The last thing you should do is say no to a dragon, right? This is a situation in which the Player Characters find themselves in To Free the Storm, a short, one or two session scenario for Dungeons & Dragons, Fifth Edition. Written by Andrew Peregrine, author of The Seventh Doctor Sourcebook as well as contributor to and author of many other roleplaying books, it is an adventure for characters of Fifth to Seventh Level. It is setting neutral, but whatever the setting the Dungeon Master decides to use it with, that setting requires an area of dead and barren land with a volcano at its heart, and a village near the area. As written, the volcano at the heart of the barren land in To Free the Storm is Mawspire Mountain. Now only home to a few hardy mountain goats, local legends say that the region was blasted into lifelessness by a dragon, but since no one can recall having seen a dragon, no one believes the legends. Beyond the barren surrounds of the mountain, the region is fertile, which has drawn settlers who farm the land and loggers who work the forests. One village in the area is Carverton.

As To Free the Storm opens, the Player Characters are staying in Carverton, perhaps because they are en route to somewhere or between adventures, and enjoying a drink and decent food when suddenly, the village is attacked. Which is not that unusual when it comes to villages and adventures in just about any Dungeons & Dragons-style fantasy world as it goes. What is unusual is the fact that the attacker asks for them by name. What makes the situation worse is that the attacker asking for them is a dragon! Not only that, the dragon has a favour to ask of them, a favour which he suggests that the Player Characters fulfil lest he continue blasting the village to bits. Which is perfectly in keeping with the attacker—Zzaladar—which happens to be a Blue Dragon.

The favour is this. Zzaladar has long been tied to the area by an arcane manacle, placed on him by a mage many years ago. The manacle is tied to an orb kept deep in a ruined temple on Mawspire Mountain and as Zzaladar has grown in size and power, the effectiveness of the orb has weakened and he thinks that with a little of help, he can break free. Which is where the Player Characters get involved. Zzaladar  wants them to go to the temple and destroy the orb that keeps him prisoner. In  return, Zzaladar promises to not only not destroy Carverton, but also not harm a single sentient creature for a year. Which sounds like a not unreasonable deal—at least for the following year. After that, who knows?

The bulk of the adventure takes place in the ruined temple on Mawspire Mountain. Here the adventurers will have to contend with the volcanic temperatures, the ancient and undead knights of the Order of the Orb who have sworn to protect the orb—and some who have not, and how the god of the volcano, Darmaw, was worshipped before the temple was abandoned and his faith forgotten. The latter is where the dungeon—consisting of just fourteen locations—is at its most interesting. There are a number of elements here which look a little like traps, but may well help the Player Characters in their quest, whilst others will at first seem to be of use, but will ultimately hinder their efforts.

The dungeon offers a reasonable mix of puzzle like elements and plenty of combat along with some roleplaying. Certainly, the Dungeon Master has a couple of fun NPCs to roleplay, after all, what Dungeon Master does not relish the prospect of roleplaying a dungeon? Yet the design of the dungeon is really linear and not all interesting and were it not for the roleplaying elements and how the worship of Darmaw is brought into play, would have little to recommend it.

Available via the DM’s Guild, To Free the Storm is a fifteen page, 2.06 Mb file full colour PDF. It is generally well written, but does need another edit. The cover is nice, but is the only illustration. The map though, is dull and murky, and leaves the reader wishing that the author had drawn it himself or got someone else to do so. This does not mean that the map cannot be used, for it can. It is simply the case that the map is unattractive.

Rounding out To Free the Storm is a quartet of further adventure ideas which raise further questions and suggest as to the consequences of the Player Characters’ actions. Now one obvious oddity with the scenario is that it involves a Blue Dragon and has the Player Characters going to a temple on a volcano. This seems an odd choice, when possibly a Red Dragon with its fire association or even a White Dragon with its icy disassociation might have been more strongly thematic choices. That aside, there is no denying the strength of the set-up to the scenario with the monster coming to the Player Characters rather than the other way around. Similarly, the handling of worship of Darmaw is well done, but unfortunately this is done in an uninteresting, linear dungeon and on decidedly unattractive maps, which all together does not make for a pleasing combination.

There is a lot of potentially good story in To Free the Storm and as the introduction to a campaign of thwarting a threat which the Player Characters were forced to unleash, is actually a good set-up. It would be fantastic to see the consequences of their actions explored in sequels to this scenario as well as have Zzaladar return again and again so that the Dungeon Master can roleplay him as he develops into a memorable villain. Overall, To Free the Storm is a serviceable adventure which feels as if it deserved better, but is still good enough to ask what happens next.

Exhibit / April 30, 2020

Object Name: The Gods from Outer Space
Maker and Year: Magnet/Methuen, 1978-1982
Object Type: Comic Books
Image Source: Komiksy Online, exhibit author’s copies
Description:  (Richard McKenna)

In the summer of 1980, a 9-year-old child was made privy to startling revelations regarding the origins of the human race. Namely, that in the distant past, a scientific expedition had ventured from its homeworld of Delos to what was then known as the Blue Planet for the purpose of making genetic changes to the genomes of one species of that planet’s inhabitants in order to speed up the development of intelligent life—and that this spurring on of intelligence was a galaxy-wide tradition that had been going on for millennia, as advanced species tinkered with the biology of less-evolved species in an ongoing chain of giving each other a leg up the evolutionary ladder. The child also learned that the figure of Satan was actually a memory distorted by its passage down through the generations of a rogue Delosian named Satham who, along with his helper Azazel, had rebelled against the edicts of the mission, and that the cherubim with flaming sword set to make sure Adam and Eve didn’t try and sneak back into the garden of Eden was actually a Delosian spacecraft known as a “sonde” firing its thrusters.

The medium through which these awesome facts were divulged was not some august tome but four slim volumes of remaindered comic books retailing at the low, low price of 80 pence for the lot, the site of their communication no solemn temple but a cash&carry outside Doncaster, and that 9-year-old child was—surprise!—me.

Its Polish title also containing the accuracy-improving addendum of “According to von Däniken,” The Gods from Outer Space, as it was called in Britain, was an eight-part (though only the four I bought that day were available in the UK, the eighth volume published many years later) comic that took as its point of departure Erich von Däniken’s silly “theories”—read “pervy racist fiction”—about extraterrestrials having influenced humanity’s development in the distant past, the basis of which Carl Sagan identified as being “that our ancestors were dummies.” In 1977, with von Däniken mania still thriving, Alfred Górny of Polish publishing house Sport i Turystyka—Sport and Tourism—made an agreement with Econ Verlag,  the publishers of the German edition of Chariots of the Gods?, to create a series of comics based around von Däniken’s crackpot concepts. Polish journalist and Auschwitz survivor Arnold Mostowicz was brought in as writer, and when Grzegorz Rosiński, the artist originally intended to realize the comic, was snaffled by French comic Tintin, he suggested his fellow pupil at art school and Polish comics veteran Bogusław Polch as the man for the job. Górny, Mostowicz, and Polch spent the next four years detailing the adventures of the expedition to the Blue Planet.

The leader of the expedition and the protagonist of the series is the only Delosian woman we meet, but confusingly—despite the sexism implicit in having literally only one speaking female character (though she is later joined by a clone of herself)—Ais (as she is called in the British version) is pretty much the equal of all the male characters put together: quick-witted, bold, intelligent, beautiful, not above laser-blasting a few bad guys and dedicated to the values of the mission but ready to rebel when necessary against the eugenicist dictates of the “Great Brain,” the emotionlessly logical super-intellect that dictates Delosian decisions.

From the moment they set up their first base in the Andes where they (natch) build the Nazca Lines as a landing strip, Ais’s expedition is plagued by setbacks, from rebellious Delosians and Robocop-ed reptiles to insectoid aliens who plan to strip Earth of its natural resources. The plot spans centuries and goes on to include Atlantis, the Pyramids, the Tower of Babel, Hindu gods, Sodom and Gomorrah, the Flood, the crossing of the Red Sea, the Nephilim, crystal skulls, the Book of Ezekiel, and the chariot of Yahweh, as well as the aforementioned Ur-Beelzebub—the dastardly Satham, and his army of mutants and robots. The story is an enjoyably confusing nonsense minestrone, but the story is entirely secondary to what makes The Gods from Outer Space so compelling: page after page of Polch’s lyrically beautiful artwork. His sure, clean line and mastery of shade and form create a credible and coherent visual world with its own technologies and aesthetics that in its way is as intense and visionary as the images generated by Jack Kirby’s infatuation with ancient astronauts. Polch died at the beginning of 2020, but the work he leaves behind him—which also includes the wonderful Funky Koval—ensure him a place in comic book history.

While still fairly dodgy, what with logic-driven technocrats imposing their “mission” on a bunch of unsuspecting primates, The Gods from Outer Space‘s interventionist ethics are perhaps closer to those of 2001: A Space Odyssey than to von Däniken’s reactionary gobbledegook. Despite its links to his deeply ambiguous schtick, though, The Gods from Outer Space was also a handy primer for young minds re: the idea that humanity’s myths and legends might in reality be nothing more than the misunderstandings and misrememberings of events or inventions long past, and that even the god we sang hymns to in school assembly every morning, even the idea of “good” and “evil” themselves as discrete and mysterious forces instead of the results of circumstance, history, and environment, might all just be a load of bollocks we’d made up over the millennia because it was easier than actually trying to understand things. Is it possible that, in its way, The Gods from Outer Space hinted at some burgeoning awareness that the historical narratives foisted on us by the establishment were perhaps not totally trustworthy? That the missing element was aliens meddling with our DNA might be pushing it a bit, but maybe there was a kernel of healthy skepticism in this particular take on von Däniken’s delirium—though as we’ve witnessed in recent years, skepticism without actual knowledge can easily metastasize into something as unhealthy and dangerous as unquestioning belief.

It might seem a stretch to accept now that there was a time when many adults believed—with varying degrees of conviction—in the cosmic theories of a Swiss hotelier with criminal convictions for fraud, as well as the Bermuda Triangle and Bigfoot. But this paranormalia was absolutely a part of the texture of everyday life. Though given that forty years later we are living in a world increasingly defined by the bellicose beliefs of reactionary fantasists willing to believe in anything that will provide them with the solipsistic buzz of victimhood, it’s not really so hard to credit the hold these strange ideas exerted over the collective imagination. In comparison, maybe The Gods from Outer Space‘s contention that our ancestors got made clever by aliens doesn’t seem so bad.

Once again evil witches gather to celebrate Walpurgis Night and good witches celebrate Beltane.

And once again the Warlocks join the festivities.

The Warlock for Old-School Essentials



Mine is the Power!

Power. Humans have always sought it.
Clerics pray for it. Wizards study for it.

Warlocks take it.

Introducing the Warlock class for your Old-School RPGs.

- Four new warlock pacts: Chaos, Cosmic, Death, and Dragon.
- 78 Warlock spells including Cantrips
- 13 new spells for clerics, druids, illusionists, and magic-users each.
- 55 Warlock Invocations, the ultimate expression of their power!
- Magic items and warlock patrons.

Fully compatible with Old-School Essentials and other Basic-Era Games.
Fully compatible with other witch and warlock books from The Other Side.

Requires Old-School Essential Core Rules.

Cover Art by Conner Meek.  Some interior art by Jeff Dee.

POD version on the way.

This book is 100% compatible with The Craft of the Wise: The Pagan Witch Tradition also for Old-School Essentials. In fact it is written so warlocks can use witch spells (up to 5th level) and witches can use warlock spells.   The two groups of classes are also natural antagonists for each other.

This book is also 95%(*) compatible with The Warlock for Swords & Wizardry. 
Both warlock books feature pacts, invocations, spells, and lodges.  There is some minor overlap (invocations like Arcane Blast, some spells) but otherwise, each book adds to the other.  Expand the warlocks spell list and invocations.

Exhibit / April 28, 2020

Object Name: Brought To Light: Shadowplay—The Secret Team and Flashpoint—the La Penca Bombing
Publisher and Year: Eclipse Books, 1989
Object Type: Graphic novel
Image Source: Archive.org (Shadowplay—The Secret Team and Flashpoint—The La Penca Bombing)
Description (Michael Grasso):

In 1989, at the very end of the Cold War, a group of four prominent mainstream and alternative comic book writers and artists created a double volume graphic novel exposing the rampant injustices, assassinations, and terrorism facilitated by the CIA and its creatures worldwide, ostensibly to fight global communism in the years following World War II. This pair of books, sold under the shared title Brought To Light, came courtesy of one of the only justice movements since the Church Committee to successfully take on the American deep state and confront the CIA’s historical criminal behavior.

Founded in 1979 as an outgrowth of its founders’ work to achieve justice for presumed-murdered nuclear worker and union activist Karen Silkwood, the Christic Institute took as its inspiration the Christian mystic/philosopher Pierre Teilhard de Chardin and his concept of a “christic” cosmic energy that he penned a mere month before his death. Danny Sheehan (a lawyer who had been involved in the Pentagon Papers case), Sara Nelson (a former television journalist and labor secretary for the National Organization for Women), and the Reverend William J. Davis (a Jesuit priest who would go on to spend most of the early 1980s in Latin America observing the crimes of reactionary regimes from Pinochet’s in Chile to the Contras in Nicaragua) founded the Christic Institute to provide legal and investigative aid to resist right-wing terrorism and corporate malfeasance across the globe. In the early 1980s, Christic would go on to bring a lawsuit against the Nazi and Ku Klux Klan terrorists in Greensboro, North Carolina who murdered four left-wing protestors in November 1979, including as defendants in the lawsuit federal law enforcement officials and the many Nazi collaborators within local law enforcement who allowed (and even encouraged) the Klan violence to take place.

