comparison to the Rogues of later editions.

The design elements of the self-contained class pages is something we will see again in D&D 4e and 5e.  It is very effective and if you are like me and like to print out your PDFs then it also gives you flexibility in organizing your version of Basic.



There is a solid emphasis throughout the book on how playing together, and working together, as a group is the best experience.  There also seems a little extra emphasis on how the Players are not the Characters.  It feels wonderfully 80s when the was the moral panic that kids would start to act out like their characters and meet the fate of poor Black Leaf and Marci.  Today people online refer to their characters in first person and laud their achievements as their very own.  What a difference some time makes.

We get to alignment with a strong prohibition against playing Chaotic or Evil characters. Retainers and other topics.  There is even a solid Glossary (I mean really who does this anymore? I miss them!) to help in supporting my point of view of D&D as a learning tool.   There is even a small section on using minis, character sheets, and other aids.  There is even a nod to AD&D to remind players that this game, D&D, is not AD&D.

All the basics are covered. No pun intended. Ok. Maybe a little one.
Everything the player needs to get started.  They now just need a DM.  Thankfully the next book covers all that.

The Dungeon Master's Book
The Dungeon Master's book is 48 pages, color art cover, black & white interior art.
This book follows the Player's book in terms of layout and scope.

The title page here is largely the same as the Player's Book, but it is a chance for us to reflect on how this game is really the direct descendent of the Original D&D game. Though there is a reminder that Players are not to read this book! Only DMs!

We get right into the roles of a DM here, after covering some brief introductory materials and some common terms and abbreviations.  Looking over these were are still in a time that Pre-Dates THAC0 as a term.

There are checklists of things to do pre-game and during the game and during combat.  It's a nice clear and spelled out version of the same material seen in the previous Moldvay Basic set.  In fact, there is a lot of material here that looks and reads the same.  This is natural since both sets are drawing from the same sources.  It is a bit like reading something you are already very familiar with, but it is still somewhat different and new.  Like trying to read Danish after learning German.  Or maybe more accurately, reading American Spanish after learning European Spanish.

There is a built-in adventure for new DMs that serves the same purpose as the Solo one in the player's book. It is fine, but I think back to my time in running the Keep on the Borderlands and hoe much I learned from that.

The procedures and rules section is all laid out alphabetically. So "Elves" come before "Mapping" and "Time".  Again, I am reminded of the layout seen in 4e and it is obvious that the designers of 4e were fans of this edition.

The next big section is on Monsters.  This section reads very much like the same section in Molvay Basic, some even down to the exact same words.  I don't find this a problem though.  Some people went from Holmes Basic (77) to Cook/Marsh Expert (81) and some people will come from those earlier Basics to this.  There needs to be a continuity of rules. Minus some organization and some clearer directions these are supposed to be the same games.  Yes there are some differences.  I find them to be minor at worst.

Back to Monsters, the section seems to have all the Usual Suspects, give or take a couple.  I did notice that there is much less art here.  I would have loved to have seen more versions of these classic monsters.  An Elmore drawn Thoul? Yeah, that would have been great! Also, this has the only piece of recycled art I have found.  The dragon breath diagram looks the same here as in Moldvay.  That's actually pretty cool.  All new art?  TSR was putting their best on this.  I'll talk more about the art in a bit.

Treasure follows and it is every 1st level character's dreams come true.  Swords to hit those pesky magic monsters! Gold! Platinum! Potions of Healing!! 2-7  hp was all you needed back then to get back into the game.

A nice bit about creating and stocking dungeons with monsters and treasures.  More direction than we got in Holmes or Moldvay to be sure.

We end with some tables for random monsters, saving throws, and a combined index!

Art
The art in both books is fantastic.  Larry Elmore, Jim Holloway, and Jeff Easley at the very top of their game.  They defined how millions view Dungeons & Dragons.  Yes, yes I am a fan of the older stylings of Bill Willingham, Erol Otis, and Jeff Dee, but this was at a new level.  The art was consistent throughout and all of it wonderful.  Sadly it is also a little sparse compared to Moldvay, but I guess there are more pages to fill here.

The UK Edition
The UK edition is a single book about the size of a paperback.  It has the same color (or should I say "colour") cover.  The illustrations are sparse and in this case, all the interior art is by Helen Bedford.



