The year is 2260 AD. Two years ago, the United Terran Republic and its allies won the Terran Liberation War, forcing the mighty and ancient Reticulan Empire to sue for peace after twenty-five years of uprisings and war. For some one-hundred-and-seventy-five years, Earth and Humanity had been repressively suborned as the Reticulan client state of House Thiragin, the Earth Federal Administration. Humanity was allowed to expand and establish colonies, but in return had to commit auxiliary troops to serve in the wars against House Thiragin’s rival houses in the Reticulan Empire and other alien species, and was subject to both a tight rein on its economy and Reticulan abductions and bio-technological experimentation. The latter not only resulted in the confirmation and development of psionics among humans, but also the creation of Human-Reticulan Hybrids. Besides having a higher likelihood of possessing psionics, Hybrids were favoured by House Thiragin and dominated the Earth Federal Administration government, the loathed Federal Security Apparatus, and the Exalted Order of Fomalhaut, the latter the Earth Federal Administration’s state sanctioned faith. Ultimately, it would be an unexplained mass abduction of children by the Reticulans that would trigger the Terran Revolution and it would be troops who had served with House Thiragin, known as the Returnees’ Circles, who would form the backbone of the Terran forces in the revolution.

As of 2260 AD, the United Terran Republic is a presidential republic attempting to switch from a wartime to peacetime footing; to expand coreward to explore and establish new colonies and make contact with lost ‘black’ colonies established in secret from the Earth Federal Administration; and maintain vigorous defences against Earth’s former master, the Reticulan Empire to rimward. Although there is trade and contact between the United Terran Republic and the Reticulan Empire, the two states are wary of each other and a state of cold war exists between them. The territories of the United Terran Republic and the Reticulan Empire come together in an area known as the Terran Badlands, along with a third interstellar power, the Ciek Confederation. Located within the Terran Badlands are two client states supported and maintained by the United Terran Republic, the Reticulan Technate and the Ssesslessian Harmony. The first of these is governed by the rebel Technocratic Movement, consisting of Reticulans who supported the Terran revolution, whilst the latter was given to the serpentine Ssesslessians as a new homeworld after theirs had been glassed by the Reticulans.

This is the set up for These Stars Are Ours!, a near future setting published by Stellagama Publishing for use with the Cepheus Engine System Reference Document from Samardan Press which details the core rules for a Classic Era Science Fiction 2D6-Based Open Gaming System. If the Third Imperium of Classic Traveller draws upon the Imperial Science Fiction of the 1950s, then These Stars Are Ours! draws upon another sub genre of the same period—UFOlogy and ‘little green men’. Or rather, ‘little grey men’, for the Reticulans are akin to the Greys of UFO lore and their spaceships and starships are saucers. What these point to are the space opera or  pulp sensibilities of the These Stars Are Ours! setting, and these sensibilities continue with the other alien species to be found across known space. These include the Cicek, aggressive and personal glory-obsessed warm-blooded, humanoid reptiles complete with tails; the snakelike Ssesslessians, a theocratic species with a complex pantheon who served the Reticulans as assassins; and the Zhuzzh, pragmatic, opportunistic, and nomadic insectoids who all but worship technology and who are inveterate tinkerers rather than designers and innovators. There are other races to be found across known space, but these are the main ones to be found in the Terran Badlands. Behind them though are the ‘Precursors’, one or more ancient species who disappeared millennia ago following a devastating war leaving behind mysterious ruins, who may have seeded and manipulated species across known space and who may be the forebears of numerous species.

Now despite the strong nods to both pulp and space opera sensibilities with these alien species, These Stars Are Ours! is not really a pulp or even a space opera setting. This is because it still uses the dry, technical mechanics and terminology of the Cepheus Engine System Reference Document—and thus ultimately of Traveller. So it employs Tech Levels, Maneuvre Drives, Jump Drives, Parsecs, Sectors, Subsectors, the Universal World Profile, and so on.  Looking to the sources of inspiration in the book’s appendices and it is clear that the tone and feel is other than Pulp Sci-Fi—so Robert Heinlein’s Starship Troopers, Barry B. Longyear’s Enemy Mine, and Kim Stanley Robinson’s Mars Trilogy; films such as Alien, Outland, and Serenity; television series like Babylon 5, Dark Skies, and Space: Above and Beyond; and computer games including Mass Effect, UFO: Enemy Unknown, and Dead Space. The Science Fiction of These Stars Are Ours! is much drier than straight space opera, but the inclusion of both the film Serenity and the television series Firefly point towards another influence and that is the Western genre. Much like both of those sources, These Stars Are Ours! is set after a devastating war, during a period of reconstruction, much like the years after the American Civil War. 

Now as much as there are similarities between the aftermath of the American Civil War and the aftermath of the Terran Liberation War—or the Terran Rebellion as the Reticulans call it—there are numerous differences too. The most notable difference is that These Stars Are Ours! presents an obvious and very alien enemy in the form of the Reticulans whilst moving the Human-Reticulan relationship into one of a cold war. Yet it retains the sense of distrust and resentment that arises from a period of occupation and civil war, which in the United Terran Republic—and beyond of These Stars Are Ours! is aimed at Reticulan Hybrids—humans genetically modified as embryos with Reticulan dna—who were seen as collaborators.

In terms of background, These Stars Are Ours! is richly packed. Not just with a history of the Terran Liberation War, but also the state of the United Terran Republic and its politics, military and intelligence agencies—notably CRC-32 which provides the military and government with covert Psionic Intelligence (or PSINT) support and its civilian research counterpart, the Psionic Research Institute (or PRI). It also covers the major corporations in the United Terran Republic, along with religion and spirituality, legal system, and various criminal and terrorist groups. It covers the various alien races in similar detail, from the Reticulans of the Reticulan Empire and the separatist Reticulan Technate to the eight-limbed, two metres tall, crustacean-like Klax who serve as security forces for the Reticulans, whilst of course adding details about their various biologies, psychologies, and societies. Where a particular alien species is available to choose as a player character, notes are given on how to play them. 

As well as Humans, These Stars Are Ours! offers the Cicek, Reticulans, Reticulan Hybrids, Ssesslessians, and Zhuzzh as playable races. The main major difference in the setting to the more familiar Traveller is that Psionics are more freely available and that Psionic Strength is added as a seventh attribute. In terms of Careers, These Stars Are Ours! uses those from Cepheus Engine System Reference Document, but adds another twenty on top. Those available to Humans are the most diverse, including Teran Navy and Terran Police as well as Terran Naval Infantry and Teran Marines. For the most part,  the new Careers reflect the past quarter of a century that Humans have spent at war. If a character is a Psion, then he will serve in CRC-32 or the PRI, depending upon his Psionic Strength. Those of the Alien species are not as diverse, apart from the Reticulans, typically presenting one Career per species—essentially much like Basic Dungeons & Dragons did Race as Class. There are Event tables for all of the new Careers and the character rules also allow for cybernetics and cyborgs.

Creating a character in These Stars Are Ours! is the same as Cepheus Engine System Reference Document or Traveller. A player rolls two six-sided dice for his character’s seven attributes and then chooses a Career for him. Over the course of the Career, the player will add skills and other benefits to the character. A character may have an illustrious career, be discharged following an injury, and so on. The process will require a little flipping back and forth between These Stars Are Ours! and Cepheus Engine System Reference Document, especially if a player decides on a career not in These Stars Are Ours! Either way, the process is a lengthy one.

Our sample character was one of the elite of the Earth Federal Administration who was in training to become a politician and administrator before he discovered the extent of Reticulan activities in Terran space and defected. He was tested for psionic capability and recruited by CRC-32 and constantly trained throughout his career. He was on active military campaign in the last years of the Terran Liberation War, but was captured and held captive until the armistice between the United Terran Republic and Reticulan Empire was signed.

Brigadier Jeffry Ennes
Reticulan Hybrid Age 50
Elite-2 (Rank 3: Manager)/CRC-32-6 (Rank 5: Brigadier)
7B5C8B-D
Admin-2, Advocate-3, Carousing-o, Clairvoyance-1, Comms-1, Computer-1, Gun Combat-1, Jack-of-All-Trades-2, Leadership-1, Liaison-0, Linguistics-0, Medicine-1, Melee Combat-0, Reticulan-1, Telepathy-3, Teleportation-3, Vehicle-0, Zero-G-0
History: Political Infighting, Psionic Training, Strange Science, Advancement, Psionic Training, Battle, Captured.
Benefits: Explorer’s Society, CR 30,000, Pension: CR 12,000
Traits: Bad First Impression (humans only), Engineered (TL13), Notable Dexterity, Weak Strength, Psionic.

In terms of technology, These Stars Are Ours! is roughly Technology Level 11, with military equipment and technology being typically Technology Level 11 and Technology Level 12. This means that starships are commonly capable of Jump-2 (travelling two parsecs in a single jump), fine gravitics is being developed, fusion power is freely available, and so on. Reticulan technology is generally higher, most notably shown in its mastery of gravitics and longer Jump ranges. As befitting the setting, their ships are saucers rather than the sleeker, if not streamlined ships deployed by other races. Some six ships—starships and small craft—are detailed and given deck plans, and where necessary civilian and military versions are both given. They include the Reticulan Abductor and Saucers, the Ssesslessian Infiltrator, Zhuzzh Scavenger, Cicek Raider, and Terran Shaka-class Light Military Transport. The latter is the only Terran ship, which is perhaps a little disappointing, but given the post-war state of the United Terran Republic, these ships are commonly available to purchase and are used as by free traders. Plus the fact that it happens to look not unlike the Firefly class is likely to make it a popular choice with the players (if not their characters). 

Some seventy or so worlds of the region Trailing-Rimward to Terra are described as part of the Terran Borderlands. The latter lies at the point where three interstellar powers meet—the Reticulan Empire, the Cicek Confederation, and the United Terran Republic—and contains the two Terran client-states, the Reticulan Technate and the Ssesslessian Harmony. Each of the worlds comes with its own Universal World Profile and a fairly detailed description, though this can vary in length from one to as many as five paragraphs. Along with the accompanying star map, this gives a good-sized area for the player characters to explore and to support that, These Stars Are Ours! comes with a dozen patrons. These range from supporting a colonisation on a ‘jackpot’ planet and transporting a Reticulan diplomat—hopefully her money will be enough to overcome any lingering antipathy towards the Reticulans, to the exploration of a Precursor site and a hunt for a celebrity’s missing yacht. They represent a good mix of adventure types and make good use of the background to the setting. These Stars Are Ours! is rounded out with a pair of appendices, one a bibliography of inspirations, the other various news entries or Terran News Agency Dispatches, which the Game Master could develop into scenarios of her own.

Physically, These Stars Are Ours! is simply and clearly presented and there is a good index. The few illustrations are decent, the star maps clear, and the deckplans good. As much as the content is interesting and engaging, what lets the setting supplement down is the editing. At worst someone has edited the book, at best no one has, and in places, the unpolished writing in These Stars Are Ours! does sometimes make a cringeworthy read.