As the Reagan years unfolded and a resurgent CIA found its footing again interfering on the global stage (especially in Central America), Christic found itself at the center of the case that would paradoxically lead to both its greatest publicity and the Institute’s eventual downfall and dissolution. In 1984, at the height of the Nicaraguan civil war between the revolutionary Sandinista government and the Reagan CIA-backed right-wing Contra rebels, a hastily-arranged press conference was put together to allow a disillusioned Contra official named Edén Pastora to speak to the press. For months, CIA officials had allegedly been tracking Pastora, a former Sandinista who had gone over to the Contras and now found himself at odds with the Contras’ alliances with foreign forces in the form of both the CIA and drug traffickers from South America. A purported “photojournalist” named Per Anker Hansen (believed by some to be CIA-allied Libyan agent Amac Galil) attended the Pastora press conference at a remote guerilla camp at La Penca on the border with Costa Rica, suspiciously guarding a package with “photographic equipment” that was actually full of C-4 explosives. Hansen/Galil left the building and allegedly detonated the package remotely. Three journalists and four guerillas died in the resulting explosion, and 21 were injured.

In the months following the bombing, American journalist Tony Avirgan (who was injured in the La Penca bombing) and his wife Martha Honey engaged in their own investigation, finding the CIA’s fingerprints all over this assassination attempt on Pastora (who survived the bombing with injuries and ended up eventually reconciling with Daniel Ortega’s Sandinistas). In 1986, as the Iran-Contra affair was in full swing, the Christic Institute filed a RICO suit in federal court against Oliver North and several other members of “the secret team” responsible for dirty tricks, weapons smuggling, and targeted assassinations in Central America throughout the 1980s. Christic ended up losing the case, its 501(c)(3) status, and its very existence thanks to “frivolous lawsuit” penalties levied by a Nixon-appointed judge whom Sheehan would find was associated with both Meyer Lansky’s Miami National Bank, a center for CIA-Mafia funding throughout the ’60s and ’70s, and the CIA itself as a “CIA [trained] attorney.”

While the La Penca bombing case was in full swing, the Christic Institute collaborated with indie comics scribe and political activist Joyce Brabner—who had attended one of Sheehan’s lectures and been inspired by his work—on a comic book retelling of the La Penca/Pastora case. Avirgan and Honey dictated the details of their investigation to Brabner, and she and comic artist Thomas Yeates put together an illustrated version of the La Penca bombing. It was published on indie comic imprint Eclipse (home of the Iran-Contra trading card set) and paired with a second comic detailing the CIA’s overall Cold War activities by writer Alan Moore and artist Bill Sienkiewicz. Yeates’s art style evokes war and adventure comics of an earlier era, much along the same lines as his future work on venerable newspaper serials like Prince Valiant, Zorro, and Tarzan, to simultaneously effectively convey and subvert the web of CIA intrigue that converged in that camp on the Costa Rica border.

Moore and Sienkiewicz’s Shadowplay—The Secret Team offers a broader history of the CIA’s interference and a much more hallucinatory visual and narrative experience. The comic centers on an avatar of the CIA and American imperialism in the form of a maniacal, drunken bald eagle who “represent[s] the Company,” the common sobriquet for the CIA, and who explains American intelligence interference abroad in terms of the brutality and murder necessary to protect American (business) interests. “I like to think I’m sellin’ folks a dream,” the eagle says, before accepting the fact that he’s responsible for “swimming pools full of blood” to keep that American dream—the international machinery of commerce—moving. Moore explores early Cold War CIA interference in elections from Italy to Iran to Guatemala before delving deeply into the Mafia- and corporate-aided CIA programs of assassination, illegal invasions, narcotics trafficking, and mass murder from Cuba to Southeast Asia to the Middle East, ending with an explanation on how the heirs to these earlier Cold Warriors were behind the Reagan era’s affairs in Central America and Iran.

Where Brabner and Yeates rely on the specific chilling details of the events leading up to the La Penca bombing op to illustrate the danger of the CIA’s activities, Moore and Sienkiewicz’s work evokes larger, more mythic themes, conveying the danger of the “American way of life” for much of the rest of the world. They subvert all-American symbols like the Statue of Liberty (crowned in rifles and carrying a giant dollar sign in the place of her tablet), baseball (CIA “trading cards” featuring Mafia don Santo Trafficante and Cuban exiles), and Pepsi (implicated in the manufacture and refinement of CIA heroin in Southeast Asia during the Vietnam War). Sienkiewicz, by 1989 an established comic artist whose avant-garde, impressionistic style had given new life to Marvel titles like The New Mutants, and who had worked well within the political and mystical intrigues of limited series like Frank Miller’s Elektra: Assassin (1986-1987), here channels not only his own dazzling impressionistic style but the freaked-out hallucinatory caricatures of Hunter S. Thompson illustrator Ralph Steadman. Alan Moore’s own political stances on American imperialism and fascism had, of course, found full expression in his own pair of 1980s opuses, Watchmen (1986-1987) and V For Vendetta (1982-1989).

The two Brought to Light volumes stand as a final testament to both the Christic Institute’s vital work and as a signpost for the end of the Cold War, a time when nearly all the secrets of the CIA’s outrageous Cold War activities had become well-known—not thanks to America’s mainstream newspapers and television media, but because of independent, politically-engaged voices working diligently in underground media to strip the veils away from the rot and endemic corruption at the center of the nation’s politics.

Well. The books are off to the printers and we will start sending out copies to our Kickstarter backers.

But if you missed our big Kickstarter last fall I have some good news. We are now taking preorders of Night Shift: Veterans of the Supernatural Wars.

The shipping date for the hardcovers from the Printer is June 10, and we will then be sending copies out to the Kickstarter backers. After that, we will fulfill all pre-orders.

Night Shift: Veterans of the Supernatural Wars

Pre-orders of the Night Shift: Veterans of the Supernatural Wars rpg are OPEN! Grab a hardcover/PDF bundle and get your PDF right away! https://elflair.com/nightshift.html 


Get your pre-order in here: https://www.elflair.com/nightshift.html

If you want to "try before you buy" there are the Quick Start rules here.

I plan on having a lot of fun with this over the Summer.

Been wanting to do this beastie for a while!



The Hodag

In the wilds of Wisconsin there lives, or rather lived, the fiercest to ever run on stubby little legs.  The Hodag.  This monster has a wide face full of razor-sharp fangs. Its head is topped with a pair of horns and spikes running down it's back.  It's four legs are short (and it has no knees) and also end in razor-tipped claws.  It is fierce, vicious, and mean-spirited.

The hodag is seven feet long and about two-and-half feet tall. It is almost supernaturally strong, but are not fast runners.  They have to sleep leaning against a tree since it has no knees and their own spikes would impale them if they were to lie down. Because of this, they can't be surprised. This also might explain why they are so cranky.

Hodags are believed to have died out due to a lack of their primary food source, pure white bulldogs.

Hodag (NightShift)
No. Appearing: 1
AC: 4
Move: 30ft.
Hit Dice: 6
Special: 4 attacks (2 claws, bite, 1 tail spike), can't be surprised
XP VALUE: 150


Hodag (Old-School Essentials)
Armor Class 4 [16]
Hit Dice 6 (27 hp)
Attacks [2 × claw (1d6), 1 × bite (2d6)] or 1 × tail spike (1d6) or 2 x horn gore (1d4+1)
THAC0 14 [+5]
Movement Rate 90' (30')
Saves D10 W11 P12 B13 S14 (6)
Morale 11
Alignment Chaotic
XP for Defeating 500
Number Appearing 1 (1)
Treasure Type None

• Horns. The hodag can rush an opponent to attack.  The horns are sharp and cause piercing damage.
• Nasty Mood. Hodags are always in a foul mood. They can't be charmed nor subdued. They always attack.
• Tooth and nail. The preferred attack of a hodag. Razor-sharp claws and fangs.

Hodag (shadow creature) (Blue Rose)

Abilities (Focuses)
3 Accuracy (Claws)
1 Communication
3 Constitution
2 Dexterity (Stealth)
1 Fighting (Fangs)
-1 Intelligence
2 Perception (Smell)
3 Strength
2 Willpower

Speed 16
Health 40
Defense 14
Armor Rating 0

Weapon Attack Roll Damage
Claws +3 1d6+1
Fangs +2 1d6+2
Horns +1 1d6

Special Qualities
Favored Stunts: Defensive Stance, Lightning Attack

Threat: Moderate


Night Shift: Veterans of the Supernatural Wars

Pre-sales of the Night Shift: Veterans of the Supernatural Wars rpg are OPEN! Grab a hardcover/PDF bundle and get your PDF right away! https://elflair.com/nightshift.html 

I had a Monstrous Monday planned for today but in the process of going through my monsters to make sure I hadn't already done it (spoiler: I hadn't, expect to see a Hodag soon!) I began to notice a couple of things.

1. I have been doing Monstrous Mondays for a while now.
2. I have a ton of monsters.

I went back through all my data and found I have done 230 monsters for my witch books.  About 80 for Monstrous Mondays and another 75 or so in just A to Z posts.

Counting for duplicates and overlaps that gives me over 300 monsters.

That's more than the Monster Manual had.

It got me thinking. Would a new monster book be fun to do?



Well, the answer is yes, it would be fun. I have enough monsters for sure.  They all have a general "theme" of witches, demons, undead, and the occult.  So that is something.

The biggest issues are:

1. Art. Art is not cheap and I would like to have as much as possible.  The biggest cost of the book will be this.

2. System. As of now I have written monsters for Basic-era (at least four different clones), S&W, AD&D, Unisystem, AGE, Ubiquity, and D&D5 with a smattering of others.  What system would be best to use?  AD&D/OSRIC gives me more detail, Basic/LL & S&W gives me the most audience. D&D5 gives me a little of both, but the art requirements are much higher.

3. New content. This is a big one for me really.  Despite the fact that there are over 300 monsters, all of them have appeared in one of my books or blog already. While an individual may find something they have not seen before, anyone who has purchased a book from me will see something they have already seen.

Granted, this is the exact same thing as the Fiend Folio with content from the Fiend Factory and most of the Tome of Horrors books are filled with monsters we have all already seen. In fact there is a group of demons I have taken to calling "The Usual Suspects" because they are in every book of demons there is.  I have even gone as far as to look into commissioning some art with them all in a police lineup.

Even Monsters of Mayhem #1, a book I rather enjoy, is made up completely of monsters from all the adventures from Dark wizard Games.

Obviously, I could do this as a book and sell it anyway. The enjoyment would be for me to have my very own book of monsters.  If other people enjoy it, then fantastic!
BUT that assumes that I either have all the art I need and any I need to buy will be cheap. 
I like my witch books to make a profit (so I can buy more books!) and just breaking even is not a good business strategy.

Under any circumstance, I would HAVE to include new, never before seen monsters.

Now just figure out which ones make the cut and where some gaps might be.

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

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

—oOo—
Name: Return to the Monolith

Publisher: Chaosium, Inc.
Author: Michael LaBossiere

Setting: Modern era Hungary

Product: Scenario
What You Get: 1.39 MB fourteen-page, full colour PDF
Elevator Pitch: A sequel to the classic ‘The People of the Monolith’ from 1982’s Shadows of Yog-Sothoth.  
Plot Hook: Some mysteries are just too dangerous to research for television.
Plot Development: A record of investigating the strange, plenty of research, Hungary-bound, and stone-cold creepy night scenes.
Plot Support: Six NPCs, two handouts, and a minor Mythos race.

Pros
# Simple set-up
# Great set-up around a documentary mystery series
# Sequel to a minor classic scenario
# Suitable for experienced investigators
# Plenty to research
# Variety of NPCs
# Potential modern campaign set-up

Cons# Linear plot
# Too many NPCs?
# Research overly difficult?
# Plot too similar to ‘The People of the Monolith’
# Investigators are known for investigating the Mythos (or the weird)

Conclusion
# Plot too similar to ‘The People of the Monolith’
# Potential modern campaign set-up
# Decent one-shot or introduction to Lovecrafian investigative roleplaying

In ages past, the many tribes of man live, survive, explore, and fight their way across the great continent of Mu. It is a land of savage beasts, of mysterious caves to be delved into and their fabulous gems to be taken, of barren wastes and arid deserts, steamy jungles and wide grasslands, and of jagged mountains and hidden valleys. There are many tribes scattered across the continent—primitive and civilised, nomadic and settled, in villages of wood and stone, in cities of caves and cities of mud brick houses. It is a land of secrets and threats, whether of the ancient Saurians who have long abandoned Mu, but are rumoured to have retreated into hiding; of cultists, priests, and strange peoples who hold dark rites to gods inimical to mankind; and of mysteries hidden away in lost valleys and caves. Armed and equipped with weapons and tools made of wood, stone, bone, hide, and fur, adepts, bestials, fighters, oracles, sorcerers, and specialists work to ensure the future of their tribe. To make sure it is fed and clothed, to protect it from predators and rival tribes, to ensure that the gods are kept appeased, and to ensure that their stories and their legend will be told in the tribe’s oral history.