The content is the same, just put into 272 smaller (4.75" x 7.5")  pages. There is even a tiny character sheet that taxes the ability of my glasses.
It sold for £4.95 back in 1986 when my copy was printed.




Legacy
I am going to spend a lot of time this month covering the legacy of the Basic Set and the BECMI series as a whole.  But this is the set. This is the one people think of when you say "Basic Set."
That's a pretty serious legacy.

Join me all month as I talk about all the BECMI books, boxed sets, and related topics.
This week is nothing but Basic.

Monstrous Monday: Grimlock (BECMI Special)

The Other Side -

For all of June, I am going to be focusing on the BECMI rules, the only* D&D I never really played.
(*I played a lot of Holmes, Moldvay, Cook and Marsh Basic through Expert and used some BECMI books.)

For my June Monster Mondays (and there are 5 of them!) I am going to focus on a monster that would have been appropriate for the boxed set I am reviewing that week.  Also, I want to pick monsters I would have been likely to have used then OR ones I actually created back then.  Thankfully for this I have been "given" my youngest son's old game computer (wait...didn't I buy this??) and it has the only DVD-ROM drives in the house now.  I have been digging through some wonderful treasures I had semi-forgot I had.

So for this week, I want to do a creature that would have felt at home in the D&D Basic Set.  My general rule today is if I could have encountered them in the Caves of Chaos, then they are good.

I was talking to my oldest son about this and he suggested Grimlocks.  Honestly, it is perfect.

A lot of my own D&D world-building was built on the classics, and what is more classic than The Time Machine, both the book and the great 1960 George Pal directed film.   The Grimlocks of D&D have a spiritual ancestor in the Morlocks of the H.G. Welles classic.  Both creatures are essentially a human species that has "devolved" into a barbaric state.  They even share some literature (and not literal) DNA with similar creatures from H.P. Lovecraft or Richard Sharpe Shaver's "deros".  They would have been right at home in the Cave of Chaos.  Especially since they fill an "uncomfortable" niche of what happens to humans who dedicate themselves to darkness and chaos.  The Morlocks would have been still fresh in my mind in my early D&D days from the almost forgettable (expect by meI guess) 1978 Time Machine TV Movie.

I also like them for the witch connection.  Grimlocks were popular monsters on Charmed where they are essentially low-level demons.

In my games, Grimlocks are much the same as they are in all sorts of D&D games.  Save they are demon-worshipping cultists and their distrust of all other races (and their cannibalism) keep them from forming strong bonds to really rule the underworld.

Grimlock
Armor Class:  7
Hit Dice: 2+2*
Move: 120' (40')
Attacks: 1
Damage: 2-7 (1d6+1)
No. Appearing: 2-20 (0)
Save As: Fighter 4
Morale: 8
Treasure Type: Nil
Alignment: Chaos
XP Value: 30

Grimlocks are a blind subterranean race that attacks anyone and anything they do not know.   They are descended from a group of human cultists that worshipped the foulest demons.  Whether they were driven underground or sought it out on their own they have since moved far away from their original humanity into something more akin to a monster.

Their skin coloration is a dull gray and their milky white eyes appear to dull and sightless. Indeed the Grimlock is blind, but their senses of smell and hearing are so acute that they can still "see" in the complete darkness.  They can sense vibrations so they are capable of spotting and attacking enemies, even invisible ones, up to 120' away.  They do not use missile attacks and prefer to fight with clubs or rocks.  Most are bald, but some have sparse dark hair on their heads, especially the females.
Grimlocks are stronger than average, 15 Strength, but they also have lower than average intelligence and wisdom (usually 9 or 8).

Grimlocks have lived in small isolated communities for centuries.  They will keep prisoners to replace fallen members, at least until such prisoners can produce new Grimlocks for them.  Prisoners, fallen Grimlocks, or any other enemy, once they are dead are eaten.  Grimlocks have no use for, or understanding of, treasure save for weapons.

Despite being blind and immune to any effect that requires sight (a medusa attack for example) they loathe the sun and will avoid going to the surface world save for nights of the new moon.

Special Grimlocks can advance as far as the 4th level as a Warlock to a demonic cult.

Grimlocks and Troglodytes hate each other and will attack the other to the exclusion of all other enemies.