If there is anything missing from the These Stars Are Ours! setting it is perhaps a few more starships to individualise the setting some more and certainly some personalities. Apart from the president of the United Terran Republic, no individuals are really mentioned, so the history and setting do feel slightly impersonal. There is no advice for the Game Master, but anyway, she should be able to come up with scenarios and campaign ideas from the background material given in These Stars Are Ours!.

Although using mechanics derived from Traveller, the setting of These Stars Are Ours! is very different to that of Traveller. It is not ‘high’ or Imperial Space Opera, but has a harder, rougher edge to it, drawing from a source that is more pulp Sci-Fi in its sensibilities even as the Cepheus mechanics serve to reduce said pulp tendencies. Nevertheless, These Stars Are Ours! draws deeply upon its source material of UFOlogy and ‘Little Green Men’ and infuses them with a frontier, almost Wild West feel to present a very accessible setting in terms of background and size.

Arc Dream Publishing is best known as the publisher of the Delta Green: The Role-Playing Game, the roleplaying game of conspiratorial and Lovecraftian investigative horror, but in 2019, branched out into publishing for Dungeons & Dragons, Fifth Edition with its ‘Swords & Sorceries’ adventure line and two releases for its ‘Broken Empire’ setting. The first of these was The Sea Demon’s Gold, an adventure offering more dangers than rewards, and doing so in a weird, dank, and squelchy environment, with a strong undercurrent of the Lovecraftian. Where The Sea Demon’s Gold roughly threw the adventurers ashore and into a clammy dungeon, the second scenario, The Song of the Sun Queens, took the player characters to a southerly kingdom and there enmeshed them in its sisterly rivalry, before leading them out onto sun bleached savannah in search of a great treasure.

Each of the two scenarios so far have has had parallels with certain historical regions. So with The Sea Demon’s Gold the feel was that of the Hellenic world, and with The Song of the Sun Queens, it was the kingdoms of Africa. The third scenario in the ‘Swords & Sorceries’ has a Middle Eastern feel to it. Designed for five characters of Third Level, the structure of The Tomb of Fire feels a whole lot like that of The Song of the Sun Queens in that the player characters have travelled to the edges of the civilised world in search of a great treasure. In The Song of the Sun Queens, it was Ndame, the Land of the Sun that they travelled to and from there to the ancient, cursed ruin known as Juakufa where a great treasure is said to rest. In The Tomb of Fire, the Player Characters travel to the Rahaman oasis, in the dry land of Kahlar, at the edge of the great Mahjur Desert, seeking the Tomb of Fire, a ruined temple dedicated to a now forgotten god. It is said that like Juakufa, the Tomb of Fire is filled with great riches, but the local inhabitants will warn that the tomb is warded by great spirits deadlier than any man can defeat. 

For the players, the adventure begins with everyone’s favourite roleplaying activity—shopping. Or rather preparing for the three-hundred-mile trek across the inhospitable Mahjur Desert to Jahiz. This trek forms the first part of the adventure, supported by detailed rules for handling its gruelling nature and a table of random encounters. Including a Ranger in the party will help, but either way, one character will be serving as guide and one as animal handler. There is just the one given encounter on the way which nicely, creepily foreshadows the sense of weirdness, distrust, and uncertainty which runs throughout the adventure. Once in Jahiz, they are welcomed by the Bashari, a deeply spiritual people who will constantly offer them prayers to their god, the Lord of Storms. They will be hospitable, once they learn of their interest in visiting the Tomb of Fire, will direct them to visit their high priest in the Temple of the Sky atop the single mountain which looms over Jahiz. He will question their motives, but explain that the Tomb of Fire is the prison of an immortal enemy to the Bashari, a devil of earth and fire known as Kallahaab. He will take Good-aligned characters into his confidence, that he has been warned that evil men are trying to break into the tomb and free Kallahaab and that he needs good men to ensure that they fail and that Kallahaab remains imprisoned. If the player characters are not Good-aligned, then their coming has been foretold, for they are ‘evil men’…

So ideally, the characters must be Good-aligned or particularly deceptive to get the directions out of the priest, but otherwise Neutral- or Evil-aligned characters will need to find their own way. The journey to the tomb will be interrupted by another band Bashari, the Paladins of the Hidden Flame. They are also friendly, but will denounce the Bashari of Jahiz as fools for not worshiping Kallahaab, the true ruler of the land who was betrayed by the Lord of Storms. They want the player characters to free him. This then sets up the dilemma at the heart of the Tomb of Fire—which faith is the true faith and who to trust? This comes to a head in the tomb itself, which although small, merely consisting of six locations, will constantly test the player characters’ faith. This includes a confrontation with Kallahaab within the tomb itself, who will be very persuasive when it comes to suggesting that the player characters free him, including promising to reward them with Wishes if they do…

There is a lot of roleplaying depth to The Tomb of Fire. All of the NPCs, whether human or monster, are interested in the player characters and in persuading them to their cause. So the players will need to decide who to follow, which will be based on two factors. One is their Alignment. The scenario does favour Good-aligned characters, but takes Neutral- and Evil-aligned characters into account. The other is the spirituality of both factions of Bashari, constantly expressed throughout the scenario and full of clues as to what is to come. The Tomb of Fire is not a scenario to be approached in too bullish a fashion, there being a subtlety present in the story that the players and their characters might otherwise miss and so land themselves in the fire… Now that said, the denouement of the scenario will require careful preparation and handling upon the part of the Dungeon Master as there is a great deal going on, whilst the aftermath is underwritten, in that it does not fully explore the consequences of the player characters’ actions, particularly if Kallahaab is freed.

This latter issue points to another problem with The Tomb of Fire and ‘Swords & Sorceries’ adventure line and the three releases so far for the ‘Broken Empire’ setting—and that is a lack of context. So far all three scenarios have been set far from the ‘Broken Empire’ and all three have been set in separate locations, so there is no sense of connection between the three and thus no sense of sharing the same world. This makes each scenario easy to pull out and work into a Dungeon Master’s own campaign world, but there is no world building between them which might otherwise have come about had the three scenarios so far been linked. The lack of context means that the player and their characters do not have any grounding in the setting, so it is harder for them to engage with it.

Physically, The Tomb of Fire is fantastically presented. The maps and writing are both good, but the artwork is excellent, full of character and rich detail, and like those in The Song of the Sun Queens can all be shown to the players as they progress through the scenario.

The Tomb of Fire is again relatively short, offering two to three sessions of play. It feels rich and deep in terms of the setting and its people, pleasingly embroiling the player characters in religious rivalries that provide a really good mix of roleplaying and action—often with an element of horror. Like the previous scenario, The Song of the Sun Queens, it presents more of a setting that nicely draws upon on cultures other than Western fantasy, but again leaves the Dungeon Master wanting and needing more. 

A couple of neat things happening here at the Ole' Brannan Family Game Dungeon this week.


My kids are missing their weekly D&D games in this quarantine time so tonight they will be running a D&D game over Roll20.  We took the plunge and bought a Pro account.  We will see how it will go.  If they like it I might even try it myself.

So while they are using new tech to run an "old" game. I just a new copy of an old game.
My friend Greg heard I no longer had my copy of the original FASA Trek game. Lost in one of my moves between college and grad school I am sure.  So here is what he sent me.




So looking forward to this! 

I am thinking I might have to recreate two of my earliest characters, Dr. Scott Elders, CMO and genetics expert, and his "Nurse" Friday who is, in reality, one of his experiments/creations.

They were created after a 1982 double shot of "Wrath of Khan" and the augments and reading "Friday" by Robert A. Heinlein.   I guess this fits in with the "old-new" theme as well.  This is a 1982 book about the 21st Century.  A Balkanized North America doesn't sound as improbable as it did then.


One of my favorite Michael Whelan covers.

Reviews / April 2, 2020

ROBERTS: Steven Spielberg called Joe Dante’s 1978 Piranha “the best of the Jaws ripoffs,” but my vote goes to 1980’s Alligator, directed by Lewis Teague and distributed by Group 1 Films, the latter responsible for some memorable exploitation fare that included The Clonus Horror, UFO’s Are Real (both from 1979), and Albert Pyun’s The Sword and the Sorcerer (1980). Both films are cult genius thanks to their writer, one John Sayles, who went on to become an indie film auteur as well as a writer of great American novels. Both films both have similar plots, and both are satires, but Alligator’s teeth sink a little deeper: our hero quite literally eats the rich. Also, Robert Forster’s in it, and I’ve never met a Robert Forster movie I didn’t like.

MCKENNA: The problem (for me) with writing about something like Alligator is, what the hell is there to say? It’s perfect. Timeless. It explains itself. It looks like a TV movie yet comes on like it actually has brains and a sense of humor. Not simply a curio of the 1980s (though if 1980s curio-ness is what you’re after, you won’t be disappointed—in fact your head may explode), it still works perfectly today without the need for you to strap on a postmodern irony helmet. It’s smart, self-aware, knows its limitations, and is basically why there’s almost zero incentive to go to the cinema to see genre stuff anymore: because who wants to sit through fucking hours of precious art direction when stuff like this highlights how much more economically and incisively the same goals can be achieved with far less? Somehow, even though pretty much everything about Alligator is trite—and that’s kind of the point—nothing about it feels trite. In addition to the estimable Forster, who’s in top form here even for him, there’s a great turn from Robin Riker as the female lead and appearances from Michael V. Gazzo and Henry Silva. Mike, what on Earth do you make of this little gem?

GRASSO: It seems like there have been a bunch of these ’70s/’80s B-movies we’ve looked at that I’d never seen before, that pleasantly surprised me, were made by folks who went on to do Serious Film later, and ended up having an interesting social-political edge to them, all while remaining on a basic level exploitation schlock. Endangered Species came to mind while watching Alligator, for certain. (Also, Kelly, thank you for reminding me that Alligator was produced by UFOs Are Real producer and narrator Brandon Chase!) It also has that same sideways ’50s monster movie vibe—doughty yet world-weary hero and brainy love interest investigate and battle a mysterious series of predations created by shadowy conspiracies and mad science.

Like Robert Urich’s character in Endangered Species, Robert Forster’s David Madison is a police detective who’s lost his faith in the system and is hounded by ghosts: in Madison’s case, a bust that went bad resulting in the death of his partner. As limbs start showing up in the town’s sewer system, the first theory of the crime (as in The Night Stalker, another film Alligator vividly reminded me of) is that a garden-variety late-’70s serial killer is on the loose. Turns out? It’s a 30-foot long alligator, released in the sewers 12 years prior by a teenage girl, Marisa Kendall: played as a grownup by Robin Riker, she’s now become the Midwest’s foremost herpetologist and helps Madison investigate and ultimately blow up the gator. The monster has been feasting on the corpses of experimental animals that have been fed a serum to increase their growth, part of a sinister biotech firm’s (Slade Pharmaceutical!) attempts to “feed the Third World.” Of course, nobody believes Madison even after he loses yet another partner in the sewers, and he’s fired from the force in favor of khaki-clad chauvinist big-game hunter (yes, seriously) Henry Silva, who gets to have an epic squint-off with Forster before getting swallowed whole by the gator.