This is the set-up for Paleomythic: A Stone and Sorcery Roleplaying Game, a new roleplaying game from a new roleplaying game publisher. This publisher is Osprey Publishing, best known for its military history reference works and within the past few years, for its wargame rules like Frostgrave: Fantasy Wargames in the Frozen City and board games like the new version of Escape from Colditz. At the end of 2019, Osprey Publishing again branched out and published its first two roleplaying games. These are Paleomythic: A Stone and Sorcery Roleplaying Game and Romance of the Perilous Land: A Roleplaying Game of British Folklore. Of the two, Paleomythic: A Stone and Sorcery Roleplaying Game is the more obviously interesting, as it visits a genre that is rarely given treatment by roleplaying—the Stone Age, or Stone Punk. Paleomythic: A Stone and Sorcery Roleplaying Game is one of grim survival and mythical adventures in the land of Ancient Mu, one which transposes the Swords & Sorcery genre—the fantasy subgenre of sword-wielding heroes engaged in exciting and violent adventures in a world with elements of magic and the supernatural—to prehistory and the self-coined ‘Stone & Sorcery’ genre. In fact, Paleomythic: A Stone and Sorcery Roleplaying Game could actually take place before a ‘Stone & Sorcery’ world or after and before our world and history, but either way, the Player Characters are modern humans.

As modern humans in Paleomythic, each Player Character is represented by their Name and Age obviously, plus the Traits, Flaws, and Talents. Traits are natural abilities such as Dextrous or Wilful, Flaws are weaknesses such as Clumsy or Sickly, and Talents represent a character’s experience, skills, and specialist training, for example, Barbarian or Cultist. Each Talent provides a speciality or advantage as well as set of equipment. For example, a Storyteller can orate a story or myth for gain—monetary and otherwise, as well as to alter another person’s memory of an event. The Storyteller starts play with a hide hat, cushion, scarf or feathered cloak, and a pouch of gems. To create a character, a player can simply choose all of these elements or he can roll for them. The more Talents a character has, the fewer Traits he has, plus he can select two extra Traits at a cost of one Flaw each. A character’s initial Traits also point towards his background and appearance.

Our sample character is Solumia, a young woman adopted by her current tribe after being found wandering as a child. Her own tribe was lost under circumstances which she either refuses to talk about or cannot recall. Consequently, there are certain fears and rumours whispered about her, which she fostered as a soothsayer, a doomsayer of things to come. She can be thoughtless when it comes to other people and their possessions, but she rarely sees the worst in others. Despite this, she often seems to be lucky and no one has reason to call her a coward.

Name: Solumia
Age: Young
Background: Faced a terrifying challenge that no others would and won; sole survivor of a calamity
Appearance: Upright stance with a wry smile
Traits: Agile, Brave, Careless, Dextrous, Fortunate, Unassuming, Wilful
Talents: Bestial—Savage (bonus die to resist illness and disease, avoid attacks) Oracle—Soothsayer (Dumbfound target, cause dread, sway crowd), Specialist—Crafter (craft item, repair item)
Gear: tunic, belt, shoes, rushlight, two bags, rope, six pieces of fruit, wood spear, hood, dark linen tunic, black feather cloak, bone knife, fur hat, fire making kit, lamp, oil, pack, flaker, hammerstone, needle

Mechanically, Paleomythic uses dice pools of six-sided dice. The base size of this dice pool is equal to the number of Traits possessed by a character. To have a character to succeed at any task, his player rolls these dice and any result of a six counts as a success. If a character has any relevant Traits, then this adds a further six-sided die to the pool. Talents do add dice, but they do indicate which Trait is appropriate, for example, Charismatic for a Bone Chanter to command a cadaver. Since the Traits are by default determined randomly, this can mean that a character can have a Talent and not have its associated Trait. Conversely, a Flaw deducts a die from the pool. Similarly, the use of an appropriate tool adds a further die to the pool, but this should be rolled separately, or ideally, be a die of a different colour. This is because if a one is rolled on this die, the tool breaks. If a tool breaks, it does not mean that the task has been failed—a Player Character can still roll a six and succeed on the other dice.
So for example, following a raid by a rival tribe, Solumia has joined her fellow tribesmen in chasing after the raiders. At one point, this means crossing over a ravine. Fortunately, there is a fallen tree trunk lying across the ravine—which is how the raiders got so close to Solumia’s village without being noticed—but to cross it, the Game Master asks her player for a test. Solumia has five Traits, so her player will roll five dice, but she also has the Agile Trait, so asks the Game Master if that is appropriate to the situation. The Game Master agrees and the player is now rolling six dice. Solumia’s player rolls 2, 2, 3, 4, 5, and 6—indicating that she has successfully run across the log.Combat uses the same mechanics. Damage inflicted negates a character’s Traits, if only temporarily. A character who loses all of his Traits is rendered unconscious, and should he suffer any more damage, he will be killed. A straight attack will inflict just a single wound, but certain weapons and Talents will inflict more. Armour will negate one Would per attack—prehistoric armour is not good enough to protect more than that, and worse, the protecting armour is damaged in the process and will not provide further protection. Weapons work like tools. They break on a roll of one, but on a roll of six, they provide an additional effect. So an obsidian maul has ‘Destroyed’ as a weapon effect, which means that rigid armour is smashed, soft armour is damaged, but can be repaired, and the target of the blow takes an extra wound, whereas a simple bone knife has the weapon effect of ‘Intimidate’, which means a foe is unnerved and loses his next attack if already wounded. There is no effect if the foe is not wounded or has the Wilful Trait.
Continuing the example above, Solumia and her fellow tribesmen have raced after the raiders and caught up with their rearguard left behind to help the raiders get away. The one attacking Solumia has four Traits—Agile, Dexterous, Brave, and Guileful. He is armed with a hand axe, which has the ‘Pain’ weapon effect, and being sneaky, will ambush Soumia. With four Traits, the Game Master will roll four dice, plus one bonus dice for his weapon and another for his Guileful Trait, for a total of six dice. However, Solumia might spot him beforehand. Her player only rolls five dice, because she has no appropriate Traits. The Game Master rules if he succeeds, Solumia spots the attack and can react, but if he fails, she will be unable to. A result of 2, 3, 4, 5, and 6 means that she does and can attack this turn, but the raider gets to attack first. The Game Master rolls the six dice for the sneaky raider—2, 3, 4, 5, and 6, plus 6 on the bonus die for the weapon—which means one success. Unfortunately, in response to the raid, Solumia did not have time to don any armour. So she takes a blow to the head and loses one Trait which her player decides is her Agility. Now Solumia’s player will be rolling four dice for her Traits. Worse, the weapon effect of ‘Pain’ also takes effect. This stops Solumia using any bonuses due from her Traits on her next action. However, she can act.Solumia turns and stabs at her attacker. Her player will have four dice to roll due to the loss of her Agility Trait. Worse, she cannot gain a bonus die from the Brave Trait because of the painful blow inflicted by the raider, but she still gets the bonus die from the wooden spear, so five dice. The wooden spear also has the weapon effect of ‘Ward’, which will make it more difficult for the raider to attack next turn and so cannot use any appropriate Traits. Solumia’s player rolls 1, 1, 3, and 4, but 6 on the weapon’s bonus die. The raider takes a wound and the Game Master crosses off his Guileful Trait, and the weapon effect means that next turn he is attacking with just three dice, the weapon bonus die, and no Traits! So in effect, Traits lie at the heart of the mechanics to Paleomythic. In terms of roleplaying, they are a character’s virtues and mannerisms, and of course, flaws. Mechanically, they work as advantages and disadvantages, but they also serve as a character’s Hit Points. When lost in combat or through other damage, their loss both reduces the number of dice a player has to roll to undertake an action and denies the player the bonus which the Trait Seoul’s grant. So a double effect, reflecting the brutal, savage nature of life and combat in the prehistoric world of Paleomythic.

Another interesting aspect of Paleomythic is the use of equipment and its fragility. It is possible to purchase equipment at more organised settlements, but by default, the Player Characters are expected to make their own and repair their own. No item possesses any great durability, but unless smashed or lost, they can be repaired. So as much as equipment or a tool provides a bonus, there is an element of a character and his player investing time in them not just because he can use them, but because he has to spend time repairing them too. In addition, the rules in Paleomythic also cover crafting, climbing, foraging, hunting, trading, trapping, and even locks (though not ones with keys for obvious reasons), all activities that the Player Characters are likely to engage in as they help their tribe.

As well as being a world of savagery and survival, Paleomythic is also one of mystery and magic. The magic is first reflected in various Talents, such as Mystic, Ritualist, and Shaman. So the Mystic can recall ancestral memories to gain the single use of particular Traits; Ritualists perform rituals to produce effects such as curses, famines, fertility, and more; and a Shaman can enter the Otherworld to commune with spirits, but can also repel, punish, and banish them. The Otherworld is a bleak and hazy reflection of the real world, but is also a place of mysterious ruins, forgotten temples, and dead forests where secrets can be found. The Shaman can automatically enter the Otherworld and bring others with him, so providing another realm for the player characters to explore. What there is not is a codified form of magic or really spells, and all of these various ‘magical’ abilities feel rougher and require more effort to enact. 

As to the setting of the continent of Ancient Mu, Paleomythic describes it in broad strokes. This is because it is a continent of the unknown in time where the only information is orally transmitted rather than recorded. So there are no maps that the Player Characters would see and so no maps for the Game Master. This does not mean that the world is not detailed as Paleomythic details elements which the Game Master can add to her campaign. So the means to create tribes and settlements, including beliefs, ceremonies, dwellings, leaders, supported by examples. Some of the stranger places across Ancient Mu are also described, such as the City of Dust, a trade city ruled by many chiefs and the Night Tombs, earth and stone mounds which constrain the treasures and relics of a once-powerful tribe, surrounded by marshland and close to the Otherworld. Numerous gods and how and why they are worshipped are also detailed, as are numerous adversaries. These include potential foes, beasts, beast men, the undead, and more. 

Notable amongst their absence from this list is anything akin to dinosaurs, but Paleomythic is very much a roleplaying game where their presence would intrude and detract from the setting. Notable by their presence amongst the various foes is the inclusion of the Serpents of the Forgotten Ruins and the Toad Things of the Black Obelisk, which both hint towards two of the influences upon Paleomythic: A Stone and Sorcery Roleplaying Game, and that is the writings of Robert E. Howard and Clark Ashton Smith. Obviously, the Swords & Sorcery element is more readily apparent in the setting, but there are hints of—or nods towards—aspects of their stories, whether that is the Serpent Men of Howard’s King Kull stories or Clark Ashton Smith’s toad things and Tsathoggua from his Hyperborean cycle of tales. So as much Paleomythic draws from the Swords & Sorcery genre, there is just a hint of the Lovecraftian to the continent of Ancient Mu.

For the Game Master there is advice on running Paleomythic as well as possible adventure types—conflict, travel and exploration, and specialist types, along with tables of potential hooks. In addition, it looks at ‘Paleodelving’, the equivalent of dungeoneering on the Ancient Continent of Mu. A few final notes discuss how to adjust the game to fit a more realistic game in the Pleistocene Epoch with human species and to add elements of technology and civilisation to adjust it to the Swords & Sorcery genre. Rounding out the roleplaying game is ‘Captives of the Beastmen’, essentially a cave delve in which the Player Characters must rescue their fellow tribesmen who have been kidnapped. It is a decent introductory adventure, more detailed than sophisticated, but reasonable enough. It does though point towards a need for more interesting scenarios than ‘Captives of the Beastmen’, which hopefully Osprey Publishing will supply at some point—as well as a campaign.

Physically, Paleomythic: A Stone and Sorcery Roleplaying Game is a lovely digest sized hardback. Presented in full colour, is well written and very nicely illustrated with painted artwork. A pleasing touch is the use of cave painting-style illustrations which help impart some flavour to the setting. The map for the included scenario is perhaps a little too dark, but that is a minor issue.

There are not many Stone Age or prehistoric-set roleplaying games to choose from, but Paleomythic: A Stone and Sorcery Roleplaying Game is a good choice. The rules are simple and quick, pleasingly managing to support interesting and flavoursome characters and capture the savage nature of the Continent of Ancient Mu, whilst the Game Master is given the means to create an interesting prehistoric world of her own. Paleomythic: A Stone and Sorcery Roleplaying Game is a fantastic first roleplaying game from a publisher new to roleplaying games (if not other games), bringing a whole new genre to a forgotten time in a lovely little book.

Since 2013, Goodman Games, the publisher of  Dungeon Crawl Classics Role Playing Game and Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic has released a book especially for Gen Con, the largest tabletop hobby gaming event in the world. That book is the Goodman Games Gen Con Program Book, a look back at the previous year, a preview of the year to come, staff biographies, and a whole lot more, including adventures and lots tidbits and silliness. The first was the Goodman Games Gen Con 2013 Program Book, but not being able to pick up a copy from Goodman Games when they first attended UK Games Expo  in 2019, the first to be reviewed was the Goodman Games Gen Con 2014 Program Book. Fortunately, a little patience and a copy of the Goodman Games Gen Con 2013 Program Book has been located and so can be reviewed.

After having reviewed Goodman Games Gen Con 2014 Program Book, it is clear that there have been changes between its publication and that of the Goodman Games Gen Con 2013 Program Book. It is slimmer at just sixty-four pages, but as subsequent entries in the series have appeared, they have got thicker and thicker with ever increasing page counts. Nevertheless, the Goodman Games Gen Con 2013 Program Book set the template and is still a book of bits and bobs, the silly and the seriously useful, an eclectic mix of the useful and the ephemeral, all illustrated with some great art. What is radically different between the Goodman Games Gen Con 2013 Program Book and the Goodman Games Gen Con 2014 Program Book, is that the silliness in the Goodman Games Gen Con 2013 Program Book begins with the first page! So we have a ‘Gen Con Luck Chart’, a table of prizes and benefits to be rolled for when the attendees might have won—or even lost—when they purchased the Goodman Games Gen Con 2013 Program Book. This is followed by ‘Bios of the Band’, fun filled biographies of many of the luminaries who were writing and drawing for Goodman Games in 2013—and still are in 2020. They include Doug Kovacs, Brendan Lasalle, Michael Curtis, Brad McDevitt, and of course, Joseph Goodman. These are nice snapshots of the team behind Goodman Games and it is indicative of the strength of the team that they are still working together today.