Some scholars believe that the human cultists that spawned the grimlock race had intermingled with lower demons to produce the first grimlocks.  So far none of these scholars have ventured out of their lofty towers of learning, with plenty of sunlight, to put their theories to the test.

1960 Morlocks
1978 Morlock
Grimlocks from Charmed

Miskatonic Monday #38: Unremembered

Reviews from R'lyeh -

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

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

—oOo—
Name: Unremembered

Publisher: Chaosium, Inc.
Author: Heinrich D. Moore

Setting: 1990s New Orleans

Product: Scenario
What You Get: 11.13 MB forty-three-page, full colour PDF
Elevator Pitch: When no-one remembers the father, can the missing son be found before he too is forgotten? 
Plot Hook: New Orleans police detectives are assigned to find a teenager missing after he receives a letter from the father his mother denies knowing. Just who was the father and what is the denial of his existence masking?
Plot Development: Difficult investigation in a wretched city, high school breakdown, and a town lost from the bayou.
Plot Support: Six pre-generated investigators, eight NPCs and entities, and ten handouts.

Pros
# Based on the James Blish short story,‘More Light’
# Murky investigation
# Creepy use of masks
# Nice handouts
# Two or three session one-shot
# Could be adapted to Delta Green: The Role-Playing Game
# Solid slice of Southern Gothic

Cons# One pre-generated investigator needs stronger ties
# Maps would have been useful
# Sanity rewards and losses too high
# Climax needs careful handling
# Very specific in terms of time and place

Conclusion
# Missing person case masks a creepy plot
# Solid slice of Southern Gothic

June is BECMI Month

The Other Side -

Tomorrow is June 1st.  Crazy. Where did April and May go?

Well, I have been planning something like this for a bit now and I wanted to spend some time going over the D&D system I have the least familiarity with, at least in a proper sense.

The Basic, Expert, Companion, Masters, and Immortal Sets edited and written by Frank Mentzer.


Each week I will cover a different set with reviews of the main boxed set, associated products, and topics.  In my case I am also going to compare these sets with versions I am much more familiar with such as the B/X sets from Moldvay, Cook and Marsh, Holmes Basic, and the D&D Rules Cyclopedia.

Now I am not going into these reviews blind, I have had experiences with these books before, some experiences even going back to the time when they were published.

But I never played the game using these rules.

When the BECMI rules came out I was firmly in the camp of AD&D.  As the years went on I would adapt some BECMI products to my AD&D game and others I bought out of curiosity or interest.

So this will be a learning experience for me.  I am not expecting any great insights to the D&D game or any esoteric knowledge.  But who knows, maybe there is a tied bit here or there for me to learn.

Can't wait to find out.


Jonstown Jottings #19: Six Seasons in Sartar

Reviews from R'lyeh -

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


—oOo—What is it?
Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha is a short campaign for RuneQuest: Roleplaying in Glorantha. It is based on a campaign presented on the author’s blog.

Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha is a commentary upon Six Seasons in Sartar, an epic poem by Usuphus of Jonstown, which tells of the tragic fall of the Haraborn, the Clan of the Black Stag, the 13th Colymar clan.

It is a one-hundred-and-forty-four page, full colour, 79.61 MB PDF.

Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha is well presented, decently written, though it needs an edit in places, and includes a decent range of artwork. The front cover is good.

Where is it set?
Dragon Pass in Glorantha, specifically in ‘Black Stage Vale’, a narrow, vee-shaped valley high in the mountains between Mounts Quivin and Kagradus in the lands of the Colymar tribe, specifically between Sea Season 1619 ST and Sea Season 1620 ST. 

Who do you play?
Members of the Haraborn, the Clan of the Black Stag, the 13th Colymar clan, not yet initiated, typically Orlanth and Ernalda worshippers.

What do you need?
RuneQuest: Roleplaying in Glorantha and RuneQuest – Glorantha Bestiary.

What do you get?
Six Seasons in Sartar is not just one thing. Well, actually it is just one thing—a campaign, but it also is more than the sum of its parts, for each and every one of those parts stands out on its own. Not necessarily because they are gameable, but together they contribute to the campaign as a very satisfactory whole.