Again, all fairly boilerplate monster movie cliché. But Alligator zags when you expect it to zig. Even if the plot emulates dozens of Roger Corman/Bert I. Gordon drive-in flicks from a generation before, it’s the little touches, the thematic surprises, and most of all the actors in this film that not just elevate the material but keep the viewer riveted, wondering where the hell this thing is going to head next. Between the aforementioned Michael “Frank Pentangeli” Gazzo, a serious thespian with impeccable Actors Studio credentials as the police chief (Henry Silva was actually one of Gazzo’s protégés), or Hollywood Golden Age mainstay Dean Jagger as the rambling oddball head of the biotech firm who inadvertently made the monster, this film is packed full of great actors. But Forster stands alone. Wikipedia tells me that it was this movie—not Medium Cool or any of his other ’70s or ’80s roles on the screen or TV—that inspired Quentin Tarantino to give Forster a shot as world-weary bail bondsman Max Cherry in Jackie Brown. And you know what? I can kind of see why.

ROBERTS: Yes, this is definitely Sales riffing on the ’50s monster movie, Mike, with your sinister corporation (Alligator was released exactly 10 days after Reagan was elected) standing in for atomic anxiety. I thought a lot about the classic Them! (1954) while watching Alligator, and in fact the estuaries of the Los Angeles River were used to great effect in both films. It’s a B movie all the way, but Teague, who had just directed another Sayles-penned picture, 1979’s The Lady in Red, mostly pulls it off. The effects are also surprisingly effective, especially the scene where the gator crashes out of the sewer onto the mean streets. As far as Forster goes, he has always been pegged as a “character actor,” a mostly bullshit term that describes incredibly versatile actors who are constantly typecast because they don’t look like Redford. I first saw him in The Black Hole, a formative film of my youth, and he’s been a favorite ever since. There’s a recurring male pattern baldness joke in Alligator that he simply slays (he improvised it, and Sayles wrote it in), not to mention the one-liners Sayles feeds him. Robin Riker—in her feature film debut—is also really damn good, despite some gross sexism and a predictably subservient role—similar to Jobeth Williams in Endangered Species. And Henry Silva? All I can say is: you will never experience a more disturbing alligator mating call.

The alligators in the sewers urban legend goes back to the 1930s, when the New York Times ran a story about a group of kids allegedly snaring and killing one after spotting it through a manhole. Thomas Pynchon made great use of the myth—which expresses industrialism’s struggle to suppress nature—in his first novel, V. (1963). Pynchon, as it turns out, was a great influence on Sales. Unlike the shark in Jaws, the gator here is something of an underdog. Shortly after the little girl brings it home, her dad gets upset about “alligator turds in the clothes hamper” (props to Mike’s ears for catching that choice piece of dialog) while (tellingly) a radio report tells us about the “chaos” of the 1968 Democratic Convention (the subject of Medium Cool). Dad flushes the gator—we spin around the bowl with the creature, looking up at the gruff patriarch we assume to be entirely sympathetic to Mayor Daley’s police force—and watch the little guy drop into the sewer with a splat, small and alone in the darkness. 12 years later, it becomes the monster it was made to be.

MCKENNA: The male pattern baldness joke is a beaut, and not just because the fact of its hitting close to home makes me feel as though perhaps I too might yet possess an iota of Forster-esque coolness. Like all great B-movie fare, it’s the film’s accumulation of miniature grace notes and memorable details that builds up into something gratifyingly greater than the sum of its parts. Take the extras, for example—everyone in Alligator acts and appears grizzled enough to credibly inhabit the film’s down-at-heel milieu: nobody looks like they just walked out of central casting, and everybody has a distinct personality no matter how briefly they appear.

I’m now going to return to one of my well-worn (though my fellow Mutants might prefer “overused”) opinions here and say that I think part of the reason Alligator still connects so powerfully is because it sort of feels like play—almost like our brains are making it up as we watch from the mulch of half-digested history, pop culture, and politics slopping around inside our craniums. None of the sets, locations or set pieces are particularly prepossessing (I mean, the big denouement is trying to convince an old lady driver to reverse her car, for fuck’s sake; you have to hand it to Teague: he makes the most of the little he’s got), much of the action is fairly low key, the story is hardly there, and a great deal of the pleasure derives simply from watching humans interact with each other, their environment, and a fuck-off massive alligator. It’s play. That’s what real B-movie genius is. That and kicking off with a gator attack that gets swept under the rug by the spectacle management so the wheels of commerce can keep turning.

GRASSO: And isn’t that a great place-setter for the overall social commentary in the rest of the film, Richard. I especially liked the set piece near the middle where the alligator’s reality has finally been revealed to the public (thanks to a tabloid reporter who’s been hounding Madison, Freddy Lounds-on-Will Graham-style, and who takes one final photograph of the monster as he’s eaten), and Henry Silva’s big game hunter is on the scene dropping depth charges in the local canal, and the entire town has turned into a three-ring media circus, complete with souvenir vendors hawking toy (and real) alligators. This scene happens right when Madison learns he’s off the case, and there’s that sinking feeling that all the wrong people are in charge of this crisis and that there’s going to be a lot of profiteering off of human injury and death. Hmm, maybe this wasn’t the right film to get our minds off of current events, guys.

But I think that gets to another thing I love about Alligator, which is how perfectly 1980 it is. Just little reminders here and there, like the aforementioned media circus (one practically expects to see “I Survived The Mega-Gator Attack” t-shirts for sale alongside the souvenir gator toys) or the big reveal scene of the alligator, where it busts Kool-Aid Man style through the concrete from the sewers while a bunch of kids (clad in an “I’m a Pepper” t-shirt, a late-’70s Texas Rangers jersey, and some kind of Freddy Krueger-esque red and green striped rugby shirt) look on. And yes, Kelly, the way Alligator substitutes corporate malfeasance for ’50s fear of the atomic age is also perfectly 1980. At the very dawning of the Reagan era, fear of pollution and criminality at the hands of unaccountable corporations was revving up, and the scientists’ use of poor innocent stray puppies as their experimental subjects is not only a perfect telegraphing of how evil they are but also pretty damn common in industrial corporate settings at this point in history. Whether or not they’re trying to help out with feeding the developing world, they’re literally killing puppies and throwing their bodies in the sewers.

So yeah, this film does eventually revenge itself on the corporate baddies. The foreshadowing in the scene where they’re setting up Slade’s daughter’s wedding at the local country club is perfection: you just know as soon as you see it that that alligator is going to go hog wild on all those rich people in the final reel. But the first two people the gator eats at the wedding are a pair of servants! That undercuts the impact of Slade’s limo being smashed by the gator’s tail just a little bit. But was I smirking in satisfaction when the inner-city kids who Silva’s game hunter deputizes (and condescends to) abandon him as he gets eaten whole by the monster? Yeah. That was pretty cool.

ROBERTS: Class is writ large across the whole film. “Looks like a working man’s hand,” Madison says after the first body part is found, and when he busts a vendor trying to sell live alligators during the media circus Mike mentions above, the vendor cries after him, “This is an attack on the free enterprise system! Communist!” We’ve got one-percenter Mr. Slade feeding the alligator mutant and mutilated puppies so that he can get richer by squeezing the Third World, we’ve got rich neighborhoods (helicopters scan the lush swimming pools) juxtaposed with poor neighborhoods (the setting is either Chicago or St. Louis—it’s never made clear; both cities were at the epicenter of the rust belt’s decline), we’ve got “the great white hunter” paying black kids to guide him through the inner city—so many of them were so destroyed by this point that they stood in for post-apocalyptic landscapes. And there’s the working-class cop who’s got more in common with the alligator—who he’s forced to blow up—than anyone else.

I won’t go so far as to say that the alligator is the proletariat, but it’s certainly the underclass (“It lives 50 feet beneath the streets,” the trailer forebodes), as well as nature’s revenge. The gator eats workers, sure, but it would starve otherwise: that’ s the law of the jungle. The real target is Slade, as the alligator’s calculated demolition of his limousine makes clear. All of this gives added relevance to the final moments of the film, when a new sewer dweller—another innocent baby bought and sold, then banished by owners who foolishly thought they could tame it—lands with a splat in the city’s collective shit. A monster movie cliché? Absolutely. But also the spectre of revolution.

Working on the OSE Warlock in my spare time.  It's been fun but I want to be sure that all the spells are new in this one.  So no repeats from any of the OSE books and none from my recent Basic-Era books like the Pagan and Pumpkin Spice Witches.


I am also going with some different warlocks than what I had in my Swords & Wizardry Warlock book. So revised invocations and spells in some cases and all new ones in most others.

The goal is, of course, to have a book that works great with Old-School Essentials AND also will work with my witch books and the S&W Warlock book.

To this end, I wanted to make sure I was not repeating myself and built this handy-dandy spreadsheet.



Or this link. https://docs.google.com/spreadsheets/d/1Sd-OQ3l16V35t3ChfwGeu471V_tNWS-7Pww_tjzgRcQ/edit#gid=153289230

You can see the sheet covers the Witch, Witch Ritual, Cleric, Magic-User, Druid, Illusionist, and Warlock spells.  The hyperlinks in the sheet go to the various publications the spells are in. They are not affiliate links.

There are no warlock spells in this sheet yet. They are on my version at the moment.  Once the warlock book comes out then I'll populate this sheet.

So if you want to find a spell the default state is sorted alphabetically by all spells.
If you want to sort by Class then you need to highlight the range (A to H) and then go to Data, Sort Range and then choose the Class you want followed by Spells. It's not required to sort by spells since there are no duplicate lines in this sheet.






That should allow you to sort the spells you want.

If you have an OSE specific spellcasting class and want your spells here just let me know!

I mentioned all the great TV on now.  Which is good since we are supposed to Shelter In Place here in Chicago-land until April 30. That, and I already finished watching "Tiger King".

Well, it's Wednesday and that means we get new Magicians and new Motherland: Fort Salem.
Sadly it is also the series finale of Magicians tonight and I have no idea how they are going to wrap this all up.

Insert witty and caustic Margo quote here.
I think I am going to have to do stats someday for the Magicians characters.  Either for Cinematic Unisystem or Night Shift.

I am going to miss the Brakebills kids.

How would Alice, Julia, Kady, and Margo fare at Fort Salem?
Would Raelle, Tally, and Abigail do well at Brakebills?

I am pretty sure that Scylla and Marina would get along. Or kill each other.

Eve Tushnet / April 1, 2020

In 1983, Lizzie Borden attacked the World Trade Center.

I’m talking about Lizzie Borden the film director, and the bomb that goes off at the top of the Twin Towers is the final image of her punk feminist film Born in Flames. (It’s safe to say that the shock of the ending has not been diminished by the passage of time.) Born in Flames is a loving—or at least, love-hating—tribute to the lower-rent sectors of early ’80s New York, and to the fractious feminist movements that tried to carry ’70s militancy into the era of the “career woman.” It’s beautiful and funny, and the most punk thing about it is that it’s the rare political film that exposes contradictions rather than purporting to solve problems.