Art has always been a major feature of titles from Goodman Games—of course, it is with any roleplaying book—but Goodman Games has placed a certain emphasis upon it and its Old School Renaissance style. So it features in ‘We’re with the band’, a look at the band of adventurers whose story has been told through their appearances in successive titles for Dungeon Crawl Classics Roleplaying Game, from the core rulebook and through each of the adventure modules. This is essentially a run of Easter eggs for the observant and adds a nice little level of detail through the series. The we are on to ‘What’s Next for DCC RPG?’, ‘What’s Next for Age of Cthulhu?’, and ‘What’s Next for Systems-neutral Sourcebooks?’, each section highlighting releases then forthcoming in 2013. Most notably, they include two notable boxed sets for Dungeon Crawl Classics, both of them—Dungeon Crawl Classics #83: The Chained Coffin and Dungeon Crawl Classics #84: Peril on the Purple Planet—now highly sought after. This all takes up the first third of the Goodman Games Gen Con 2013 Program Book. Then we are on to the volume’s adventures.

The first of these is Michael Curtis’ ‘The Undulating Corruption’. The first of two adventures for Goodman Games Gen Con 2013 Program Book, designed for player characters of Fifth Level and parties which include a Wizard who has been corrupted by his use of magic, which as the adventure points out, is all too likely by the time he reaches Fifth Level. By various means, this Wizard has learnt of a means to expel the corruption from his body—the Crucible of the Worm. The exact location is up to the Judge, but wherever she places it, what the Player Characters discover is a disaster area, which instead of being free of corruption has been blighted by it, and not only that, whatever is the cause has now left a trail as it heads off across the countryside. So this sets up a chase for the Player Characters to take as they track down a very nasty threat to them, the countryside, and potentially, a nearby city. Designed to be played in a session or so, the scenario pleasingly picks up on a mechanic in Dungeon Crawl Classics Roleplaying Game and builds a good adventure around it. Although it has a specific set-up, this is a good adventure to slip in between longer larger affairs and gets the adventuring content in the Goodman Games Gen Con 2013 Program Book off to a good start.

If ‘The Undulating Corruption’ was a good start, then the second adventure, ‘The Jeweler that dealt in Stardust’ is even better. Harley Stroh’s scenario is designed to be played by Third Level characters is a heist, a raid by thieves upon the house of Boss Ogo, jeweller and one of the many fences of stolen goods in the city of Punjar. Unfortunately, he has not been seen for a month. Fortunately, this surely means that something must have happened to him—probably dead if no one has seen him for a month—and represents a opportunity to grabbed. That is, to break in and steal everything worth taking—or at least portable—and do it before anyone else does. His premises are famously said to be heavily trapped to trick and kill those foolish enough to attempt to burglarise him. The fully mapped building is full of traps and puzzles and clues as to Boss Ogo’s recent activities… The question is, just what has happened to Boss Ogo, but importantly, where is his loot?

This is a great scenario with plenty of detail and flavour. It is a really good scenario for Thief or Rogue type characters, and despite being set in the city of Punjar, would also really work with the Dungeon Crawl Classics Lankhmar Boxed Set, a setting in which every Player Character is a thief—whatever their character Class.

The third and last scenario is actually a preview for the then forthcoming Maximum Xcrawl. This is one of the most original settings for Dungeons & Dragons-style roleplaying. It is set on an alternate Earth which was a Dungeons & Dragons-style fantasy world and in modern times is dominated by a Roman republic in North America. Like any Roman empire, it has gladiatorial games, but in modern times they take the form of dungeoneering as of old. Essentially, this combines the pizzazz and showmanship of World Wrestling Entertainment with classic dungeoneering and turns it into sports entertainment, complete with arena events. Written for use with the Pathfinder Roleplaying Game, ‘What’s next for Xcrawl?’ introduces the setting and the setting’s take upon Dungeons & Dragons-style gaming.

The introduction includes backgrounds for three of the Xcrawl Races—Dwarves, Elves, and Gnomes—as well as a list of Xcrawl Classes to enable players to create their own characters for the setting. To be fair, to get the most out of the accompanying scenario, ‘Maximum Xcrawl: 2013 Sudio City Crawl’, the Referee and her players will need a copy of Maximum Xcrawl. The scenario is designed for characters of Sixth to Eighth Level and showcases the type of dungeon to be found in the setting. It combines game show elements with combat and showmanship—characters can gain rewards for grandstanding—and very room and encounter is a test in itself. This leads to an intricate design for every room, whilst the modern sensibility enables plots to run inside and outside of the dungeon arena and ‘Rules Lawyers’ to take on a wholly different meaning.

Rounding out the Goodman Games Gen Con 2013 Program Book is a selection of photographs taken on the ‘World Tour’ that the Dungeon Crawl Classics Judges team takes each year around various conventions. These are all North American conventions in the Goodman Games Gen Con 2013 Program Book, but in the seven years since this book, the tour has expanded beyond those borders.

Physically, the Goodman Games Gen Con 2013 Program Book is very nicely put together. It is tidily presented, the artwork is good, and the editing decent. However, there is a problem with the Goodman Games Gen Con 2013 Program Book and it is that even in 2013, its gaming content was not new. So both ‘The Undulating Corruption’ and ‘The Jeweler that dealt in Stardust’ appeared in the Free RPG Day release from Goodman Games in 2012 and then ‘Maximum Xcrawl: 2013 Studio City Crawl’ appeared in the Free RPG Day release for 2013. What this means is that if the Judge or Game Master has either of these, then the truth of the matter is that the Goodman Games Gen Con 2013 Program Book is not going be of greatest use to her. The rest of the Goodman Games Gen Con 2013 Program Book is fun, but not useful, so if the Judge already has these adventures, then the Goodman Games Gen Con 2013 Program Book is really just a collector’s piece.

Now the Goodman Games Gen Con 2013 Program Book did set the template for the Goodman Games Gen Con Program Books to come—Goodman Games having published one each year since. Of course, the format would evolve from book to book, as evidenced by the Goodman Games Gen Con 2014 Program Book, but many of the same elements would be retained from issue to issue. And if the Judge does not have any of the three scenarios in the Goodman Games Gen Con 2013 Program Book, then it is definitely worth her time. Whether she is running a standard Dungeon Crawl Classics Roleplaying Game, a Dungeon Crawl Classics Lankhmar campaign, or an Xcrawl campaign. The Goodman Games Gen Con 2013 Program Book is a fun silly book, but its gaming content is still as good as it was in 2013.

A lot going on at my day job.  This social distancing has us busy as hell revise a number of our courses. Well, nothing like job-security I guess.

Going through my various Trek RPGs and collecting various ideas that may, or may not fit in with my BlackStar campaign.

Star Trek: Mercy
This idea came about by watching the hospital ships come into New York, and Beverly Crusher-Picars's ship the USS Pasteur in "All Good Things."  I was going through my new FASA Star Trek boxed set and was thinking about my first Trek character, Dr. Scott Elders, the CMO of the USS Andromeda.

I thought a good Post-Enterprise (2151), Pre-TOS (2265) era game might focus on the USS Mercy, a Federation Hospital Ship.  It has the authorization to go into other parts of the Alpha and Beta Quadrants to provide medical assistance.  I was also thinking it could doctors of dozens of different species.  If I set it between 2151 and 2265 it gives me an excuse to use a character that has been mentioned in my games, but never actually seen, Fleet Admiral Lucille Ball, Commander of Starfleet Operations.

How Lucille Ball Helped Star Trek Become a Cultural IconIn any case, she is part of my Trek-universe history. So just as Admiral Nyota Uhura is a central figure to my BlackStar game, Admiral Ball is to Star Trek: Mercy.

I am partial to a Daedalus or Olympic-class style ship, with the extra space in the "saucer" section dedicated to hospital beds and medical care facilities.  Maybe I would have something a little more advanced than the Daedalus-class (2196), but not quite the Olympic-class (2395).


It is tempting to split the difference and set it in 2295.  That would put it firmly into the Enterprise-B time.  Again, appealing for just for the newness of it.  Among other things, it gives me a Captain Nyota Uhura, a Cmdr. Chekov is part of Starfleet Intelligence and an Admiral McCoy.
I might also get a Captain Demora Sulu.

This is also a good time because this is the time period I set my original Ghost Ship adventure.
Maybe I could do a Mercy one-shot to set up Ghost Ship later on!

Star Trek: Federation News Network
This came from a couple of different places.  First, going back to the Star Trek Generations and the new Picard series, both featured news reporters in the Trek universe.  I really liked that idea and thought it might be fun to have some other points of view than just Starfleet officers.
Secondly, I am working as a mentor for a high school senior.  She is writing her own Trek story and the central character is a reporter.

That is all I have at the moment, but it could be something I could add to any game.

In some distant star system, great armada mass, dreadnoughts manoeuvring to bring their massive batteries to bear on their enemies, starcruisers unleashing barrage after barrage of missiles, destroyers darting in to fire torpedoes, and carriers launching wave after wave of single seat starfighters to swarm over their targets to attack pinpoint weaknesses. Energy beams scour away ablative armour, explosive missiles shatter ships’ hulls as nuclear-powered missiles explode and pump their energy as laser blasts which pierce ships’ hulls, freeing oxygen and ships’ crews to the vacuum of space, setting fires to race between the bulkheads, and compartment after compartment is lost… When the battle ends, it does not matter who won, for massive hulks remain, whole or broken by the battle, some still burning or fizzing with freed energy, others venting life preserving, whilst still contain sealed compartments holding the last of their crews, desperate to escape or hoping for rescue. Clouds of energy and radiation swirl amongst the fields and trails of debris left behind by damaged or destroyed ships. The combatants may have gone bar perhaps a picket ship or rescue boat perhaps, but into this scene of devastation come other ships and crews, each bent on other missions. Perhaps they have come to salvage the wreckage, to rescue the survivors, or to get aboard the ruined ships to go in search of data, secrets, or something else… 

This is the set-up for The Graveyard at Lus: A Dynamic Space HexCrawl for OSR Sci-Fi Games published by InfiniBadger Press. Designed for use with White Star: White Box Science Fiction Roleplaying, its contents would not only work with other Old School Renaissance Science Fiction roleplaying games, but with other Science Fiction roleplaying games in which large scale space battles take place. Mostly obviously, Traveller, but also Starfinder, Golgotha: A Science Fiction Game of Exploration and Discovery at the Edge of Known Space, and These Stars Are Ours!.

What The Graveyard at Lus does is take a staple of Dungeons & Dragons-style fantasy roleplaying games and apply it to another genre—that is, Science Fiction. Specifically, it takes the Hexcrawl and turns it into a Spacecrawl, but instead of exploring a a region of space marked with star systems and planets and asteroid belts, and so on, or the ruins of a previously unknown planet, it has the Player Characters exploring a much smaller area and really, during a particular period of time. That is, in the aftermath of a great space battle. It is a toolkit, but one in which the designer takes the Game Master step-by-step through the process of creating her own space graveyard.

By default, starship graveyards created using The Graveyard at Lus are twenty-by-twenty hex grids. From this starting point the Game Master can roll for or choose the height and width of the battle area, the factions involved in the battle—those suggested can come from White Star: White Box Science Fiction Roleplaying or from the new ones included in The Graveyard at Lus, debris fields and their density and degree of radioactivity, what starships can be found in the graveyard and how damaged are they, and lastly populate unique space hexes—for example with a starbase or a rip in the fabric of space. Further tables enable the Game Master to generate events which could occur whilst the Player Characters are exploring the graveyard.

Once defined, in order to help the Player Characters explore the graveyard, The Graveyard at Lus provides the Game Master with expanded rules for exploration and combat by spaceship. Building on the rules in White Star: White Box Science Fiction Roleplaying, these cover movement—both realistic and cinematic, dangers such as debris, collisions, and radiation, scanners, weapon ranges and targeting, rounding out with notes on explosions, surviving in space, and singularities. Already included in earlier tables, the new alien species in the supplement include the giant jellyfish-like space-going Dremwan who can harden their skins and eject bolts of venomous plasma; the Koldar are a parasitical scorpion-like race which strip planets of their resources; Neemen are a genetically engineered human species whose egos drive them to become the dominant version of humanity; and the TakTakTak, a four-armed race of telepaths divided into three castes, each with different psionic abilities. Stats are given both races and their starships—or just the race in the case of the Dremwan—but they do feel slightly underwritten in terms of  their motivations. The Dremwan seem written to be mysterious, the Koldar strip planets, and the Neeman want supremacy, but the TakTakTak? No idea as nothing is really said.

As well as updating some of the races from White Star: White Box Science Fiction Roleplaying to include the ships they use, The Graveyard at Lus includes several new creatures. Feroozes are magnetic oozes which squeeze through hulls and exude acid break down other species for their iron content; Graveworms feast on dead starships; Space Sharks feed on the energy given off by starships and sometimes their engines too; Space Syrens are energy beings which psionically lure ships’ crews to dangerous stellar objects and feed on their dying life energy; and the Unquiet are space zombies. There is not great invention on show here with these creatures, their parentage being fairly obvious as they are adaptations of classic Dungeons & Dragons monsters. To be fair though, White Star: White Box Science Fiction Roleplaying is a pulpy kind of Science Fiction roleplaying game and monsters like Space Syrens and the Unquiet do not feel out of keeping with the genre.