First—and most obviously, Six Seasons in Sartar is a campaign. Much like the vale in which the Haraborn make their home and the events of the campaign play, its focus is very narrow, taking the Player Characters through the travails and tribulations of the last year of the Haraborn, the Clan of the Black Stag, the 13th Colymar clan. It begins with their initiation and takes them season by season through 1619 ST and into 1620 ST. These individual adventures will involve the Player Characters in a mystery concerning the sudden appearance of a ghost, the activities of the rebels holding out against the Lunar Empire’s occupation of Sartar, and the abduction of a guest. Ultimately, the campaign will reveal secrets about the history of the vale which bring it to the attention of Kallyr Starbrow and following a confrontation with an agent of the Lunar Empire, lead to a sundering of the clan at the hands of the empire’s indigent servants. 

In between the six parts which make up the campaign, the Game Master can weave various secondary plots and events—here called ‘episodes’—such as a birth or funeral, a romance or a cattle raid, and so on. Many of these episodes are optional, and whilst including them does lengthen the play of the campaign, they also add depth to its play and serve to involve the players and their characters in the community that is the Haraborn clan. Although their use is given as optional, the campaign will be all the better not just because of the extra added depth, but also because their use gives scope for the Game Master to focus on each of the characters in play, to give them time in the spotlight. 

Second, Six Seasons in Sartar is a description of a complete clan, the Haraborn. This includes the complete history and mythology of the clan, as well as its wyter, the chieftain and his Ring—the clan council, plus the geography of the vale that is the clan’s home. It explains who they are and what their outlook is—that of deeply conservative mountain folk who value tradition, have limited contact with the outside world, and are devoted to the Storm Tribe. It explains their Runic ties, predominately Air/Storm and Earth, though some may be ‘Troll-touched’ and tied to the Darkness Rune. Members of the Haraborn clan are also members of the White Hart ‘spirit cult’, and expected to be useful to the clan—that is, to not go off seeking adventure. This cult is entirely local and provides interesting cervine spells such as Stag’s Crown which enables the user to sprout a twelve-point rack of antlers or Deerbrother which creates a Mind Link with the nearest deer and allow the caster to see and hear what the deer sees and hears, as well as cast spells through the deer.

This description and background support both the campaign and explains the constraints placed on character generation. This is as per the normal process, but the characters have to be of the Haraborn clan, have either the Air, Earth, or Darkness Rune, and instead of having an Occupation, have what is really their parents' Occupation. Occupations such as Bandit, Chariot Driver, Fisher, Philosopher, or Thief are all unlikely, but this still offers plenty of choice. As to cult, no starting characters for the campaign yet belongs to a cult, for their choice of, and their joining a cult will come about through play. All characters are Lay members of Ernalda if female, Orlanth if male. Lastly, each character’s family history will end with their parents in 1618 and none of them will receive the standard skill bonuses. The end result is a youth between fifteen and sixteen years of age, ready to be initiated.

Third, Six Seasons in Sartar is an initiation into the mysteries of Glorantha. This can be seen in various elements of the campaign. Most obviously in two ways. The first of these is the essay on the nature of heroquests, supported by the rules for them later in the book. This includes the three types of heroquest—‘This World Heroquest’, the ritual re-enactment of Myth; the ‘Hero Planes Heroquest’, in which the heroquesters temporarily become gods to gain a boon or blessing, in particular for their community; and the ‘Otherworld Heroquest’, in which the heroquesters travel deeper into the God Plane to create a new of their own! It also suggests rewards for each and the means to begin them. The other form of initiation is the actual complete presentation of two initiation rites, one for Orlanth lay worshippers and one for Ernalda lay worshippers. They each form the two starting parts of the campaign, one for male characters, one for female characters. Mechanically, the process serves as part of the characters’ personal history, but they also work to point each character towards the cult they will ultimately become initiates of. For example, a Lay member of the Ernalda cult might lean towards Babestor Gor as a cult if she favours the Death Rune over the Fertility Rune during her initiation. Playing out the initiation also gets the player and his character involved from the start, forcing him to make choices in play rather than at the start and so make those choices significant.

Later events in the scenario might also be said to further initiate the Game Master into the greater mysteries of Glorantha, notably an encounter with Kallyr Starbrow. Pleasingly, despite her role in the forthcoming hero wars and past events, she never overshadows the efforts of the player characters and interestingly, she never quite comes across as wholly heroic. As to the initiations, these are absolutely fantastic tools for the Game Master to enforce Glorantha’s mysteries from the start, and it would be absolutely fantastic to see further initiations similar to this but for other cults on the Jonstown Compendium.