The film takes place in a near-future America ruled by democratic socialists. It’s a dystopia! No, that’s a cheap shot—the movie’s point isn’t that socialism is bad, but precisely the opposite: that the better the idea, the more useful it is in the hands of entrenched power. Most things we wish were political solutions turn out to be clown cars from which spill far more political problems than you ever could believe would fit inside. And yet that doesn’t make Born in Flames a cynical movie. It refuses cynicism as wryly and as adamantly as it refuses propaganda.

Even the film’s title suggests that the movie will transform mere political ideology into something stranger and more challenging. It was named after a song by the Red Crayola, which in turn was named after a 1929 Soviet film celebrating the triumphs of the Red Army. With each iteration the words get weirder, as the gasoline smell of propaganda dissipates. The USSR origins of the phrase make it not solely an inspiration to the film’s feminists, but a reference to the professed socialism of the government they’re fighting. Every political statement in the film carries within it at least one contradiction, at least one hint that the future born in these flames won’t be what anyone intended. The things you want done won’t be done the way you want them, partly because they won’t be done by the people you think should do them. The song plays throughout the movie: a jangly, urgent anthem, featuring saxophone by Lora Logic of Essential Logic (and the early X-Ray Spex) and vocals by Gina Birch of the Raincoats. Birch’s voice fits the mood of the film, with its quick shifts from proclaiming to muttering to shrieking; her English accent adds an unexpected touch of displacement, and a feeling that the narrative, in spite of its strong sense of place, reaches far beyond 1983 New York City.

Born in Flames rambunctiously follows several competing women’s movements. There’s the Women’s Army, which chases off would-be rapists and is advised by a radical mentor played by real civil rights lawyer Flo Kennedy. There’s soft-spoken street-level militant Adelaide Norris (Jean Satterfield); the art-punk radio station led by sly Puck-faced agitatrix Isabel (Adele Bertei); her semi-rival at the black radio station, Honey (played by a woman of the same name); and the party-line women of the socialist movement, who dissipate their radicalism in academic arguments (Borden’s friend Kathryn Bigelow plays a journalist with the Socialist Youth Review). Music and violence intertwine as equally invigorating, equally obvious aspects of radical feminism.

An FBI agent surveilling these women notes, “The Women’s Army seems to be dominated by blacks and homosexuals.” These also happen to be the kinds of women Borden’s camera most loves. Born in Flames has the quick cuts and intimacy of a documentary film, and the performers—who were not professional actors—talk as if they’re coming up with these ideas on the fly in response to the real socialist future America they live in. They ramble and grouse and talk over each other. The FBI agents, by contrast, are more stagey. They’re following well-worn roles; they know their lines and their blocking. The women, whether they’re squabbling or orating or kissing, always look like they’re figuring it out as they go.

Perhaps for this reason, the plot peeks only intermittently from the vivid shelter of the dystopian setting. In a New York City of boomboxes and pay phones, catcalling and bralessness, a Women’s Army emerges not only to protect women from rape but to propose a feminist political program. As the FBI tries to catch them in illegal acts, and the socialist President of the United States tries to entice them away from radicalism with concessions like “wages for housework” (a left-wing proposal beyond the dreams of our current politicians), the underground feminists progress from pirate radio to arms dealing to terrorism. They aren’t a unified movement—the FBI notes that “it’s impossible to say” who their leader is. It’s not always easy for the viewer to keep track of the alliances and figure out who’s going rogue. But they’re united against the government, and after the staged jailhouse “suicide” of one of their leaders, there’s no chance they’ll disavow militancy.

This is a passionate movie without the self-righteous certainties of so many passionate movies. Feminists attack the “Rape Rehabilitation Center,” which seems to offer (coopted?) restorative justice to rapists. “There’s no such thing as a bad boy,” a defender of the center says. “These are sick people.” The white cop has a MOM mug and the feminist militant has a pink t-shirt saying GANJA FARMERS UNION.

The satire of hyper-theoretical socialist feminism is still funny but also somewhat expected. Less expected is the depiction of radical feminism as the servant of the corporations—all these women lined up to shake the locked gates of the construction sites are fighting not for profit-sharing or a reorganization of the economy, but for jobs at companies that seem (despite the government’s nominal socialism) indistinguishable from the worker-exploiting companies out here in nonfictional America. “We want a J-O-B so we can E-A-T,” the protesting women chant, right after a terrific montage of all the j-o-b’s a woman can do, from paper-pushing to chicken processing to hairdressing to sex. Another woman complains of spending “three years with no opportunity to move into a managerial position”; some might argue that making management women’s work is not the best form of feminism.

There’s a taking of sides here that’s familiar to contemporary arguments about subsidized day care vs. Canada-style child benefits. The film’s feminists fight for abortion access and child care, the two feminist proposals that make women’s labor more accessible to employers. In the movie’s sketched-out backstory, affirmative action for women has led to a backlash in which men demand preference for male heads of households; the government then offers “wages for housework” as a compromise measure, offering financial independence to homemakers and jobs to men. “Wages for housework,” which really would require a radical reshaping of the economy, is portrayed as an anti-feminist ploy to get women barefoot and pregnant in the kitchen—but how many women would mind, if the alternative is a chicken-processing montage?

In spite of the brief child-care discussion, it’s noticeable that in a science fiction movie about possible political futures, none of the characters has children. This childlessness may even be linked to the movie’s adolescent energy, which is its greatest strength. This is a sexy movie; it captures the thrill of political arguments with pretty women. Borden’s camera shows every character at her most beautiful. (The film’s major aesthetic weakness is the decision to film scenes of paramilitary training in a smeary style I can only call Sand-o-Vision. The grainy color footage of the rest of the film is warm and lived-in; and, you know, intelligible.) The fleeting moment of actual erotic embrace between Norris and her lover is a synecdoche for the intimate connection these women find in solidarity—and, at times, in conflict. The film’s music, especially the title anthem, adds to the feeling of smoldering, unstable dissatisfaction about to burst into gleeful violence. When Norris says, in gorgeous close-up, that violence is “already here. It’s happening,” there’s a hint of resignation but more than a hint of promise. These are women on the verge of a societal breakdown.

When the women become violent, holding television broadcasters at gunpoint so they can send out their own message, a man-socialist explains that their violence is a reaction to “terror of their own may-soh-chism.” After the “jailhouse suicide,” Isabel puts on a music show, indulging in the tambourines and beer of helplessness: “This is for all the dead heroes out there… Yeah.” Isabel promises that their fight “will not end in a nuclear holocaust”—and as she’s writing that particular check, the feminists’ bomb goes off at the World Trade Center. Is this an unhappy ending, a misstep into complicity, an own-goal? Is it desperation turned septic, or the bitter result of the prior peaceful revolution’s betrayal of its promises? Is it just smart tactics? Is it a thrill?

It’s a taste of power. And Born in Flames is among the rare political films that doesn’t yell at you about whether that makes it right.

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

A while back I posted this about my "Ghost Ship" adventure:

Ghost Ship.  The PCs find a derelict adrift in space and it is full of the ghosts of the dead crew.  Originally this was going to be the Enterprise B when I ran it as a pure Trek game. (The Haunting of Hill House, Dreams of the Witch House, the Flying Dutchman)

Some of my ideas I had scribbled down for this, WAYYYY in the early 90s at the Corner Diner in Carbondale, IL (it's closed sadly). Back then this was the Enterprise B before there was a Generations movie and when all I knew it was an Excelsior-class ship.

The trouble I am running into is that I am stealing ideas from this for The Ghost Station of Inverness Five.

I would like to keep this as the crew discovers a ship, preferably one that has significance to them, floating adrift and full of ghosts.  So there would be elements of Event Horizon as well.

The big question I have now is this.  Should the "ghosts" on the Ghost Ship be really dead or some sort of weird temporal/dimensional accident?  I think I have my choice made for me really.
This is BlackStar, not just Star Trek.  The crew of the Ghost Ship really are all dead.

Flying Dutchman from the Time-LIFE Water Spirits book.  The genesis of the Ghost Ship Adventure
The Ghost Ship adventure will be a simple haunted house adventure with a twist; the twist is that the "house" is a star ship.

There is a "Star Trek: Ghost Ship" fan film out there from the "Avalon Universe".  What I like about this is that it feels like a nice mix of the TOS style and the Abrams/Kelvin Universe style.
It is a fan film, so don't judge it too harshly, instead, take it in the spirit it was made; the love of Trek.

I will say that Victoria Fox, the Producer, Lt. and then later Commander Amanda Beck, is pretty good. she would later go on to produce, direct, write, and star in Star Trek Demons.  Her Trek-street cred is solid.  I also think that Victoria Archer (Lt. Cmdr Jamie Archer) must be at least 6' tall (ok she is only 5'9", must be the "go-go" boots).

Part 1:



Part 2:




Of course, no Ghost Ship posting is complete without a nod to the Rime of the Ancient Mariner.



Or the woman still waiting for him on the shores.


Ghost Ship Adventure Related Postings

• Star Trek: Horror and the Old Ones
• At the Planets of Madness
• BlackStar: The Influence of Clark Ashton Smith
• BlackStar: Launch Date 31165.86
• BlackStar: The Ghost Station of Inverness Five
• BlackStar: Klingon Time Travel, The Ghost Station of Inverness Five Part 2

Jesse Walker / March 31, 2020

I can tell you the day the so-called Vietnam syndrome started to die. On November 12, 1979, four and a half years after the last American troops fled Saigon, a new single was shipped to record stores and radio stations, a ballad by the fellow who’d had a smash hit a year before with “The Gambler.” Kenny Rogers’ new song was “Coward of the County,” written by Roger Bowling and Billy Edd Wheeler. I remember the first time I heard it that November, listening to the radio in the car with my mom on our way to the supermarket.

He was only 10 years old when his daddy died in prison
I looked after Tommy, ’cause he was my brother’s son
I still recall the final words my brother said to Tommy
‘Son, my life is over, but yours has just begun

‘Promise me, Son, not to do the things I’ve done
‘Walk away from trouble if you can
‘Now it won’t mean you’re weak if you turn the other cheek
‘I hope you’re old enough to understand
‘Son, you don’t have to fight to be a man’

We arrived before the song was over, but she kept the motor running in our parking spot so we could hear how the story ended.

I can’t say I understood all the cultural context that surrounded that record on the radio. I was vaguely aware that there had been a war in Vietnam, that the US had lost, and that a lot of people, including most of the grown-ups I’d heard talking about such things, didn’t want to get drawn into a war like that again. I didn’t know that this reluctance to fight was upsetting a large swath of the foreign policy establishment, or that those mandarins of empire had begun to call this war-wariness the “Vietnam syndrome.” I was nine years old. There was a lot I didn’t know.

There’s someone for everyone, and Tommy’s love was Becky
In her arms he didn’t have to prove he was a man
One day while he was working, the Gatlin boys came calling
And they took turns at Becky, and there was three of them

I didn’t know, for example, what “they took turns at Becky” meant. Perhaps I thought they had been making fun of her. If you are of a certain age, you may have had a holy-shit moment at some point in your teens or later—a day a DJ played that song you used to sing along to as a kid, and you suddenly realized it had a gang rape in it.