Rounding out The Graveyard at Lus is a selection of new technology, such as FTL Jammers and Teleporters, before it provides a fully worked example with ‘The Graveyard at Lus’. It nicely takes the Game Master through the process step-by-step before presenting it as an example for her to run. Lastly, the supplement provides half a dozen forms ready for the Game Master’s use when she comes to create her own space graveyard.

Physically, The Graveyard at Lus is neatly and tidily presented, though an edit is needed here and there. There are no illustrations as such, but silhouettes are used for ships throughout and together with several hex maps serve to break up the text. The various forms are very nicely done and the tables clear and easy to read.

The idea of a space graveyard is full of possibilities and adventure, and if the Game Master’s Science Fiction campaign can support them, then The Graveyard at Lus is a worthy addition to her toolkit. Indeed, it would also be possible to adapt the concept to the fantasy genre, whether that is on the high seas of the Game Master’s fantasy campaign or in a space-going fantasy a la TSR, Inc.’s Spelljammer. And yet, what The Graveyard at Lus leaves the Game Master to decide is the motivations of the Player Characters—just why have they come to this graveyard in space? And since this is a ‘SpaceCrawl’, what spurs them on to go from one location to another, rather than simply head for the dead or dying ship they want? And once the Player Characters have got there, what do they find aboard the space derelicts? Just a table of hooks and ideas would have been enough to answer these questions and possibly serve as spurs for the Game Master’s imagination. As written, The Graveyard at Lus does feel as if it tells the middle of the story, but leaves the beginning and the end for the Game Master to develop herself.

The Graveyard at Lus: A Dynamic Space HexCrawl for OSR Sci-Fi Games takes a fantastic idea and does a good job of developing it into a solid little toolkit for creating an interesting, and of course, dangerous environment. However, it needs the input of the Game Master more than it should to fully round it out and perhaps a new addition might address the purpose and the destination in a way that it currently does not.

This image has been floating around the net for about a year.  Figure I should do something fun with it.  So here it is for Old-School Essentials.



Witch Whistle (Witch Flute)
Summons an army of rats when blown.

• Summons 10-100 (10d10) normal rats when blown (usable 2x per day)
• Or summons 5-30 (5d6) giant rats when a short tune is played (1 per day)
• Or summons 1-4 (1d4) wererats when a longer song is played (1 per day)

These whistles are created by Pagan Witches and Death Pact Warlocks. Crafted from the bone of a wererat and petrified paw of a rat.  They keep the songs well hidden but allow the magic to be used to summon normal rats.  If the songs are learned the player can use one of any of the powers once per day.
Under any circumstance, the player does not control the rats that are summoned.
They arrive within one round.

I have been doing a nearly two-year-long dive into the D&D Basic game. I have been playing with, working with and talking about D&D Basic and the various retro-clones that emulate it.

My focus has largely been on the Moldvay/Marsh-Cook versions of the Basic and Expert games (B/X) and a little bit into the Holmes Basic. I also occasionally dip into the Rule Cyclopedia.

But there is a Basic set I almost never talk about and actually have very little experience with.  That is the Mentzer BECMI sets.

In fact I don't even own much of the BECMI sets save for a Basic Set (box and imported book).



Yes, the dice are still in their plastic, the crayon is intact and that is Frank's signature.

I do own them all on PDF from DriveThruRPG, and that has been great.  It's a D&D that a lot of you all know, but is somewhat new to me.

There are obvious reasons.  I have never really got into this edition and now seems like a good time.  Also, my kids' Second Campaign is now in the Serpent Peninsula in the Known World (Mystara), so reading these books gives me a good vibe on how I want to run those games.

Mind you, I am not going into these without knowledge. I have picked through my Basic set a bit and read over the others.  I do have printouts of my DriveThru PDFs, so I am not completely in the dark here.

I am not expecting to find some deeply hidden truths here, or even anything really new.  Though a gem or two of new knowledge would be welcome. I am sure there are things in the Companions, Master and Immortal rules that would be new to me.

It's not a quest for knowledge. To quote Clark Griswold, it's a quest for fun!

Obviously not my collection

More of the same.

What’s surprising to me is how much of a gap there was between the first set and this one – almost a full year! (That’s assuming the date of the first set is anywhere near correct.)

As with the first set, you can read the example encounter descriptions at Greyhawk Online. One thing of note is a monster called an Aurotyugh – basically a pile of gold that can soften armour. It seems to have the barest connection to the Otyugh that would appear later in the Monster Manual.

Date Information

A date for this Set is incredibly hard to pin down. The copyright date is September 21st 1977 but that’s also the date for Set Three. And they were registered 5 years later in 1982, so I don’t think that’s very reliable. Echohawk’s list on Enworld (although it’s unclear where the information has been obtained) has a date of April, which seems much more likely.

The other major clue I could find is in White Dwarf magazine. Issue 1, June/July has an ad for Games Workshop which lists Set 2! White Dwarf #2, the August/September issue, lists Set 3. So I’m happy to go with April.

Likewise, Judges Guild Journal, issue M, June/July, states Set 3 is now available. Set 2 of course is also available and it doesn’t appear in the April/May issue.

The final clincher is the ad in the April issue of Dragon magazine.

Rust Monsters are a great threat to low-level characters.  Nothing scares a group of fighters as much as a rust monster.  Orcs, kobolds, goblins, even trolls can be dealt with when you know what is going on.  But a rust monster never fails to put fear into most players.  Just not for the reasons the other monsters do.

Plus I have to admit I have always loved these weird little dudes. Especially after I learned of their true origins!

So here is a version of the rust Monster my oldest is using in his games.  Helps keep the fear of these guys alive, even when characters have gone up a level. Maybe even more so that they have gone up in levels.


Rust Monster, Magiphagous

Appearing as a paler and larger version of the rust monster, these creatures are otherwise exactly the same as rust monsters, save for one detail.   These creatures only eat magical metals.

Rust Monster, Magiphagous  (Old-School Essentials)
Magical, armadillo-like creatures with long tails and two long, antennae-like feelers. Feed on the remains of magical metals.
AC 2 [17], HD 7 (31hp), Att 1 × feeler (rusting), THAC0 13 [+6], MV 120’ (40’), SV D11 W12 P13 B14 S15 (5), ML 9, AL Neutral, XP 175, NA 1d4 (1d4), TT None

• Rusting: Magical metal that touches a rust monster (e.g. weapons that hit it, or armour struck by a feeler) crumbles instantly to rust.  Each time a magic item is affected, it loses one “plus”.  Each item gets a base saving throw of 13, plus any "pluses" the magical item has.
• Mundane damage immunity: Can only be harmed by magical attacks.
• Smell metal: Attracted by the scent of magical metals such as weapons, armors and artifacts.

Rust Monster, Magiphagous (Fantasy Age and Blue Rose)

Abilities (Focuses)
1 Accuracy (antennae)
–3 Communication
2 Constitution
1 Dexterity
2 Fighting (Claws)
–3 Intelligence
1 Perception (Smelling)
2 Strength
1 Willpower

Speed 14
Health 20
Defense 12
Armor Rating 4

Weapon Attack Roll Damage
Antennae +4 1d6+2

Special Qualities
Favored Stunts: Knock Prone

Eat Magic: The Magiphagous Rust Monster eats magic from metal magical items leaving behind useless rust.

Threat: Minor


and for 5e D&D



Rust Monster, MagiphagousLarge monstrosity (magical), unalignedArmor Class 15 (natural armor)Hit Points 52 (7d10 + 14)Speed 40 ft.STR14 (+2) DEX12 (+1) CON14 (+2) INT2 (-4) WIS13 (+1) CHA6 (-2)Senses darkvision 60 ft., passive Perception 11Languages —Challenge 1 (200 XP)Magic Scent. The rust monster can pinpoint, by scent, the location of magical metal within 30 feet of it.Rust Metal. Any magical weapon made of metal that hits the rust monster corrodes. After dealing damage, the weapon takes a permanent and cumulative -1 penalty to damage rolls. If its penalty drops to -5, the weapon is destroyed. Magical ammunition made of metal that hits the rust monster is destroyed after dealing damage.ActionsBite. Melee Weapon Attack: +3 to hit, reach 5 ft., one target. Hit: 5 (1d8 + 1) piercing damage.Antennae. The rust monster corrodes a magical ferrous metal object it can see within 5 feet of it. If the object isn't being worn or carried, the touch destroys a 1-foot cube of it. If the object is being worn or carried by a creature, the creature can make a DC 11 Dexterity saving throw to avoid the rust monster's touch. Bonuses to save per plus of the item's enchantment.If the object touched is either metal armor or a metal shield being worn or carried, it takes a permanent and cumulative -1 penalty to the AC it offers. Armor reduced to an AC of 10 or a shield that drops to a +0 bonus is destroyed. If the object touched is a held metal weapon, it rusts as described in the Rust Metal trait.

Yesterday I was interviewed for the Grogpod podcast about me and my gaming history, my reviews and editing and so on. One of the topics of conversation was a review I wrote back in 2009, which at the time caused a slight controversy and upset the publisher. Thanks to the efforts of the Grog Squad it has been relocated and I have been asked to repost it on the blog.
Before anyone makes a fuss about this review, please in mind that it was written over ten years ago and the book is now out of print. Further, the publisher and I have a cordial relationship and I had the pleasure of meeting him at Gen Con 50 in 2017. We also have a good working relationship as I first proofread and then edited the rest of the titles in the Age of Cthulhu line. The authors of those books are now friends because of working with each other on those books.
The posting of the review again is purely to assuage my readers’ curiosity and to preserve a little bit of my reviewing history.
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Age of Cthulhu Vol. II: Madness in London Town is the second scenario to be released by Goodman Games for Call of Cthulhu, the RPG of Lovecraftian horror published by Chaosium, Inc. It follows the first scenario, Death in Luxor, set in the same shared world of the late 1920s. Possessing the same high production standards, Madness in London Town comes with five pre-generated investigators, excellent maps and handouts, and a fairly straightforward adventure that can be played through in no more than two sessions of play. As the title suggests, the adventure takes place in London, where the investigators are invited to attend a gala at the British Museum by an old friend. Unfortunately, he is dead before the end of the first act…