Fourth, Six Seasons in Sartar is a toolkit. Take the various bits of the campaign and what you have is a set of tools and elements which the Game Master can obviously use as part of running Six Seasons in Sartar, but can also take them and use them in her own campaign. So this is not just the advice and discussion as to the nature of heroquests and how to run them, as well as the initiation scenarios, but also the rules for creating and running streamlined NPCs, the streamlined rules for handling battles, cattle raids, and heroquests, events such as funerals and births, romance, and more. All of these can be separated from Six Seasons in Sartar and the Game Master bring them into her own game.

Fifth, Six Seasons in Sartar is a conceit. Throughout the campaign, commentary is provided by a number of notable Gloranthan scholars and experts in Third Age literature, not necessarily upon the campaign itself, but upon Usuphus of Jonstown’s epic, Six Seasons in Sartar. These often offer contradictory opinions and so mirror that of Gloranthaphiles about various topics on Glorantha. They include excerpts from works such as ‘Usuphus: A Feminist Perspective’ by Adhira Chatterjee and Noah Webber’s lecture, ‘The Symbolism of the Star Heart and Predark in Six Seasons in Sartar.’, and what they do is enables the author himself to step out of the campaign itself and add further commentary, not just from his own point of view, but from opposing views. Beyond that, the conceit pushes Six Seasons in Sartar as a campaign from being a mere campaign into being an epic, because essentially, it is what a heroic poem does.

Of course, Six Seasons in Sartar comes to an end. The climax manages to be both sad and satisfying, but it leaves the Game Master wanting more, the players and the characters wondering what comes next. Possibilities are discussed and suggested, most obviously about reuniting the scattered Haraborn, the aim being for the Game Master to write the next episodes of the campaign (and thus the poem, or perhaps a new one). Nevertheless, it would be interesting to see an official sequel, both in terms of the campaign and the clan, plus of course, to the epic poem, Six Seasons in Sartar. This could easily fit in the period between the end of the Six Seasons in Sartar campaign 1620 ST and the jumping off point for RuneQuest: Roleplaying in Glorantha in 1625 ST.

Is it worth your time?
Yes. Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha is a superb treatment of community, myth, and tragedy in Glorantha, grounding the players and their characters in the community, pulling them into the myth, and having them play out the tragedy. Whilst the tools and the discussion are undeniably useful, as a campaign starter it has no equal—it should be one of the first titles a prospective Game Master of RuneQuest: Roleplaying in Glorantha should purchase from the Jonstown Compendium.
No. Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha presents an alternative campaign set-up, one which takes place prior to the default starting date for RuneQuest: Roleplaying in Glorantha, and you may already have begun your campaign. Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha also places limits upon character choice and your players may want to play characters who do not fit within its remit.
Maybe. Six Seasons in Sartar: A Campaign for RuneQuest: Roleplaying in Glorantha includes content which is useful beyond the limits of its campaign—the initiation rites, the notes on heroquests, rules for streamlined NPCs, quick resolution rules for battles, and more. All useful in an ongoing campaign. 

The Dwarven Glory

D&D Chronologically -

Dungeon Masters Kit – Number 2

Check out those dwarves! Check out that treasure! Check out that weird archway?

Like Palace of the Vampire Queen, this wasn’t created by TSR but is included here because it was distributed by them.

The weirdest thing about this? It uses hex maps, where every hex is 3 feet. Also weird is how the maps are broken up into sections which can be arranged in any order you like, which I guess is in keeping with this being a “Dungeon Master’s Kit”. The sections don’t seem to be in any order – the two suggested sequences for inexperienced or medium strength parties aren’t even B, C, D, etc but things like C, H, B, etc.

In fact there’s all sorts of “what the?” moments reading this.

Oh and there are numerous spelling mistakes.

And gems. There are so many gems that their locations are marked on the maps. Sooo many. Many with special powers.

Let’s examine some of the stand-out curiosities.

Section B

  • There are measly half-orcs in a tavern and in a storeroom nearby, 10,000GP!
  • The bar nearby has a barmaid that’s a level 14 magic user! She has a 100,000GP ruby. Yeehah!