The Gatlin boys just laughed at him when he walked into the barroom
One of them got up and met him halfway across the floor
When Tommy turned around they said, ‘Hey look, old Yellow’s leaving’
But you could’ve heard a pin drop when Tommy stopped and locked the door

Twenty years of crawling was bottled up inside him
He wasn’t holding nothin’ back, he let ’em have it all
When Tommy left the barroom, not a Gatlin boy was standing
He said ‘This one’s for Becky’ as he watched the last one fall

When I heard that as a boy, I assumed that Tommy had beaten up the Gatlins. But the lyrics are Delphic, and they could easily describe a man methodically firing a gun. Either way, I got the intended moral of the tale even before I heard Tommy spell it out a moment later:

I promised you, Dad, not to do the things you’ve done
I walk away from trouble when I can
Now please don’t think I’m weak, I didn’t turn the other cheek
And Papa, I sure hope you understand
Sometimes you gotta fight when you’re a man

* * *

In August 1980, Ronald Reagan spoke to a Chicago gathering of the Veterans of Foreign Wars. “For too long, we have lived with the Vietnam syndrome,” the presidential candidate said. “As the years dragged on, we were told that peace would come if we would simply stop interfering and go home. It is time we recognized that ours was, in truth, a noble cause. A small country newly free from colonial rule sought our help in establishing self-rule and the means of self-defense against a totalitarian neighbor bent on conquest.”

As a history of how the Vietnam War began, it was nonsense. But as a familiar tale of good and evil, it had resonance—the kind of resonance that will take you to #1 on the Billboard country chart and #3 in the pop top 10. “Sometimes you gotta fight,” the candidate could have added. Maybe in the barroom, where the Gatlin boys were jeering. Maybe in Nicaragua, which had a leftist revolution four months before “Coward” shipped to stores. Maybe in El Salvador, which was less than a month into a 12-year civil war the first time “Coward” aired on the radio. Maybe Angola. Or Grenada. Or Kuwait. All sorts of countries cycled through the news from 1975 to 1991. They had different names, but for a certain sort of speechwriter they all were Becky, surrounded by those Gatlin boys bent on conquest.

I’m not saying that Bowling or Wheeler had Vietnam in mind when they wrote “Coward.” Maybe they did; maybe they didn’t. Songs about sexual violence and bloody revenge are as old as country music—older!—and you could have penned something a lot like this song in 1929 as easily as in 1979. You didn’t have to be thinking about the war to want to buy the record either. It had a well-told story and an infectious chorus, and it might have been a hit a decade earlier too.

But it wasn’t the hit Kenny Rogers had a decade earlier. His most successful song of 1969 had been a rather different record, a cover of Mel Tillis’ haunting “Ruby, Don’t Take Your Love to Town.” That one’s a gothic tale about a veteran, paralyzed in a “crazy Asian war,” who sits unable to do anything but plead while his wife dolls herself up for a night with her lover. He has violent urges bottled up inside him too, just like Tommy. Really ugly urges: “If I could move,” he tells us, “I’d get my gun and put her in the ground.” But he’s “not the man I used to be,” and so he’s helpless. Now there’s a grotesque twist on “Sometimes you gotta fight when you’re a man.”

Ten years later, Tommy would be manly enough by the code of these songs to take his revenge, and he’d have enough moral grounding to direct his violence at a trio of thugs rather than his mate. And two years after that, when the song became a TV movie, his violence would find another outlet. After beating the Gatlin boys in a wild bar fight, young Tommy marries Becky and enlists to fight in World War II—“because I have so much here to stand up for and protect.”

* * *

We heard that phrase “Vietnam syndrome” a lot in the ’80s, as pro-war intellectuals fretted that Americans weren’t willing to fight anymore. “Our communications on Nicaragua have been a failure,” President Reagan grumbled in his diary in 1985. “90% of the people know it is a communist country but almost as many don’t want us to give the Contras $14 mil. for weapons. I have to believe it is the old Vietnam syndrome. They are afraid we’re going to get involved with troops.”

The more hawkish Reaganites directed this ire not just at gun-shy civilians but at quagmire-wary members of the military. Some of Reagan’s appointees even directed it at each other. When Defense Secretary Caspar Weinberger laid out the so-called Weinberger Doctrine in 1984—a set of six principles he thought should limit the use of American combat troops—Secretary of State George Shultz seethed: “This was the Vietnam syndrome in spades, carried to an absurd level,” he later wrote.

The hawks hailed Washington’s quick victory in the 1991 Gulf War as the end of the affliction. “By God, we’ve kicked this Vietnam syndrome,” President George H.W. Bush crowed to the American Legislative Exchange Council. It hadn’t been 20 years of crawling—hell, they hadn’t been crawling at all—but for a certain sort of Washington functionary, any constraint on their ability to project power feels like a humiliation.

But war-wariness, and war-weariness, aren’t so easy to extinguish. The Vietnam-specific version of the syndrome may have died, but Americans still had rational reasons to want to avoid quagmires abroad; the next war in the Gulf region would remind the country just how much damage a march into battle can do. As public opinion started to turn against war, the phrase “Iraq syndrome” didn’t become as popular as its Southeast Asian predecessor; but it did start to float around certain D.C. circles. (Others fell back on their old vocabulary. Norman Podhoretz, the first-generation neoconservative who once had worried that even Reagan’s foreign policy evinced “the sickly inhibitions against the use of military force,” wrote in 2007 that the media’s coverage of the second Iraq war had proved “the Vietnam syndrome was alive and well.”)

If the syndrome was still alive, so was the tale pundits told to extinguish it. In 2014, when President Barack Obama sent troops to the Middle East to fight ISIS, New York Times columnist David Brooks celebrated with a familiar story. Exaggerating Obama’s reluctance to use the military, Brooks wrote:

History is full of reluctant leaders… President Obama is the most recent. He recently gave a speech on the need to move away from military force. He has tried to pivot away from the Middle East. He tried desperately to avoid the Syrian civil war. But as he said in his Nobel Peace Prize lecture, “Evil does exist in the world.” No American president could allow a barbaric caliphate to establish itself in the middle of the Middle East.

Obama is compelled as a matter of responsibility to override his inclinations. He’s obligated to use force… Everybody is weighing in on the strengths and weaknesses of the Obama strategy. But the strategy will change. The crucial factor is the man.

It’s the clunkiest remake you’ll ever hear of “Coward of the County.” But it probably won’t be the last one.

Jesse Walker is books editor of Reason and the author, most recently, of The United States of Paranoia: A Conspiracy Theory (HarperCollins).

Been kinda busy the last few days.  Today is my last day of vacation, so back to work tomorrow. We set up a pro Role20 account this past week and we are going to try that out.  Maybe I'll even run a game or two online.

I went looking for a monster today for something I am working on.  About a couple hours into my search of PDFs it dawned on me.  I have a lot of monster books.  I mean an obscene amount.
One of the problems I run into is not finding a monster but finding the monster and 4 or 5 different versions.


These books are my big "go-to" books for monsters.  Even though they have significant overlap each one offers me something new and fun.

Adventures Dark and Deep Bestiary
PDF and Hardcover, 457 pages. B&W Interior.
If you ever only buy ONE product from BRW and the Adventures Dark & Deep line then make sure it is this one.
I love monster books. I have said so many, many times. But I also hold them to a high standard.  While I Will gladly buy any monster book, few get my high praise.  Adventures Dark and Deep Bestiary is one of those few.
Let be honest upfront.  We have seen most if not all the monsters in this book somewhere else before.
Most are in the SRD or from other Open sources. The new ones are great, but they are ideas we have seen.
And none of that matters.  This is still a great book.
At 457 pages (pdf) it is a beast. Monsters are alphabetically listed by areas you would find them in.  So Wilderness and Dungeon is by far the bulk of them, but there are also Waterborne (fitting in with the rules) and "Outsiders" or monsters from the other planes.  But I am getting ahead of myself.
The book begins with two monster spell casters, the Shaman and the Witch Doctor.  Shades of similar classes from the BECMI RC to be sure. But they work here great and frankly I know someone will want to use these rules to play a Shaman one day.  Heck I once tried a Wemic Shaman in early 2e days myself.  Maybe I'll see if I can do that here.  The classes are not detailed and they don't need to be. The do what they need to do.
The Monster descriptions are a bit like those found in OSRIC though there are some interesting additions.
Each Monster has a Morale, like that found in Basic and 2nd ed, though it is not a score but an adjustment.  Attacks are listed in the stat block, though they are the attack types. This is most similar to "Special Attacks" in other rules.  Also wholly new are "Weaknesses" which is an interesting idea and one I think other OSR publishers should adopt.  Each monster then gets a couple of paragraphs of text.  Many are illustrated thanks to the highly successful Kickstarter for this (more on that later).  The illustrations are great too as you can see here.
All the monsters have General, Combat and Appearance sections in their write-ups.
Unlike 2e (and 4e) monsters are not confined to one-page entries.  Some have paragraphs, others just a few lines.  This is good since I think we would have something like 1000+ pages.  I think I read there are 1100 monsters in this book. Maybe 900.  Anyway it's a lot.  I spot checked a few monsters I thought might not be there, but sure enough they were.  Ok so the ones that are Closed via the OGL are not here, but I was not expecting those.  There are some alternates and stand ins if you really, really need them though.
The book sections are:
Wilderness and Dungeon, aka Most of the Monsters
Underwater and Waterborne, larger than expected, but not surprised given the material in the core books.
Prehistoric Monsters, always nice to have; Dinosaurs and Ice Age mammals.
Extra Planar Monsters, your Outsiders.
Appendix A details creating your own monsters.
Appendix B has something I didn't even realize was missing till I started reading the stats; a basic psionic system for psychic strikes.
Appendix C covers random creatures from the Lower Planes.  This is the first "Gygaxian" touch I have noticed in this book.  Reminds me of a really old Dragon magazine article from years ago..
Appendix D is magic resistance table
and Appendix E covers the abilities of Gods.
All of this in a PDF for just under $15.
I have mentioned before that Joe gets his work done and gets it done fast. Well this is not only no exception but it is the new benchmark.  Joe ended his kickstarter and then got printed books out to people 6 months early.  Let that sink in for a moment.  In a hobby where we tolerate (although not quietly) Kickstarters with delays of 18 months, Joe and BRW are out there, turning out product and getting it to people early.
You should buy a copy of this book on that principle alone.
So should you get this book?
If you like monsters then yes.  If you need monsters for your oldschool game then yes.  If you want to support Joe and the Adventures Dark & Deep system then yes. If you want to reward good Kickstarter behavior then absolutely yes.

Lots of good reasons to get in my book.  It is also the best book in his line. Kudos to Joseph Bloch.

Amazing Adventures! Manual of Monsters
PDF and Hardcover, 95 Pages. B&W interior art.
The Amazing Adventures Manual of Monsters manages to give me monsters I have seen before, but with a whole new take. I mean a mummy is a mummy right? Well...your old monster book won't tell you how it reacts when you fire your .38 into it. But beyond that, this book also has a lot of new monsters. Enough to make it worthwhile in my opinion.
Also as an added bonus feature is an appendix of monsters from different countries. So fight that Kelpie on its native soil. Or tangle with the machinations of the Greys.
If you play Amazing Adventures or Castles & Crusades then you need this book.