Mechanically, Madness in London Town is a better scenario for Call of Cthulhu than its forebear, primarily because it includes the necessary NPC stats and Sanity losses. Yet beyond that, Madness in London Town is outclassed on most counts. Its plot, of a friend’s death putting the investigators on the track of a cult of black druids racing to summon a Great Old One on the right date, is linear in structure and superficial in nature, assumes that the investigators are American and will come armed, lacks the historicity of Death in Luxor, and lacks the sort of historical (not to say geographical) detail and accuracy that many Call of Cthulhu devotees appreciate. The unfortunate truth is that this an adventure set in England written by a non-native, and it shows. Age of Cthulhu Vol. II: Madness in London Town works best as a pulpy, brawns-over-brains adventure, but a Keeper will have to work very hard to make it fit the Classic mode and style of Call of Cthulhu.
To begin with, this is a review of a scenario. There will be spoilers.
Madness in London Town opens with the player characters invited by an old friend, Doctor Vernon Whitlow, to attend a gala dinner at the British Museum. Arriving in something of a hurry, the characters barely have an opportunity to speak to the other guests before the good doctor enters the room and after a few moments’ raving, slits his own throat. Already forewarned that something is amiss at the museum, the scenario’s pull is the mystery behind Whitlow’s death. Clues found at his flat (one thing that the author does get right, as flat is the term used in the United Kingdom) point back to odd goings on at the British Museum, below which the investigators will have a strange encounter with even stranger cats. Even nastier encounters take place at a waxworks museum (no, not Madame Tussaud’s) and at the chief villain’s country dwelling, before the final showdown on Salisbury Plain at England’s most famous monument, Stonehenge.
The cult concerned is a revived ancient order of black druids, using the henge to summon their lord and mistress, Shub-Niggurath. Putting aside the fact that the use of the monument and the druidic faith in this way could be found offensive by some, the plot and cult are both very sketchily detailed. There is very little to either, and apart from the investigative dog work, there is very little for the more scholarly investigator to do throughout the adventure. That the cult’s efforts can be simply stopped by bashing the chief over the head just seems almost anti-climatic.
This being a Goodman Games book, where Madness in London Town does shine is in the quality of its handouts and its maps. It is a pity no map of England could have been provided, as this would have given the adventure a sense of scale and place (or at least shown the distance between its primary locations), and the map of London does feel jumbled. The scenario’s NPCs are nicely presented with plenty of detail, and it includes one or nasty little set pieces – most notably in the waxworks museum, surely a nod to the 1953 film House of Wax, starring Vincent Price. Beyond the adventure itself, Madness in London Town offers a new take on the Milk of Shub-Niggurath and a new spell.
At times, the scenario feels rushed as if the author wants to get onto the next scene. He also rushes into the scenario, never quite setting it up, and it will take a careful reading of the first few pages for the Keeper to grasp what is going on. The inclusion of a better summary would have solved this. The history that the scenario is based upon – the disappearance of a legion during the Roman conquest of Britain – is almost irrelevant, whereas in Death of Luxor, the background is very much part of the story.
So, having told you what the adventure is about and given you some hints of its pluses and minuses, allow me to dig a little deeper and address some of the issues that Madness in London Town raises. To that end I will list them as do’s and don’ts, each highlighting the various issues, before I come to a conclusion. We start with a long “do” before the shorter do’s and don’ts take us to the finale.
Do get your pre-generated investigators right. One of the first things that I do with any scenario for Call of Cthulhu is check its pre-generated investigators – if provided. I do this not just for the benefit of a review, but also out of semi-professional interest, having provided 27 pre-generated investigators for the forthcoming The Complete Masks of Nyarlathotep Companion. So I know how to put an investigator together in terms of the mechanics, how to tie him into the story, and how to use history to make him interesting. As with Death in Luxor before it, Madness in London Town has its own set, and fortunately, the five given are much, much better than those provided in Death in Luxor. They are not as broadly drawn and they are not as absurdly pulpish, being much more like something that a player would create himself. They are still pulpish enough, several having daftly, but not ridiculously, high combat and Dodge skills. That does not mean that any one of the adventure’s quintet is perfect…
Let us examine said investigators from the top, then. First, if you describe an investigator as having dedicated himself to archaeology, actually give him some points in the Archaeology skill – especially if you describe him as having authored two academic papers on the subject with the scenario’s lead NPC. Oh, and learn to spell Archaeology, it really is spelt the correct way in Call of Cthulhu. Second, older characters get extra points to add to their Education attribute. Either these were not added to the Big Game Hunter’s Education or (a) his creator really did roll an Education of 5 – which is impossible (bear with me, but the explanation goes like this: base age of character is Edu+6, so his given Education being 8, his base age is 14, and for each decade after that, an investigator receives +1 Education, so at 50, the Big Game Hunter receives +3; so taking this away from his Education of 8 gives a basic roll of 5, which is impossible on a roll of 3d6+3), or (b) the character really should be 14 years old and a crack shot with an Elephant Gun. My suggestion is that his Education should be 11, not 8, and the extra points should have been assigned to his Dodge skill and some languages beyond the one he learned traveling from one end of the continent to the other. Third, if a character is described as having spent his days racing automobiles (among other activities), why does he not have the Drive (Auto) skill? Plus, if the search for answers to the mysterious nature of said investigator’s parents has led him down many dark roads, why does he have the Cthulhu Mythos skill and not the Occult skill? Then again, why does he have the Mythos skill at all? Fourth, why does an author who follows a solitary life dedicated to intellectual pursuits and her writing need particularly high skills in Dodge and Handgun? Has she been dodging the barbed comments of her critics, and practicing shooting at targets in preparation for her revenge? Fifth and lastly, the average of 12 and 12 is 12, not 13 – Call of Cthulhu is not the sort of game where you give the player characters extra Hit Points…
Don’t make the staff of the British Museum look like idiots. You might not know where lions and tigers can be found in the wild, but the odds are high that the staff of the British Museum does, even in the 1920s. If the staff is setting up an African themed diorama, it is unlikely that they will include a stuffed tiger as part of it, since the tiger is found on another continent altogether. Unless of course, you want everyone viewing the diorama (and indeed reading Madness in London Town) to exclaim, “Tigers! In Africa?”
Do get your geography right. I was not personally aware that during the 1920s that Scotland was in the West Country, specifically, the southern English county of Wiltshire. Then again, as an issue it was probably fixed when the Scotland Act of 1998 was passed and Scottish devolution was allowed, enabling the glens of Salisbury Plain to be returned to their rightful place north of the border. The point is that Salisbury Plain is a chalk plateau not known for glens or wooded river valleys, and that could have been ascertained with a modicum of research. Or just looking it up on Wikipedia.
Don’t name one of your NPCs, even if only a minor character, after a historical figure. This is especially important if that historical figure was a leading member of the German Nazi party.
Do get your geography right. The drive via taxi cab from the docks where the investigators disembark from their transatlantic liner to the gala at the British Museum cannot be in any way, shape, or form be described as short. This is even assuming that their transatlantic liner docked in London, which given the fact that as every good Call of Cthulhu player knows, transatlantic liners docked at either Liverpool or Southampton, is highly unlikely because London is primarily a goods port.
Don’t, and this is more of an aesthetic issue, provide thumbnails of your scenario’s NPCs that are cliches and so enable the audience (that is, the players) to identify which one of them is the bad guy at a single glance. It might well be that my partner is particularly perceptive, but she was able to identify the villain of the piece just by looking at the thumbnails.
Do get your geography right. Soho is not in Bloomsbury.
Don’t assume that the investigators (pre-generated or not) will be armed. Many of the pieces of artwork do, showing an investigator holding a handgun of some kind. The England of the 1920s is not an armed England, and pistols are uncommon compared to shotguns and rifles. Further English Customs take a dim view of Americans attempting to enter the country armed for bear, and not just because bears have been extinct in England for centuries.
Do get your geography right. And do check your maps. Like most European cities, London was not built by design, but rather evolved and is not laid out on grid pattern. The term “city block” is not English.
It should be pointed out that the scenario ends with a note about historical accuracy. Here the author states that although he has taken pains to utilize real locations, businesses, societies, and historical events, the adventure is not meant to present a wholly accurate representation of England during the 1920s and that details have been changed to aid the adventure plot or facilitate play. This rather misses the point of Call of Cthulhu, a very, very historical game, played by many not only for its fine elements of Lovecraftian horror, but also for its history. Further, I would suggest that this is very much the cause of so many of the scenario’s do’s and don’ts.
The other cause is the lack of experience that Goodman Games has with writing for Call of Cthulhu. Not just upon the part of the author, but also upon the part of the editor, who should have been able to spot and correct the do’s and don’ts listed above. Worse still, if you go back to the review of Death in Luxor, there is a note at its end from its author suggesting that I look at a preview of the publisher’s next release (which, of course, is this scenario). I did not see such a preview, but if I had, I would certainly have raised all of the issues above, and no doubt some of them would have been corrected. I want to make clear that my tentacular dissection of Madness in London Town is due my wanting the scenario to be better, not an unhappy response to not seeing that preview. My tentacular dissection, though, is certainly the reason why this review will not be quoted on the Goodman Games website.
Long has the roleplayer of these fair isles, by which I mean, the British Isles, suffered at the hands of authors from the colonies. If you are English, Irish, or Scottish, then the likelihood is that you will have read one or more supplements written about your country by Americans containing groan-worthy – if not highly laughable – facts about your country. The unfortunate fact is that Age of Cthulhu Vol. II: Madness in London Town is just one more addition to that list of supplements.
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Please note that I did not mention the Welsh at the end of this review. I could have put them in and everybody would have been none the wiser. I have instead left the error in and proffer an apology to any Welsh reader. Sorry. Please believe me when I say that I did not intend to omit you from that final list at the end of the review.