Section C

  • Room 1 – featuring 10 Kabols (??? Sometimes spelt Kobal elsewhere) each with a +2 sword!
  • A room with a chess-playing ogre.

Section D

  • Wow, one room has 6 gems worth 600,000GP each! And this area doesn’t even have any monsters to overcome.

Section F

  • Huh, they use 2 creatures from the Elric section of Gods, Demi-gods and Heroes

Parts of the rest of the module actually make some coherent sense.

It’s almost like this is the next step up from the Dungeon Geomorphs but not quite a complete module as we would later understand it.

And it’s a definite step up from the sparsity of Palace of the Vampire Queen.

Of interest, this is set in the same setting as Palace of the Vampire Queen. That module mentions the king that defeated the 10 orc tribes, the same 10 tribes that overthrew the Dwarven Glory community on the island of Baylor.

A reprint is available at DriveThruRPG.

Date Information

The Acaeum says this was published in early 1977. Tome of Treasures reckons June.

I can’t find any ads or mentions in any magazines, so it’s hard to pin down. (In White Dwarf from 1977-1978, there are a number of ads that list Palace of the Vampire Queen, but none that mention Dwarven Glory or Misty Isles.) It was probably early 1977 as the Acaeum states but in lieu of any more data, I’m happy to go with June.

Jonstown Jottings #18: Vinga’s Ford

Reviews from R'lyeh -

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


—oOo—What is it?
Vinga’s Ford is a short scenario for RuneQuest: Roleplaying in Glorantha.

It is a nineteen page, full colour, 12.27 MB PDF.

Vinga’s Ford is well presented and decently written, and is illustrated with simple artwork.

Where is it set?
Dragon Pass, specifically between Oakton and Apple Lane in Sartar. Alternatively, it can be set on any river which feeds into the Upland Marsh.

Who do you play?
Vinga’s Ford works well if the Player Characters include a Vinga worshipper amongst their number, but an Orlanthi works just as well. A Humakti and a shaman may also prove useful.

With some alterations, an experienced Game Master could adjust Vinga’s Ford to be played by Troll Player Characters.

What do you need?
RuneQuest: Roleplaying in Glorantha and RuneQuest – Glorantha Bestiary for its information on Trolls and Ducks at the very least. If run at its default location, then the Game Master will also need the information on Apple Lane found in the RuneQuest Gamemaster Screen Pack.

Alternatively, Vinga’s Ford could easily be adapted to be run using 13th Age and 13th Age Glorantha. This will require some effort upon the part of the 13th Age Glorantha Game Master.

What do you get?
The Player Characters are the road travelling between Oakton and Apple Lane in the northern territories of the Colymar Tribe when they have to cross the Swan River at Vinga’s Ford. However, their crossing is impeded by zombies, a strange occurrence this far from the Upland Marsh. When an unexpected ally comes to their aid, they are alerted to a greater danger—a vampire, one of Delecti the Necromancer’s feared ‘Dancers in Darkness’. The question is, what is that vile creature’s interest in Vinga’s Ford?

After some investigation—at either Apple Lane or Oakton—the Player Characters will learn of an annual occurrence at the ford. This is the ghostly appearance of a battle between a Vingan and some Trolls. Of course, this is happening that very evening, so the Player Characters have the opportunity to investigate further, foil the plans of the ‘Dancer in Darkness’, and join the battle themselves!

Vinga’s Ford is an ‘on-the-road’ adventure, which whilst built around a pair of connected battles, further involves the Player Characters in the mystical elements of Glorantha and how that can physically alter the world around them. It can also be used to introduce them to some of the elements of horror—essentially the doings of Delecti the Necromancer and the doings of his servants—though at some remove, found in Glorantha and also to Ducks.

As an ‘on-the-road’ adventure, it can easily added to a campaign to liven up a journey. If run at its default location, then it could be run as part as a journey to or from Runegate, Jonstown, and even Dangerford. This would make it suitable adventure to be run before or after adventures such as The Duel at DangerfordArrows of War, and ‘Darkness at Runegate’. It could also be used to help expand upon the scenarios to be found in the RuneQuest: Roleplaying in Glorantha – Starter Set.