Castles & Crusades Monsters & Treasure
PDF and Hardcover 178 Pages. B&W interior art.
This is the main monster and treasure book for C&C. Here you will find what I call the "classic" monsters from the great Monster Manual. If you are familiar with 3.x then these are all the monsters from the SRD in C&C's format. There is plenty of new text here though to make this more than just another SRD-derived book. Like all the C&C books the art and layout is great. I have the physical book, the pdf and a printout of the PDF and all read great.
The Castles & Crusades Monster stat block is a nice combination of Basic's simplicity, 1st AD&D's comprehensiveness, and some 3.x style rules. Saves are simple (Physical, Mental or both), AC is ascending and there is a "Challenge Rating" stat and XP all factored in. Honestly, it really is a synthesis of the best of D&D. Grabbing a monster from another source and converting it on the fly really could not be easier.
This book though is more than just a monster book, all the treasure and magic items (normally found in a Game Master's book) are here. This is a nice feature really. One place to have your encounter information.
This really is a must-have book for any C&C fan. 178 pages and full of everything you need.

Swords and Wizardry Monstrosities
PDF 544 Pages. B&W interior art.
Some of these monsters we have seen before either in the SRD or other books.  That though does not detract from its value as this is a 540+ page book. In addition to all that there are some new monsters.  The cover is very evocative of the old-school (pre-1980) covers.
There is much in common between this book and The Tome of Horrors. Each monster is given a page of stats, descriptions and a plot hook.  While ToH used some recycled art, this all seems to be new art.  Even Orcus (which we now have 3 listings for) is new.  Actually, the art is pretty darn good and I don't mind the occasional repeat of a monster to see some new art.
Honestly, there is so much great stuff in this book that even with the occasional repeat monster this is still a top-notch collection. If you play S&W then this is a great monster book to have.
I am even going as far as to say it is a must-have for any serious S&W GM.

Tome of Horrors Complete (S&W)
PDF 688 Pages. B&W interior art.
What can be said about this product? The original Tomes of Horrors were all great products that featured and number of "old school" monsters from previous editions of the game all under the OGL. It even had a breif "tutorial" on how to add these beasties to your own products. Now those very same monsters are back in one huge book "updated" to Swords & Wizardry stats. Nearly 700 monsters, all ready for your game. In addition to art and stat blocks for every monster there is also an adventure hook for each one. The monsters have been "scaled down" to fit the S&W rules better. One minor nit-pick. The original art is used (which I am happy about) but in their efforts to redo the layout sometimes that art is reduced in size (making it hard to see) and other times the art is placed over some text. Not often mind you and not enough for me to downgrade this product.
Now what I would like to have is one "Ultimate Tome of Horrors" that has the Pathfinder and S&W stats together with the plot hooks.

I have a few more I like.  I'll have to post about them the next time I run out of monster ideas!

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


—oOo—


What is it?
The Duel at Dangerford is a scenario for RuneQuest: Roleplaying in Glorantha, a confrontation between Sartarite heroes and a vengeful Lunar army.

It is a thirty-seven page, full colour, 5.11 MB PDF.

The Duel at Dangerford is well presented,  decently written, and illustrated with publicly sourced artwork. It needs an edit in places.

Where is it set?
As the title suggests, The Duel at Dangerford is set in Dangerford—specifically on the Isle Dangerous—as well on the road to Runegate. In the official canon of Glorantha, this takes place in the Storm Season of 1625, but due to the vagaries of the author’s campaign and ‘Your Glorantha Will Vary’, in The Duel at Dangerford it takes pace in the Storm Season of 1626.

Who do you play?
The player characters should ideally be heroes of Sartar. The scenario works particularly well if one of the player characters is a Humakti.

What do you need?
The Duel at Dangerford requires RuneQuest: Roleplaying in Glorantha and the RuneQuest Gamemaster Screen Pack to play. To get the most out of The Duel at Dangerford, the Game Master will need access to The Coming Storm: The Red Cow Volume I, The Eleven Lights: The Red Cow Volume II, and The Glorantha Sourcebook. To get the utmost out of The Duel at Dangerford, the Game Master will also need access to Wyrm’s Footnotes #12, Wyrm’s Footnotes #15, the Dragon Pass board game, the Argan Argar Atlas, King of Sartar, Arcane Lore, and Troll Gods—although the last seven are really only of note or use if you are dedicated Gloranthaphile and have copies in your library.

In terms of the narrative, the player characters will also require an outspoken rival, ideally set up beforehand. If The Duel at Dangerford is run as part of the scenarios included in RuneQuest Gamemaster Screen Pack, this could be someone at the court of Queen Leika in Clearwine or if the Game Master has run ‘Cattle Raid’, then this could be a member of the Malani tribe.

What do you get?
The Duel at Dangerford is a simple scenario at its core. Divided into three acts, it begins in media res with the player characters on the road to Runegate with the Colymar Tribal Host, having answered the call to war in the face of an imminent invasion by a Tarshite Provincial Army. Following a council of war, the player characters are sidelined to Dangerford in order to protect the flank of  the Colymar Tribal Host of the Sartarite Army. As they make their way there, they spot both a second column of Tarshite soldiery heading towards to Dangerford, no doubt to cross the river there and conduct a flanking manouevre as was feared, and the fact that the column is led by no less a figure than General Fazzur Wideread, one of the greatest figures of the age. The player characters must therefore rush to Dangerford and find a way of stopping the advancing Tarshite forces, and it just so happens that the Isle Dangerous is a legendary duelling ground, where the Humakti rules of duelling are upheld by an ancient hero.

Unfortunately, as simple a scenario as The Duel at Dangerford is, it could have been a whole lot more simple. The problem is that it is overwritten, the author dwelling just a little too much on details and information that is not really pertinent to the scenario, either in the scenario’s extensive footnotes or annoyingly, in the text itself. So in a lot of cases, it is more hard work for the Game Master than it should be to prepare and run The Duel at Dangerford, but then it is underwritten else where, in particular not really giving information on how the the player characters go about performing a certain ritual on the Isle Dangerous. What is happening here is that the author is showing his love and knowledge of Glorantha, and whilst much of that information is interesting and whilst there is a certain joy to the writing, it is fundamentally just a little too much—certainly for anyone without that same degree of love and knowledge. Especially since the scenario suffers in places as a consequence.

In addition, The Duel at Dangerford comes with four appendices. The first contains a poem that the the author wants the Game Master to read out during the scenario, the second the author’s feedback on the scenario, ‘The Smoking Ruin’—all ten pages of it, some suggestions for expanding the scenario, ‘The Dragon of Thunder Hills’ from the RuneQuest Gamemaster Screen Pack; and some stats for any Tarshite militia the player characters might encounter during the scenario. To be fair, this is all interesting content, but it is not useful content as far as The Duel at Dangerford is concerned—except the stats for the soldiery. The poem is optional, the author’s feedback on the scenario, ‘The Smoking Ruin’ is lengthy and not relevant, and the notes on expanding the scenario, ‘The Dragon of Thunder Hills’ are very much optional. Now if the Game Master is planning to run ‘The Smoking Ruin’ or has not yet run ‘The Dragon of Thunder Hills’, then both feedback and notes are useful, but they do feel as if they should be in a fanzine rather than here.

Is it worth your time?
Yes. The Duel at Dangerford presents a fantastic opportunity for the player characters to be heroic—especially if one of them is a Humakti. 
No. Either because your campaign is not set in Sartar or you have already run the Battle of Dangerford. 
Maybe. The Tarshites and their Lunar allies are sure to launch another invasion of Sartar—at least in your campaign—and The Duel at Dangerford could be adjusted to fit, just as the author adjusted his to fit.

Collections of short scenarios for Call of Cthulhu are nothing new—there was the 1997 anthology Minions, but that was for Call of Cthulhu, Fifth Edition. That though was a simple collection of short scenarios, whereas Gateways to Terror: Three Evenings of Horror is both a collection of short scenarios and something different. Published by Chaosium, Inc. for use with either Call of Cthulhu, Seventh Edition or the Call of Cthulhu Starter Set, it is a trio of very short scenarios—scenarios designed to be played in an hour, designed to introduce players to Call of Cthulhu, and designed to demonstrate Call of Cthulhu. All three have scope to be expanded to last longer than an hour, come with pre-generated investigators as well as numerous handouts, and designed to be played by four players—though guidance is given as to which investigators to use with less than four players for each scenario, right down to just a single player and the Keeper. All three are set in different years and locations, but each is set in a single location, each is played against the clock—whether they are played in an hour or two hours—before a monster appears, and each showcases the classic elements of a Call of Cthulhu scenario. So the players and their investigators are presented with a mystery, then an investigation in which they hunt for and interpret clues, and lastly, they are forced into a Sanity-depleting confrontation with a monster.

Gateways to Terror: Three Evenings of Horror starts out though with an extensive introduction—or reintroduction—to the core rules of Call of Cthulhu, Seventh Edition. This is to help the Keeper introduce the rules herself to her fellow players, whether sat round the table at home, playing online, or at a convention. In turn it discusses the investigator sheet, using Luck, skill rolls, bonus and penalty dice, combat, and of course, Sanity. Included here are references to both the Call of Cthulhu: Keeper Rulebook and the Call of Cthulhu Starter Set with pertinent points marked. The only thing not included here that perhaps might have been useful is a list of these references, possibly at the end of the section. Otherwise this is all very useful, if not as a reminder, then at least as a means of the Keeper having to avoid flipping through another book.

Each of the three scenarios is tightly structured and follows the same format. This starts with advice on the scenario’s structure, specifically the timings if the Keeper is running it as a one-hour game. Then it discusses each of the four investigators for the scenario, including their notable traits and roleplaying hooks, what to do if there are fewer than four players, and what if there are more than four, before delving into the meat of the scenario itself. All three are very nicely presented, clear and easy to read off the page in terms of what skill rolls are needed and what the investigators learn from them. As well as really good maps—for both players and Keeper, but it has to be said that the maps for the Keeper are thoroughly impressive—which depict the different locations of the three scenarios in three dimensional perspective, each scenario comes with a sheaf of handouts, suggestions as to how each of its four investigators react when they go insane, and lastly, four investigator sheets. What is notable about these is that they are not done on the standard investigator sheet for Call of Cthulhu. This does feel off brand, but presented as straight text, the information that a player would want, or need is easy to find and easy to read.

So to the scenarios themselves. They open with Leigh Carr’s ‘The Necropolis’. Set in 1924 in Egypt this is a classic set-up, four members of an archaeological expedition excavating a tomb in the Valley of the Kings when the worst happens—they are entombed themselves! The quartet are driven to explore and discover as much as they are to escape, but the latter becomes more important when something appears to be inside the tomb with them! First though, they need to stop whatever is in the tomb with them because it seems very, very hungry… Of the three scenarios in the anthology, this has the largest area for the investigators to explore, consisting of five rooms rather than the single rooms of the other two. It is also probably the pulpiest in tone and style, and if the solution for dealing with the monster is a cliché, it is entirely in keeping with the genre. More of a locked room horror mystery than the other two, veteran players will enjoy the links to both Call of Cthulhu and Lovecraftian lore.