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

—oOo—

It is all but impossible to start a review of Rifts and not acknowledge the problems it suffers from being published by Palladium Books. In terms of physical design, Rifts is a terrible roleplaying game, first because it is organised in such a fashion as to make it difficult to play and second, because it has no index. Now these are standard features of any book from Palladium Books, but in a roleplaying game which is as badly organised as Rifts and therefore needs an index to make it easier to use, the designer’s stupidly stubborn refusal to include one is nonsensical. Similarly, there is no character sheet, but to be fair, no character sheet could encapsulate just how much information a player has to note down when creating and playing a character in Rifts. This is of course, a given with all Palladium Books, but in a roleplaying game with as many separate elements as Rifts, it is an extraordinarily big given. That given aside, Rifts remains physically imposing, a slab of a softback book, neatly, cleanly, and tidily presented throughout, with uniformly, if cartoonishly good black and white artwork and excellent fully painted inserts. The standard of presentation—if not the organisation—was very good for 1990.
So what is Rifts? It is a post-apocalyptic roleplaying game set hundreds of years into the future which combines big robots, magic, psionics, and bruising combat on an incredible scale. It is a roleplaying game in which Glitter Boys piloting big mecha suits, chemically enhanced Juicers, psionic Cyber-Knights, ley-commanding Ley Walkers, Techno-Wizards, Dragons, psionic Mind Melters, and more combat the ‘Dead Boy’ soldiers in their deaths head armour, Spider-Skull Walkers, and Sky Cycles of the evil Coalition States as well as supernatural monsters, D-Bees (Dimensional beings), and the instectoid Xiticix from other dimensions. It is a future in which a golden age was destroyed by nuclear conflagration as billions died, their Potential Psychic Energy—or P.P.E.—was unleashed as surges into the Earth’s many, long forgotten ley lines, coming together at nexus points and causing rifts in time and space to be ripped open. As the planet buckled under the psychic onslaught, millions more died and fed more energy into the now pulsing ley lines, causing a feedback loop which would grow and grow. The oceans were driven from their beds to wash over the lands, Atlantis rose again after millennia, alien beings flooded through the rifts, and magic returned to the planet. 
In North America—the primary setting for Rifts—the land consists of feudal states, though the Coalition States, a hundred-year-old, mutant-hating, magic hating, psionic-hating totalitarian empire is spreading its influence out of Chi-Town near the old ruins of Chicago. Its current target is the city of Tolkeen which stands astride a ley line nexus on the bones of the pre-rifts city, Minneapolis, and is home to many wizards; the Coalition States operates the Lone Star City, a huge pre-rifts military complex with the most advanced manufacturing, animal genetics, cybernetics, bionics, and robot facilities on the planet, whilst the rest of the former state is new frontier across which high-tech desperados range; the remains of Georgia and Florida are marshlands populated by dinosaurs; and the former St. Louis is a demon infested no-go zone dominated by two hundred ley lines and thirteen nexus points. Elsewhere, Mexico is aid to the home to Vampire Kingdoms; England, Scotland, Wales have become a Realm of Magic; and the Germany of the ‘New Republic’ is as advanced as Chi-Town.
So what can you play in Rifts? Here a player is faced by a deluge of choice. Rifts is a Class and Level roleplaying game, and the Classes are either Occupational Character Classes or Racial Character Classes. Occupational Character Classes are further categorised into Men of Arms, Scholars and Adventurers, and Practitioners of Magic, whilst Racial Character Classes are natural psionics—although many characters other than Racial Character Classes can be psionic—and actual separate species like Dragons. The Men of Arms Occupational Character Classes consist of Borgs—bionic superhumans or cyborgs; the Coalition Grunt is the Coalition States’ infantryman, Coalition RPA Elite or ‘Sam’ Coalition its pilots of robots and vehicles, the Coalition Military Specialist its espionage and reconnaissance specialists, and the Coalition Technical Officer its military technicians; Crazies are neurologically enhanced through nano-technology, a process which physically enhances them, but sends them literally crazy; the Cyber-Knight is a psionic paladin, complete with psi-sword and a chivalric code; the Glitter Boy pilots the famous Glitter Boy power armour complete with its ‘boom’ gun; the Headhunter is a bounty hunter and warrior for hire; and the Juicer is super-chemically enhanced at the cost of a much shortened lifespan. The Scholars and Adventurers Occupational Character Classes consist of the Body Fixer—a medical doctor, the City Rat—dwellers of a city’s lower levels and sewers, the Cyber-Doc—a cybernetics specialist, the Operator—freelance engineer or technician, the Rogue Scientist—scientific explorer and researcher, the Rogue Scholar—seekers and teachers of knowledge, the Wilderness Scout—hunter and guide; and the Vagabond Non-Skilled—the equivalent to the ordinary person in Rifts.
The Practitioners of Magic consist of the Line Walker who draws energy from and can ride ley lines, the Mystic—a sensitive and healer who combines magic and psionics, the Shifter who open up dimensional portals and summon creatures from the other side, and the Techno-Wizard who combines magic and technology to create and power wondrous devices. The Racial Character Classes start with the Dragon—the creatures of myth, but from an unknown dimension and merely weeks old at game start and is followed by the Psychic Character Classes. These consist of the Burster or pyrokinetic, the Psi-Stalker who hunts and feeds on other psionic-users, Dog Pack—genespliced canines used by the Coalition States to hunt wizards and psychics, and the Mind Melter—a superpowered psychic!
That is a total of twenty-seven characters Classes!
Every Class comes with its own abilities and skills, plus a choice of other occupational skills and secondary skills. Suggested equipment is given as well as starting funds and cybernetics—if any. Many also come with supplementary mechanics. So for example, the Crazy Occupational Character Class includes for how the Crazy’s madness expresses itself—covered in five pages compared to the two devoted to the actual Crazy Occupational Character Class, and six pages of Techno-Wizard gear in comparison to the two pages devoted to the Techno-Wizard Occupational Character Class.
A character in Rifts is defined by eight attributes—Intelligence Quotient (I.Q.), Mental Endurance (M.E.), Mental Affinity (M.A.), Physical Strength (P.S.), Physical Prowess (P.P.), Physical Endurance (P.E.), Physical Beauty (P.B.), and Speed (Spd.). The base attributes range from three to eighteen, with results of seventeen or more granting bonuses, though low rolls do not impose any penalties. A character will also have Hit Points and Structural Damage Capacity or S.D.C., essentially stun points. To create a character in Rifts, a player rolls three six-sided dice for his character’s attributes, rolls for his Hit Points and S.D.C., rolls to see if he has psionics, selects an Occupational Character Class or a Racial Character Class, chooses equipment and rolls for money, and lastly looks at rounding out the character. 
Cyber-Knight (Level 1)Alignment: Scrupulous (Good)
I.Q. 13M.E. 13M.A. 08P.S. 22P.P. 18P.E. 17P.B. 11Spd. 20
Hit Points: 12 S.D.C. 107
Save versus Coma/Death +5%Save versus Poison & Magic +1 
Psi-sword Damage: 1d6 Mega-Damage (M.D.)Automatic Kick Attack: 2d4Body Block: 1d4 (Opponent must dodge or parry to avoid being knocked down; lose one melee attack if knocked down.)Pin/incapacitate on a roll of 18, 19, or 20. Crush/Squeeze: 1d4
Attacks per Melee +4+7 damage in hand-to-hand combatInitiative +1, Parry +5, Dodge +5, Strike +2, +8 to roll with punch or fallW.P. Blunt +1 Strike, +1 ParryW.P. Knife +1 to throwW.P. Sword +1 Strike, +1 Parry
PsionicsBase P.P.E. 23Saving Throw versus psionic attack: 12 or higher.I.S.P. 24Psionic Powers: Object Read, Sense Evil, Sixth Sense
O.C.C. SkillsAnthropology 40%, Athletics (General), Automotive Mechanics 25%, Basic Electronics 35% Bodybuilding, Boxing, Climbing 67%, Cook 40%, Detect Ambush 40%, Gymnastics (Sense of Balance 60%, Work Parallel Bars & Rings 68%, Climb Rope 77%, Back Flip 80%, Prowl 40%), Hand-to-Hand: Martial Arts, Horsemanship 59%, Intelligence 36%, Land Navigation 52%, Language (American) 96%, Language (Dragonese/Elf) 96%, %, Language (Euro) 75%, Language (Spanish) 75%, Literacy 55%, Lore: Demon 45%, Lore: Fairie 30%, Paramedic 55%, Pick Lock 35%, Pilot (Automobile) 54%, Pilot (Motorcycle) 64%, Sewing 45%, Streetwise 24%, Swimming 65%, Tracking 30%, Wilderness Survival 35%, , W.P. Automatic Pistol, W.P. Blunt, W.P. Knife, W.P. Energy Pistol, W.P. Energy Rifle, W.P. Sword, Wrestling, Writing 30%
EquipmentSuit of personalised, heavy, M.D.C body armour, suit of light M.D.C body armour (Crusader Full Fibre Environmental Body Armor, M.D.C. 55), set of dress clothing, set of black clothing. Gas mask and air filter, tinted goggles, hatchet for cutting wood, knife (or two), sword, modern handgun (NG-S7 Northern Gun Heavy-Duty Ion Blaster 2d4/3d6 M.D.) and rifle (L-20 Pulse Rifle 2d6 M.D. single shot/6d6 burst) and three extra ammo clips, first-aid kit with extra bandages and antiseptic, suture thread and painkiller, tent, knapsack, back pack, saddlebags, two canteens, emergency food rations (two week supply), Geiger counter, and some personal items.Money: 300 credits, black market item worth 4000 creditsCybernetics: Cyber-armour (A.R. 16, 50 M.D.C.).
This process is not an easy one, nor is it quick. Some of the shorter Occupational Character Classes and Racial Character Classes may take half an hour to create, others an hour or more, all depending upon the particular elements of the Class and what extra elements the player needs to choose. Further, a lot of cross referencing is required as both Class abilities, hand-to-hand combat styles, and skills can sometimes enhance a character’s attributes. Then there are options too, for example the finishing touches to creating a character is a player choosing his character’s Alignment. The tables for birth order, disposition, and more are all optional…
Mechanically, Rifts is quite simple. Combat is handled by rolls of a twenty-sided die, a player having to roll high to hit, usually four or more. Mechanically, Rifts is also quite complex. If a target is hit and does not avoid the attack, the player whose character is attacking rolls to beat the target’s Armour Rating. If he does, the target take damage, if not, the armour takes damage. However, not all armour has an Armour Rating. This is because where Rifts gets even more complex is because characters will find themselves fighting on two scales—Structural Damage Capacity and Mega Damage Capacity. Both measure the amount of damage that an object or a person can take. So for Structural Damage Capacity, this is the amount of damage that a car or a house or the character can take before being destroyed. Mega Damage Capacity—previously introduced in Palladium Books’ Robotech roleplaying game—represents high-tech armour like Glitter Suits and vehicles such as Coalition Spider-Skull Walkers and dinosaurs and supernatural creatures. Only weapons which do Mega-Damage can inflict damage on anything with a Mega Damage Capacity.
Roughly, one hundred points of Structural Damage Capacity is equal to one point of Mega Damage Capacity. So a single point of Mega-Damage actually inflicts the equivalent of one hundred points of Structural Damage. However, anything which possesses Mega Damage Capacity cannot be harmed by weapons or attacks which just do Structural Damage. Conversely, anything or anyone hit by a Mega-Damage attack which does not have Mega Damage Capacity is essentially obliterated. Fortunately, whether through weapons, beweaponed suits of armour, magic, or psionics, most characters have the capacity to inflict Mega-Damage. Yet this means that Rifts is really fought on two levels and unless everyone does have access to Mega-Damage attacks and Mega Damage Capacity armour, then they cannot really play at that level. This divide is really present between those Occupational Character Classes which have this feature, for example, between the Men of Arms and the Adventurers and Scholars. That said, it does lend itself to interesting situations where the player characters might have to solve a problem or engage in a fight where Mega-Damage attacks and Mega Damage Capacity armour is inappropriate and that is all they have…
Rifts is a game about augmentation as much as it is big stonking battles against robots and strange monsters, and what it offers in terms of augmentations is bionics and cybernetics, magic, and psionics. In terms of magic it provides some one-hundred-and-fifty spells across fifteen Levels and powered by a spellcaster’s Potential Psychic Energy—or P.P.E. Psionics only offers some sixty or so abilities, divided into the Healer, Physical, Sensitive, and Super Psionics categories, some of which are particular to certain Classes, but all are powered by a character’s Inner Strength Points—or I.S.P. In terms of bionics and cybernetics, Rifts lists some hundred or so implants, some available to purchase freely, some only available on the black market. Many of these upgrades and implants will be familiar from the Cyberpunk genre with the protection that various items provide capable of withstanding damage by Mega-Damage attacks and inflicting Mega-Damage. In the case of magic and psionics, many of the powers and spells can be powered up to provide from and inflict Mega-Damage.
In terms of background, Rifts actually includes quite a lot, some twenty pages providing a potted, sometimes detailed overview of the former states of the United States, Canada, and Mexico along with thumbnail descriptions of places around the world. It focuses mainly on Chi-Town and the Coalition States as the primary enemies in Rifts. This is accompanied by full colour maps of North and South America. In general, there is a lot of room for the Game Master add her own content, but there are some details which she will have go digging for because they are in other sections. In terms of advice for the Game Master, Rifts is sorely lacking, the half page of advice just telling Game Master and players alike not to be put off by the magnitude of the game. Now there is a set of tables for creating monsters quickly and stats for the Xiticix and various generic NPCs, but there is no advice on running a campaign, on what sort of games could be run, no campaign ideas, or anything else. For a roleplaying with such big ideas and concepts, it is so frustrating not to have such small details. So for example, the Shifter Occupational Character Class is all about opening up portals and summoning things through them and doing to other dimensions, but there is not a single discussion of what these dimensions are like anywhere in the book. Essentially, a Class has been designed with a cool feature and then that feature has been ignored.
Of course, the lack of advice for the Game Master might have been less of a problem for anyone attempting to run Rifts for the first time, had the roleplaying included a starting scenario. Which of course, it does not. So the Game Master is left wondering what to do with a disparate bunch of character types, working out why they are together, and then write a scenario which will satisfy one or more of them. However, the designer does acknowledge that, “This is not a beginner’s role-playing game, nor one conducive to hack and slash gaming. Like many of our games, Rifts is a thinking man’s game. Perhaps the hostile environment makes it all the more important that one uses his head.” The fact that Rifts is not a beginner’s is undeniable, but whether it is ‘a thinking man’s game’ is debatable, given the emphasis in the roleplaying game upon combat and the amount of playing called for by combat, with player characters having multiple attacks and options and very many different combat abilities.
The other reason why Rifts is not a beginner’s game is because of the way it is organised. So the rules for psionics follow the Psychic Racial Character Classes, but the rules for magic do not follow the Practitioners of Magic Occupational Character Classes, but some eighty pages later after the Psychic Racial Character Classes, the rules for psionics, and some background. Likewise, the rules for bionics and cybernetics are placed over a hundred pages after all of the Character Classes at the back of the book. Then the relatively few pages of background are squirrelled away in the middle of the book. It simply makes no sense. 
In terms of design, there is a certain identikit feel to Rifts in that so many of its elements are pulled from other Palladium Books roleplaying games. So the Mega Damage Capacity rules are from Robotech, the bionics and cybernetic rules from Ninjas and Superspies and Heroes Unlimited, the magic rules from Palladium Fantasy Role-Playing Game, and so on. Although that said, the magic rules have been tweaked up for Rifts. Notably, the stats for the various mundane weapons—melee weapons and guns (the latter all dating from pre-apocalypse of Rifts)—seem to have been reprinted from just about every Palladium Books roleplaying game and have an oddly seventies feel to them. Part of this is intentional, to make Rifts part of the whole Palladium Books family of roleplaying settings and genres, part of its Megaverse.
Rifts was reviewed in Challenge 48 (January/February 1991) by Eric W. Haddock who said, “A preponderance of organizational problems and simple editorial errors (like incomplete sentences and spelling) all detract from the overall quality of Rifts.”, followed by “Without a doubt, Rifts is one of the most abysmally organized books I’ve seen. It is extremely difficult to find rules within a section easily and quickly when one needs to. A GM should not expect to start running a game and assume that whatever rules he isn't clear on can be looked up during play. In the games I played and ran, it took more time to find a rule than it took to read it, despite the Quick Find Table.” Despite this, he ended on a positive note, “I highly recommend Riffs because of its setting and potential for great scenarios, which can have as much connection with other Palladium games as the GM wants. However, until the Rifts Conversion Book comes out, not everything in Palladium’s previous games can be put directly into a Rifts campaign. There is enough here, though, to keep any GM busy thinking up new scenarios and creating new archvillains for players for quite a while.”
Rifts was subject to a Feature Review by Joshua Gabriel Timbrook in White Wolf Magazine Issue 26 (April/May, 1991). He said that, “The only real problem with Rifts is that inexperienced game masters are left almost completely in the dark. Although the book is over two hundred-fifty pages long, the most the game master gets is a couple of creature charts and the setting. As it is so aptly stated, “...that initial set-up is likely to take a bit of effort...” In short, it is a lot of work to run the game. However, the atmosphere is so rich with ideas for adventure that intriguing plots and stories shouldn't be difficult to develop. In fact, some may discover that it is very worthwhile and rewarding to create a campaign working from such a blank slate.” He concluded by saying that, “Overall, Rifts is an incredible roleplaying experience, and its setting seems to be as original and fun to play as the recent multi-genre games, Shadowrun and Torg. Those who are into bleak worlds, hi-tech magic, twisted rituals, fascist empires, brutal weaponry, min-boggling power armor, and fantastic stories should really give it a try.”
Rifts would appear in the twenty-second slot of ‘Arcane Presents the Top 50 Roleplaying Games 1996’ in Arcane #14 (December, 1996). The article described it as “It’s the ultimate in old-style high-energy RPGs. It uses a class-and-level system, and its supplements are full of new character classes, as well as weapons, robots and power armour. Fantasy-style creatures are a bit less common, and tend to be rather conventional elves and orcs - although it’s perfectly possible to play a baby dragon. One of the key concepts is ‘mega-damage’, which is important when you're playing with giant robots and such. This is the game for people who want to have everything possible in their campaigns - and then to blow a lot of it up with cool super-weapons.”
Rifts is not a subtle game. It is a roleplaying game for those who want to play a game in which everything goes ffizzacckk!, bada-bada-bada-bada-bada, boom!, and really, really BOOM! It presents a fantastic array of character options which should make players champing at the bit to get their gaming—if not their roleplaying—teeth into. In terms of the rules, Rifts is workable, but there are a lot of numbers and stats to keep track of—by the players as well as the Game Master. The background works as a decent enough backdrop whilst still leaving room for the Game Master to add her own content. But then, Rifts does everything it can to undermine its potential. Not just with the illogical, nonsensical organisation and idiotic lack of an index, but with the lack of advice for the Game Master and the failure to explore or discuss what to do with everything it gives the Game Master and her players, to get them to work together. Plus there are elements of the setting left undeveloped which relate directly to the Occupational Character Classes, and so on. 
Rifts is essentially the kitchen sink of roleplaying games, but without any advice as to how to turn the taps, which of course, have been put on backwards. And of course, people have played and loved and bought the eighty odd books published for it. Just think how much better it would have been if…?
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With thanks to Doctor Andrew Cowie and Matt Ryan for providing access to a copy of White Wolf Magazine Issue 26. 

Well, the big news is the rumor that J.J. Abrams has three new shows coming up on HBO Max.  One of them is supposed to be Justice League Dark!

Here are some of the links to various news sites.

https://www.theverge.com/2020/4/16/21224271/justice-league-dark-jj-abrams-hbo-max-warnermedia-shining-berlanti-dc-comics

https://www.hollywoodreporter.com/live-feed/jj-abrams-sets-3-hbo-max-shows-justice-league-dark-shining-spinoff-duster-1290530

https://variety.com/2020/tv/news/justice-league-dark-series-the-shining-series-hbo-max-jj-abrams-1234582489/



I am looking forward to this, but Justice League Dark has not had a lot of success getting off the page to the screen, save for the one animated movie. And even then they had to throw in Batman.

With a little bit of luck, we will get Matt Ryan to play John Constantine.

The thing I am looking forward to the most is who will play Zatanna.

Related, I did find this video on all the portrayals of Zatanna over the years.




An here she is from the Justice League Dark animated movie.