One issue with Vinga’s Ford is the attitude of the villagers—in either Apple Lane or Oakton—towards Ducks. Amongst some members of either community it is suggested that it is not positive, and whilst Ducks are not held in the highest of regards in many parts of Sartar and beyond, this is not the case in Apple Lane as portrayed in the RuneQuest Gamemaster Screen Pack. Here the village has a prominent Duck resident, so the attitudes do not sit well with the descriptions given of the village. That said, not every inhabitant of Apple Lane is detailed and there is scope for them to hold such prejudices. 

Is it worth your time?
Yes. Vinga’s Ford is a solid side quest scenario, easily added to any journey to involve the Player Characters in ancient battles and the doings of both Ducks and Delecti the Necromancer. 
No. Vinga’s Ford will be of little use to you if you have issues with Ducks or are not running a campaign set in Sartar.
Maybe. The ongoing battle at the heart of Vinga’s Ford could be adapted to be between combatants other than a Vingan and some Trolls with some effort and changes to the mythology as necessary.

The Dragon #7 Vol 2.1

D&D Chronologically -

It’s announced that (the artist) Tom Wham is now on the staff of TSR.

An article that wouldn’t make any sense in our current world – What to do if you lose your dice and you have players coming over to play. No-one has any dice? How could that ever be possible?!

Probably the most interesting article in the Dragon mag for a while, an article by Gygax himself about the origins of D&D, talking about the C&C Society, his Domesday Book magazine, Chainmail, Arneson’s Blackmoor and his 18 pages of rules and then Gygax’s development of that into 300 manuscript pages. He also mentions that D&D was released before he was satisfied with it, due to the demands of the playtesters. And lastly he mentions he’s working on a complete revision!

For something different, there’s an article about Mystery Hill and Stonehenge.

Featured Creature – The Prowler, with a picture by Erol Otus.

There’s a small review of The Judges Guild by the editor where he positively gushes with enthusiasm.

Date Information

Just to confirm the dating of Dragon magazines, this is the June issue and there are many ads for things in July and even for some things in late June. And the Convention Schedule even includes one happening on June 4 & 5. So it’s apparent this means it was published at least by the start of June if not late May.

Kickstart Your Weekend: Bloodlines & Black Magic

The Other Side -

You would think we had enough "Gritty Modern Supernatural Horror" RPGs out there.  But nope!  There is always room for more.

This one looks like could be fun too.

Bloodlines & Black Magic



https://www.kickstarter.com/projects/stormbunny/the-bloodlines-and-black-magic-roleplaying-game?ref=theotherside

There is a free guide, not really a Quick Start, up on DriveThruRPG for you to check out.

It reminds me a little of Elizabeth Chaipraditkul's WITCH: Fated Souls and a little bit of KULT: Divinity Lost

Only 48 hours left!

Monster & Treasure Assortment Set One: Levels One-Three

D&D Chronologically -

It’s a list of monsters. And a list of treasure.

No seriously. That’s about it.

Ok, so I guess if we consider when this came out, there were no published adventure modules, so you had to come up with your own dungeons, and I guess this made it a bit easier.

Apparently most of the content was randomly rolled up by Gary’s son Ernie Gygax when he was about 16, as recounted here and here.

The need for these would later be replaced by the tables of random monster encounters in the back of the 1st edition Dungeons Masters Guide.

Date Information

Enworld has a date of February 1977. The copyright information, as Zenopus states, says February 15. I am going to ignore these! The copyright was retroactively registered in 1982 and I think it was done in error.

Looking at periodicals from the time we have the following:

Judges Guild Journal – issue L, April/May 1977 does not list this item. It only lists Dungeon Geomorphs Set 1

Judges Guild Journal – issue M, June/July 1977 states “Just released… the first ‘Monster & Treasure Assortment – Set One: Levels 1 thru 3′”. Also in this issue, Dungeon Geormorphs Set 3 has just been released and Dragon #7 (June) is available in the Booty List. This give an indication of when this was published.

For comparison, White Dwarf is a bit behind the times, being in the UK. Issue 2, August/September lists Dungeon Geomorphs 3 for the first time along with Dragon #7. It’s only in issue 3, October/November that it has M&T1 available.

From White Dwarf it was plainly after Geomorphs 3. From Judges Guild it was around the same time. So chronologically, I’m placing this after Geomorphs 3.

So, it could have been June when this was published, but I’m going to lump it in to May along with Geomorphs 3.

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