‘What’s in the Cellar?’ by Jon Hook switches to upstate New York in 1929. Arthur Blackwood, a respected local attorney is on trial for the bloody murder of his wife in the cellar of his family’s ancestral holiday cabin and is likely to go to the electric chair. He claims to be innocent, that his family is cursed, that there is a genie in the cellar who murdered his wife. Blackwood’s business and his defence team are desperate to keep him from being given a death sentence, so ask friends, family, a private investigator, and a psychiatrist—the latter to help prove that Blackwood is not deranged—to investigative. Although the opening scene takes place in New York, this is essentially a one-room scenario—the cellar. Here the shelves that line its walls are stocked with clues amidst the tools and bric-à-brac you would expect to find in a rural cellar. Again, there is a race again time—although neither players nor their investigators will be aware of it—before something goes wrong and the investigators find themselves trapped with something nasty in the cellar.

Lastly, Todd Gardiner’s ‘The Dead Boarder’ takes place in Providence, Rhode Island at the start of the Great Depression in an utterly mundane location—a single room at Ma Shanks’ Boarding House. All four of its investigators have rooms here and all four are worried about a neighbour of theirs. Apart from the late-night prayers, he was always nice and quiet, but has not been heard from for a couple of days. So being neighbourly, they gather to check on him, they are aghast to discover when the door to his room is unlocked, him lying on the floor in a bloody mess. Since no one has been seen entering or leaving his room—and everyone would know if they did—what happened to him? Of all the three scenarios in the anthology, this is the most detailed and the richest in terms of its play. All four of the pre-generated investigators have different motives for entering and examining the room, sometimes motives which will clash, so the investigators have more personal drives other than the need to survive. Where in the other the scenarios the investigators do not have an obvious time limit on their actions, here they do, as the police have been called and will arrive within the hour. So this will also drive the investigators to act. Overall ‘The Dead Boarder’ nicely brings the horror home, or at least to the room down the hall.

If perhaps there is an issue with Gateways to Terror: Three Evenings of Horror, it is with the monsters. Now they are not all the same, but they are the same in terms of being unstoppable, appearing from nowhere, and so on. This though comes from the format of the three scenarios and its built-in time limit, and really this would only be a downside were a group to play all three in quick succession. The monsters are also not drawn from Call of Cthulhu canon, so any player expecting them to be might be disappointed, but there is no need for them to be and there are plenty of other scenarios and campaigns where they appear anyway.

Physically, Gateways to Terror: Three Evenings of Horror is very presented, the choice of photographs is decent, the maps are good, and a great deal of the artwork can be used to show the players during play. In terms of design, the trio are also multi-function scenarios. They can be used as demonstration scenarios, though they are not long enough for the traditional four-slot of a convention game. They can be used as one-shots, as written or expanded in terms of game length by ignoring the suggested timings. They can be added to an existing campaign, but with each being written for their set of pre-generated investigators, this will take some adjustment upon the part of the Keeper. They can be used to introduce investigators, perhaps as flashbacks or prequels, and to explore their first encounter with the Mythos, rather than say, all of them having been run through ‘Alone Against the Flames’ or ‘Paper Chase’ from the Call of Cthulhu Starter Set. Lastly, they can be used to introduce players to Call of Cthulhu and how it is played. Each of the three scenarios in Gateways to Terror: Three Evenings of Horror is flexible enough to support these functions and if not in terms of place, could also easily be adjusted in terms of date.

It would be fantastic to see more scenarios written to the format of Gateways to Terror: Three Evenings of Horror, whether as more demonstration games, one-shots, longer convention games, or investigator introductions to the Mythos. Overall, Gateways to Terror: Three Evenings of Horror delivers three, short doses of horror and does so in an engaging, well designed, and multi-functional fashion.

At the end of the fourth and most recent campaign and campaign set in Free League Publishing’s Mutant: Year Zero post-apocalyptic future, there remained one big question, “What happens next?” Since 2014, the publisher has been exploring the place of mutants with Mutant: Year Zero – Roleplaying at the End of Days, anthropomorphic animals with Mutant: Genlab Alpha, robots with Mechatron – Rise of the Robots Roleplaying, and Mutant: Year Zero – Elysium, and by with each release revealing a bit more the world and the disaster which brought it to its current state. Each release also saw the four different groups encountering one or more of the other groups for the first time, if only fleetingly, in the wake of the events which played out in Mutant: Year Zero – Elysium, all four groups are together and interacting with each other. This is the new world of Mutant: Year Zero presented in a mini-campaign for setting, Mutant: Year Zero – The Gray Death.

Mutant: Year Zero – The Gray Death takes place in the Zone, the region first explored in Mutant: Year Zero – Roleplaying at the End of Days. The default Zone is The Big Smoke—essentially bombed out, flattened, and ravaged London—but it can easily be moved to the Game Master’s own Zone. All that it requires is a long body of water which boats can easily travel up and down. Advice is given on how to run it as a stand-alone adventure, but really Mutant: Year Zero – The Gray Death is designed to be run as part of campaign, specifically after Mutant: Year Zero – Elysium, and ideally after Mutant: Year Zero – Roleplaying at the End of Days, Mutant: Genlab Alpha, and Mechatron – Rise of the Robots Roleplaying. In addition, to get the best out of Mutant: Year Zero – The Gray Death, the Game Master should also have run Mutant: Year Zero Zone Compendium 5: Hotel Imperator. Since the campaign takes place after the events of Mutant: Year Zero – Elysium, there no restrictions on what type of characters the players can roleplay—be mutants, animals, robots, or humans. This is one of the features of the brave new Mutant: Year Zero world.

As Mutant: Year Zero – The Gray Death opens, the world has changed. There is more trade and interaction between the different groups, there are more boats on the river, and so on, but there are ominous signs. In the depths of a snowy winter, there are disappearances around the Ark, including of people important to the Player Characters, and there are shadows in the sky—vehicles which float in the air and move fast. The Player Characters come across a Zone Rider—one of the couriers who carry messages back and forth across the Zone—under attack by a band of orderly and well-equipped soldiers. If they come to the Zone Rider’s rescue, or from a contact later on if they decide not to intervene, they learn of a mysterious new organisation known as the Army of the Dawn. It has recently taken over a wretched junktown to the west and renamed it Dawnville. The Player Characters are tasked with travelling to Dawnville, which is shortly to stage a wrestling tournament, to find out more information. To prepare themselves for that, it is suggested that the Player Characters visit two other places to conduct some investigation and learn what they can about the Army of Dawn. The first is a trading post run by Oscar Battenburg, an enclave Human from Elysium I known to trade slaves to the Army of Dawn, the second is the Showboat Saga, which travels up and the river putting on entertainments and which recently visited the Dawnville.

The Player Characters are also given a deadline—the wrestling tournament takes place in a week. To get them across the Zone in time, the Player Characters are lent a big-wheeled all-terrain robot vehicle and given some equipment. It is also likely that they will have been able to scavenge the guns and the armour of the Army of Dawn soldiers who attacked the Zone Rider—in particular, the tin helms which give the Army of Dawn soldiers the look of Great War soldiers. In comparison to a normal Mutant: Year Zero campaign, the Player Characters will be able to zip across the Zone, and with initially three locations—or as Mutant: Year Zero terms them, ‘Special Zone Sectors’—there is scope for the Game Master to run random encounters and ‘Special Zone Sectors’ of her own in between these three.

Mutant: Year Zero – The Gray Death actually consists of five ‘Special Zone Sectors’, not three, although the first three can be run in any order, followed by the fourth and fifth in that order. Each of these locations is nicely detailed and includes full stats for each of the NPCs, clear maps—both full illustrations of the locations and floorplans where needed, and events which play out when the Player Characters visit them. The five ‘Special Zone Sectors’ are all different in scope and theme. So ‘The Showboat Saga’ has a certain extravagance to it with its comparatively lavish performances and restaurant which becomes a mini-murder mystery, whilst ‘Dawnville’ is essentially ‘Bartertown’ from Mad Max Beyond Thunderdome—complete with the equivalent of its own ‘Thunderdome’, which of course is where the wrestling tournament takes place. For the most part, the encounters involve a fair degree of stealth and subterfuge as well as combat. Certainly, the wrestling tournament will appeal to characters and players who like physical combat.

So what is going on in Mutant: Year Zero – The Gray Death? Well, its events do stem from what happened at the end of Mutant: Year Zero – Elysium and the fact that it involves an army—the ‘Army of Dawn’—points towards a new force wanting to conquer the whole of the Zone. This is a genre staple, a new military arising to threaten the fledgling communities working to survive in the weird world order of the post-apocalyptic planet, but it well handled in Mutant: Year Zero – The Gray Death. 

Now Mutant: Year Zero – The Gray Death describes itself as a campaign, but at best it is a mini-campaign. With just five ‘Special Zone Sectors’, this is really more of scenario than a campaign and the first few, ‘The Showboat Saga’ and ‘Battenburg’s Trading Post’ in particular, are short, playable in a single session, two at the very most. The later ‘Special Zone Sectors’ are longer and more involved, and it will probably run to two or three sessions. Fortunately, the fact that the first few ‘Special Zone Sectors’ can be run in any order provides the Game Master with room to add her own content and perhaps bulk up Mutant: Year Zero – The Gray Death a little.

Physically, Mutant: Year Zero – The Gray Death is well written, nicely presented in full colour with excellent cinematic-style artwork. Some of the illustrations show scenes that can happen in the campaign and the likelihood is that the Game Master will really want them to happen—such as a gunfight aboard an airship—because they look fun! However, it does need an edit in places and some of the artwork still has Swedish signs and writing on it. The campaign also comes with some good handouts, including newspapers and event posters, both a sign of the growing new civilisation of Mutant: Year Zero. These handouts though, are not collated at the end of the book.

As a campaign—or really a scenario—Mutant: Year Zero – The Gray Death begins to show what the new world of Mutant: Year Zero is like, the beginnings of new civilisations.  It returns to the openness of Mutant: Year Zero – Roleplaying at the End of Days after the closed and confined worlds of Mutant: Genlab Alpha, Mechatron – Rise of the Robots Roleplaying, and Mutant: Year Zero – Elysium, and of course, it brings each of the inhabitants of the four campaign settings together much post-apocalyptic roleplaying games of old, such as Gamma World.  In fact, with the new set-up, a Game Master with access to those old post-apocalyptic scenarios written in the early 1980s could actually adapt them to the world of Mutant: Year Zero. Overall, Mutant: Year Zero – The Gray Death shows us what the new world of Mutant: Year Zero is like and has the Player Characters confront the first threat to it in an action-packed scenario. It is though, just the next chapter. 

Stuck inside What we all need are comics and games, so here is a Kickstarter from my friends Jim and Holly.