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

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World War III began on Thursday, November 18th, 1989.* The United States of America launched a nuclear attack in response to a Soviet missile attack over the North Pole. The rest of the world would follow in the exchange, the Soviet Union following up its nuclear attacks on the USA with biological attacks, and as first the military and then the civilian population fell victim to disease and radiation, civilisation collapsed. Within six months, some ninety-five percent of the population was dead. Fortunately, if the outbreak of the war had not been foreseen, then it had been prepared for. In 1962, a mysterious man who identified himself as Bruce Edward Morrow appeared and gathered nine of the country’s leading industrialists into an organisation known as the Council of Tomorrow. He warned them of the world’s coming destruction and convinced them to establish a means ensuring a means of humanity’s survival. This was the Morrow Project, a network of sealed bunkers or ‘boltholes’ each containing a cryogenically frozen team of soldiers, specialists, and scientists who would awaken after a nuclear war and using the cache of equipment stored with them, help reconstruct the United States of America. Unfortunately, Prime Base, the headquarters of the Morrow Project was partially sabotaged in the wake of the war, and instead of sending the signal to awaken each team immediately after the war, the signal would not be sent for another one-hundred-and-fifty years... Now each team—whether from the sixties, seventies, or eighties—awakens to find itself in a strange new land, unrecognisable from the one they knew, cut off from Prime Base, but still with their primary mission to fulfill.

*Actually, November 18th, 1989 was a Saturday.

This is the set-up for The Morrow Project, a post-apocalyptic, military orientated roleplaying game published by TimeLine Ltd in 1980. The player characters are members of the awakened teams, unprepared for the world they now find themselves in. Their team may be a Science, MARS—Mobile Assault, Rescue, and Strike, Recon, and Specialty team, such as Engineering, Agricultural, or Psychological. They have access to arms, survival equipment, and a vehicle, typically a Commando V-150 armoured APC. Characters are defined by six attributes—Strength, Constitution, Dexterity, Accuracy, Charisma, and Luck. A character is also defined by his Structure Points and Blood Points, both derived from his Strength and Constitution, and his randomly determined blood type. Structure Point and Blood Point values are determined from for some thirty or so different locations on the body. An optional attribute is PSI, which if high enough will grant the character psionic powers like empathy, healing, telepathy, telekinesis, or pyrokinetics. A character is created by rolling four six-sided dice and subtracting four for each attribute to get a range from zero to twenty.

Dave Smith
Strength 08 Constitution 15 Dexterity 08
Accuracy 16 Charisma 11 Luck 10
Blood Type: B+
Structure Points: 220
Blood Points: 220

Apart from his equipment, what is missing from the character is anything representing intelligence or knowledge. To quote the designers, this is because, “We find it best to allow the player to supply the more subtle mental and emotional talents of the character he is playing so as to more readily identify with their characters.” The character has no skills either, and indeed, there are no skills in The Morrow Project. Everything comes down to a raw roll against an attribute—or in fact, the character’s raw ability. There is some discussion of jobs and positions, from scientists and vehicle crews to the lowly kitchen porter, but they are not mechanically reflected in the game. Similarly, The Morrow Project does not address what each player character was before joining the programme and being cryogenically frozen or what their motives were. Essentially, in The Morrow Project, a player character is either a blank slate or an odd representation of the player.

Lacking skills, there is no resolution mechanic in The Morrow Project, but in general, a player is rolling against his character’s attributes using a twenty-sided die. What the roleplaying game does have is an extensive combat system, primarily focused on firefights. A character receives a number of Movements or actions per round dependent upon his Dexterity and when he attacks, his player rolls a twenty-sided die against the character’s Accuracy, aiming to get below, but not equal to the value of the attribute. This is modified for range and visibility, range and weapon modifier, firer and target movement, target size, and terrain. If the attacker fails to hit, there is still a fifty percent chance that a Luck roll will indicate a lucky hit! Only one to hit roll needs to be made for automatic fire—the number of hits by a burst being determined by roll of die equal to the number of rounds in the burst.

Then armour penetration is determined. Every weapon has an ‘E’ or efficiency factor, for example, the E-Factor for a Smith & Wesson M27 .357 revolver is ten and fifteen for a 5.56×45 mm Colt M16A1. The E-Factor represents each weapon and its ammunition type’s penetration value, and if the Armour Class of the material worn by the target is greater than the E-Factor, then the rounds will not penetrate. However, lower Armour Class values will reduce the E-Factor. For example, Armour Class 6 is equal to 0.5 cm of steel, 15.24 cm of wood, 1.52 cm of concrete, and nylon body armour, and will reduce the E-Factor of a round by six. So it would reduce the E-Factor 10 of the .357 round to five, which becomes Damage Points. Then hit location is determined and depending on the Damage Points and location, has a chance to instantly kill the target, amputate a limb, or render him unconscious. For example, the five Damage Points from the .357 round have a ninety percent chance of killing the target if his head is hit. If the target survives, the Damage Points are deducted from the location’s Structure Points. Whatever the wound, there is always a chance of the target being rendered unconscious and then there is the subsequent blood loss from the target’s Blood Points.

Hand-to-hand and melee combat is treated in a similar fashion, though with the likelihood of unconsciousness or death being confined to head hits. Hands, feet, and melee weapons do not have the E-Factor of bullets, but straightforward Damage Points, which is reduced by Armour Class—though Armour Class is more effective against such attacks. The actual damage is determined by weapon type and modified by the attacker’s Strength. In general, hand-to-hand and melee combat is faster than gun combat, and then the one set of combat mechanics you would expect to be complex—that of vehicle combat—is faster and simpler than gun combat, requiring a percentage roll to determine if a weapon is capable of damaging the vehicle, where, and if the occupants are injured. Lastly, whilst other damage types, such as electricity and of course, radiation, are described in some detail, the effects disease are handwaved aside with the application of the Morrow Project’s ‘Universal Antibody’.

The rules for combat are supported by pages and pages of guns and grenades and missiles as well as various other items of survival equipment and vehicles. All of it dates from the nineteen sixties and seventies of course, except for some advanced laser weapons, the HAAM (Hydraulically Assisted Armored Man) suit, and the MARS One all-terrain vehicle, which is reminiscent of the Landmaster vehicle from the film, Damnation Alley. All of these are powered by fusion packs supplied by the mysterious Bruce Edward Morrow.

The future world of The Morrow Project is treated somewhat haphazardly. The core book opens with a detailed list of exactly where the Russian missiles struck the United States of America, but allots the Game Master some one-hundred-and fifty missiles and warheads to drop on whatever targets she wishes. The idea here is help the Game Master apply the effects of World War III to her chosen campaign area. The effects of radiation are also discussed, and unlike its effects in roleplaying games such as Gamma World [http://rlyehreviews.blogspot.com/2018/08/1978-gamma-world.html], the effects are generally negative. That said, the game does discuss how certain biological defects which could result from radiation damage to the human genome could be combined and interpreted as belonging to certain creatures out of myth. It adds to the generally more realistic approach taken by The Morrow Project to the post-apocalypse genre, but it does not make for comfortable reading.

The state of various types of technology—communications, energy, weapons, and construction—are discussed, mostly highlighting its decline following World War III. Guidance and rules are given for creating and running NPCs, either as fully rounded ‘people’ or cannon fodder with the ‘NPC Fast Kill’ table. Possible NPC motivations are also discussed. These are further expanded upon with various encounter groups. Some of these are genre staples, such as Bikers, Cannibals, Children of the Night, New Confederacy, and more, but the Ballooners—airborne traders, the Whale Worshippers, and others are nice additions. The post-apocalypse of The Morrow Project has its own flora and fauna, such as the Blue Undead—radioactive zombies, and Maggots—semi-human nocturnal mutants who live underground. Rounding out The Morrow Project is a little advice for the Game Master on setting up a game, including preparing two maps, one for the players and one for herself, and a standard introductory briefing. Lastly, the roleplaying game includes a glossary, a metric to imperial conversion table, and a bibliography of military works.

Physically, The Morrow Project is an unprepossessing book. The layout is somewhat rough and the artwork scrappy. The best artwork is that of the book’s weapons which seem to take pride of place. The organisation of the contents certainly could have been better, there being little thought given to it. 

The Morrow Project was extensively reviewed at the time of its release. Reviewing The Morrow Project in The Space Gamer Number 39 (May, 1981), William A. Barton began by highlighting the contrast between it and TSR, Inc.’s Gamma World, saying the new roleplaying game, “...[M]ay prove to be the most creditable post-holocaust RPG to date.” His lengthy review ended on a positive note with, “...[O]verall, I’d have to give The Morrow Project the highest of ratings as a SF role-playing system. If it isn’t at least nominated for the Origins awards this year, there just ain’t no justice in gameland.” Bill Fawcett reviewed The Morrow Project in Dragon #50 (June, 1981). After drawing several comparisons between Gamma World and The Morrow Project, he wrote, “These rules will appeal to two groups of gamers: those who are interested in modern weapons and combat, and those who play the GAMMA WORLD game, who will find the ideas in this game readily adaptable to that system. Anyone who considers the GAMMA WORLD game too “far out” may find THE MORROW PROJECT a less futuristic and more realistic alternative.”

Different Worlds Issue 33 (March/April, 1984) was a special post-holocaust issue and devoted much of its pages to The Morrow Project. This included ‘Playtesting the Morrow Project: An Anecdotal Report from Timeline’ and ‘Playing Hints for the Morrow Project: Advice for Players from Timeline’, both by Bill Worzel, as well as ‘Special MORROW PROJECT Module Operation – Link-Up’ by Barron Barnett and William A. Barton. Barron Barnett also reviewed The Morrow Project. He wrote, “Overall, considering the size of the company, Timeline, this critic believes The Morrow Project manual is more than worth small price it sells for.” but asked, “What does The Morrow Project need? I can sum that question in one phrase; character personalities. I generally run my Morrow Project adventures with each roleplayer knowing a little about his character’s personality in the game as well as a little of his character’s background as to why he or she is here in the first place. I think that sometimes a little past for the role-player lets them act out their part in the adventure to a more enjoyable fulfillment.”

The Morrow Project was also reviewed by the two British roleplaying magazines of the day. Phil Masters reviewed both The Morrow Project and the first scenario, Liberation at Riverton, in White Dwarf No. 42 (June, 1983). He described the roleplaying game as, “…[A] post-holocaust role-playing system with a highly specific American background, some excellent mechanisms, and a number of gaps. Liberation at Riverton is the first published scenario for the game, and looks like a labour of love for the designers. The overwhelming impression is that all this is one group's long-tested game, reflecting its originators’ tastes and personalities.” He concluded that, “The Morrow Project is a game with a very specific style, a lot of strengths, and a lot of weaknesses. Like any post-holocaust game, it may be a little depressing; it is certainly quite violent. It is, by current standards, simple and playable, and could be worse at the price.” (it should be noted that the core rules cost £7.50 in 1980) before awarding it a score of five out of ten. Similarly, Chris Baylis reviewed The Morrow Project and the second scenario, Liberation at Riverton, as well as the third, Project Damocles, in Imagine No. 2 (May, 1983). His opening comments were positive, saying that, “My first impressions of the Morrow Project made me want to begin a game immediately. The idea seemed new and exciting, and the system looked advanced, well thought out and imaginative.” before concluding effusively, “This is initially a very confusing game to play, yet with a lot of time and effort by the selected PD [Project Director], this could be the revelation role-playing game of the ’80s, becoming expandable and popular enough to rival any of the other major role-playing games available at the present time.”

It was also reviewed in Games Review, Volume 1, Issue 6 (March, 1989). Laurance Miller wrote, “Overall the game provides a good background for play, combined with detailed game mechanics for a high degree of realism within a post-holocaust environment. It is short on detailed assistance for role-playing, but this is no problem for anyone who has previously played an RPG and is countered by the addition of such information in the various scenarios that are available. Worth getting in its own right as well as a source of material for use with other similar games.”

Timeline Ltd. would go on to publish numerous supplements for The Morrow Project, as well as the interesting time travel roleplaying game, Time & Time Again in 1984. Of its three designers, Kevin Dockery would go on to write two notable works on firearms for roleplaying. One was The Armory, Volume One from Hero Games and the other was the well-received Edge of the Sword Vol. 1: Compendium of Modern Firearms published by R. Talsorian Games. This then, and the fact that Dockery was an ex-army armourer, explains the emphasis in The Morrow Project on guns. Richard Tucholka would go on to found Tri Tac Games, and notably publish Bureau 13: Stalking the Night Fantastic. A second edition of The Morrow Project was published in 1980 and a third edition in 1983—the later including a boxed set from Chris Harvey Games, a UK-based games distributor, published in 1989. The Morrow Project 4th. Edition was funded by a successful Kickstarter campaign in January, 2013 by Timeline Ltd. 

Despite the positive reviews of the time, The Morrow Project, forty years on, is not a good roleplaying game, or indeed, arguably a roleplaying game at all, given its lack of player character abilities, player character development, and support for the player characters. In fact, the roleplaying aspects of The Morrow Project—or lack of them—would not be addressed until the publication in 1983 of Morrow Project Role Playing Expansion and Personal and Vehicular Basic Loads, a supplement for the third edition of the game. In this earlier edition, because of its focus on guns and combat, The Morrow Project feels far more like a set of miniatures combat rules, but without the miniatures. There is no denying that the background to The Morrow Project is interesting and not without potential, indeed lots of potential, but The Morrow Project fails to develop either that background or its set-up sufficiently. There is an amateurish quality to its production values and it very much feels like a small press product based on a home campaign of survivalist action.

The apocalypse of The Morrow Project is much drier than other post-holocaust roleplaying game of its time. It has the feel of the nineteen seventies television and film Science Fiction—so Damnation Alley and the Gene Rodenberry pilots, Genesis II and Planet Earth. There was a need for the roleplaying game though. When it was published in 1980, The Morrow Project fulfilled the hobby’s need for a military orientated post-apocalyptic roleplaying game, that is until Game Designer Workshop’s Twilight 2000 appeared in 1984.

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With thanks to Doctor Andrew Cowie for providing access to Games Review, Volume 1, Issue 6.