Tarot Witch of the Black Rose: Origins TPB



https://www.kickstarter.com/projects/jimbalent/tarot-witch-of-the-black-rose-origins-tpb?ref=theotherside

I can't sell this any better than Jim himself, so here are his words.
Hello and Welcome to the Tarot: Witch of the Black Rose ORIGINS trade paperback Kickstarter!  20 years ago, Holly and I  had this idea to start a Comic Company (BROADSWORD COMICS)and to publish an ongoing series. I always loved sword and sorcery comics as well as the superhero comics. I combined the two and created Tarot: Witch of the Black Rose.

            I based the Art and Stories on myself, people I knew and my Imagination.
            I was told, by the so called experts, that Tarot wouldn’t last past 3 issues . As of the writing of this letter Tarot#121 is being published.

            So to celebrate that first year of Tarot , we have gathered the first 5  sold out issues that launch this adventure series!  In these issues you will find the FIRST APPEARANCE of Tarot, Raven Hex, Jon Webb the Skeleton Man , Crypt Chick, and Mor Meb Dred the Dragon Witch! For those of you just discovering Tarot, welcome to the adventures of this voluptuous Redheaded Witch who is the Swordmaiden to the Goddess and charged with keeping the balance between man and Magick! This is where it all started!

               Holly and I started BROADSWORD COMICS 20 years ago, so come and join the celebration and with your help we can make this Magickal tome happen.

Jim Balent There you go.  There are a ton of great stretch goals full of some great Jim and Holly art. I hope you check it out!

D-Day was a momentous event at the end of War World 2, marking the major assault by the Allies on a Europe which has been under occupation by the Nazis for four years. This single combined forces action has been the subject of numerous books and memoirs over the years, as well as films such as D-Day and Saving Private Ryan, television series like Band of Brothers, and boardgames such as D-Day and Axis & Allies: D-Day, both from Avalon Hill Games, Inc. Many of the board games which explore D-Day are simulations, typically hex and counter wargames. This means that they will only appeal to a certain type of gamer, the wargamer, and typically, they can only be played by two participants, each of whom commands numerous units, which depending upon the game can be squads, platoons, squadrons, battalions, regiments, and more. Yet modern gaming can and often does approach its subject matters with different mechanics and ways of playing. So it is with D-Day Dice, which combines co-operative play, dice mechanics, and a timing mechanism, all played against the board rather than another player. Originally published by Valley Games, Inc. in 2012 following a successful Kickstarter campaign, in 2019, Word Forge Games published D-Day Dice, Second Edition, again following a successful Kickstarter campaign.

Designed to be played by between one and four players, aged fourteen and over, D-Day Dice, Second Edition can be played in roughly forty-five minutes, or less once the players get used to the mechanics or lose. In the game, each player controls a Unit of soldiers assaulting one of the beaches fortified by the Nazis as part of their Atlantic Wall. These Units come from one of four Allied nations—the USA, the United Kingdom, France, and Canada—and will be represented by a single die on the map and supported by a Reference Card and a Resource Tracker. Each turn the players will roll dice to generate resources and use to be able to survive on the battlefield whilst supporting each other and building up a force strong enough to get up the beach and breach the bunker. All this is against the clock and difficult odds. To win, every Unit must assault the bunker and survive—that is, have at least one soldier alive at the end, but if all of the soldiers in a Unit are killed or a Unit cannot advance up the beach before time runs out, then everyone loses and the Nazis win!

Open up the box for D-Day Dice, Second Edition and you will find an eighteen-page rulebook and a twenty-page scenario book; four Reference Cards and four Resource Trackers—one for each nation; six double-sided map boards providing twelve different scenarios; over one hundred cards, representing Specialist soldiers, items, vehicles, and award; thirty tokens; and thirty-two dice. Each of the map board represents a particular historical target, starting with Exercise Tiger, the Allied rehearsal for D-Day, through Omaha Beach and Pointe Du Hoc, up to Pegasus Bridge. Divided into various Sectors, they are marked with obstacles such as land mines and barriers. Many have certain conditions, such as Sectors where there is just room for a single Unit, have requirements to enter, and certain loses which need to be met—for example a Specialist or an Item—before they can be entered. Matching these conditions and maintaining enough Soldiers to keep going will challenge the players throughout D-Day Dice.

Of the thirty-two dice in D-Day Dice, Second Edition, four are black and are rolled when German weapons inflict damage on a Unit. Four are Unit Markers, used to track each Unit’s movement on the map and how much time the Unit has before it must move—either to an adjacent Sector or forward into a Sector closer to the bunker. These is a Unit Marker for each of the Units in the game. The other twenty-four—six per Unit and player—are ‘RWB’ or ‘Red-White-Blue’ dice and lie at the heart of the game. These dice are red, white, and blue, and each player has two of each colour. Each die is marked with six symbols that represent the resources in the game. Star symbols are used to Rally Specialists to a player’s Unit; Soldier symbols—single and double—add Soldiers to a Unit; medal or Courage symbols are used to draw Awards which grant various bonuses or to advance a Unit up the map; and Tool symbols generate Item Points with which to purchase Items. Lastly, Skull symbols cancel other die results if they appear in a player’s Final Tally.

On a turn, each player will roll his six ‘RWB’ dice. He must keep and lock two of them, but can reroll or keep as many of the other dice as he wishes. After the second roll, he must keep and lock another two, but can keep more if he wishes. After the third roll, all of his dice are locked. This is his Final Tally used to generate the resources for that Turn, which are recorded on the Resource Tracker—which requires a little assembly before first game—and spent in that same Turn. Resources are not kept from Turn to Turn.

This is simple enough, but D-Day Dice adds a couple of twists to the dice mechanic. One is that is if a player rolls a ‘Straight’—one of each symbol on every die, he earns a free Award rather than purchasing it with multiple Award symbols. The other is if he rolls three identical symbols on different dice, so the same symbol on a Red, a White, and a Blue die. This grants a ‘RWB’ bonus. So three Skulls or ‘Dead Man’s Gift’ has a player’s Unit finds equipment on a dead soldier’s gear bag; three single Soldiers grants ‘Reinforcements’ which join a Unit; and three Medals or ‘Battle Cry’ inspires a Unit to go above and beyond the call of duty. Now it is not merely a matter of each triple combination granting a ‘RWB’ bonus, because the actual bonus is different for each nation. So for ‘Battle Cry’ for the USA either grants two Stars or enables a Unit to advance into a new Sector without meeting its requirement, but for the United Kingdom, it grants three Soldiers or it enables a Unit to advance into a new Sector without meeting its requirement. These little variations add flavour and variation to each of the Units.

A Turn consists of six phases. In Phase One, the players roll the dice and then do the Upkeep—recording resources generated in Phase Two. In Phase Three, they adjust Unit Markers, turning the die each Turn until the fifth face shows an arrow indicating that the Unit must move in the next phase. In Phase Four, each player can Rally a Specialist, Find an Item, or Draw an Award, depending the results of the ‘RWB’ dice that Turn. A Specialist adds an ability to a Unit, such a Runner which enables a player to give another Unit resources and Items no matter where they are on the map—otherwise they need to be in the Sector to either give or trade resources. Specialists are also important in the game because some maps require them to be sacrificed in order for a Unit to be able to advance. Such Specialists cannot be rallied again, that is, there are no replacements. Items are single-use items of equipment like the Flamethrower which reduces the Defence value of the bunker or the Despatch Case which lets a player copy the Final Tally of another Unit. Awards are again one-use cards and add a great effect to play, for example, the Bronze Star enables a Unit to stay in a Sector for one Turn longer, whilst the amazing Victoria Cross enables a player to determine every player’s Final Tally that Turn.

In Phase Five, each Unit which wants or to Move must do so. This is to a new Sector—either to the side or forward. A Unit cannot retreat or revisit a Sector. In Phase Six, Combat, each Unit takes damage according to the Defense value of the Sector it is in. Damage reduces the number of Soldiers a Unit has and if reduced to zero means that the Allies have lost. If a Unit can get into the Bunker, it will take a lot of damage, so a Unit will need to find Items which reduce its Defense value sufficiently for the Unit to survive assaulting it and so help win the game. This does not have to be done simultaneously, one Unit can successfully assault the Bunker and its player wait for the others to arrive. Once every Unit has attacked and held the Bunker, then the game is won. 

Physically, D-Day Dice, Second Edition is very well produced. Everything is done in full colour, the card stock is good, everything is readable in the Rule Book and the Scenario Book, and the dice feel good in the hand. Perhaps the map boards are a little small and they do not quite sit as flat as they should, but really, these are minor niggles. A better explanation of how the Bunker is assaulted might have been useful for less experienced players.

The rulebook for D-Day Dice, Second Edition also includes notes for solo play as well as adding Victory Points to the game. It ends with some advice on how to play too. The Scenario Book comes with three training missions on Tiger Beach as well as the other eleven maps. Pleasingly, each scenario comes with a dedication to the men and units who fought there along with the specific details about the map.

The twelve map boards and the four different nationalities—and then the addition of the Victory Point rules—give D-Day Dice, Second Edition a lot of replay value. As does its short playing time. It is also easy to set up again, so if one game is lost, it is not difficult to set up another and start again. Whether playing solo with a single Unit or multiple Units—which will take longer to play, but does keep the game’s co-operative element, D-Day Dice, Second Edition is tense and challenging to play. This is especially so on the later maps as you would expect, but it is not just because the players are relying on random dice rolls to determine how they plan and what they can do.

Throughout the game, the players are forced to think ahead and plan what they need on the route they are going to take up the beach, but this changes from map to map. Get that wrong and the game will be lost. So having learned one set of conditions to advance on one map, the players have to learn to prepare for a whole new set of conditions on another map. This is in addition to the game’s co-operative element which will often force Units to congregate in order to swap the game’s various resources. This may be an issue for the more casual player, but not for the experienced board or wargame player.

The ‘RWB’ dice and mechanics are not only clever, they also add some pleasing theme and variation to the different nationalities, though sometimes you wish that there was a little more of this national flavour and theme. That said, they form the foundation upon which a narrative can be told as D-Day Dice is played, as Specialists are Rallied, Vehicles and Items found, and Awards won, and a Unit makes its assault on the Bunker.

D-Day Dice, Second Edition is a clever implementation of modern game mechanics—dice rolling, co-operative play, timed play, and against the clock—to explore an old theme in a new way. 

Wow. Has it really been more than a year since I did one of these?  Well, let''s grab a REALLY old one.  Not the oldest to be sure, but one of the oldest ones I have (I do have issue #43 waiting in the wings).  Plus we are all stuck at home, so let's sit back and see what Issue #45 of This Old Dragon!

This first issue of 1981 gives us what could be a thief and his mark on a bridge. OR someone trying to get a toll from a beggar. 

There some are cool ads for Ral Partha's Witch's Caldron and ICE. This predates my purchasing of Dragon so likely not an ad that influenced me.

There is an editorial from Jake Jaquet.  Here he welcomes two new employees, Debbie Chiusano and Marilyn Mays.  He also welcomes to more familiar names to full-time positions, Roger Moore and Ed Greenwood.  He also mentions changes to Dragon such as updated typeface and more pages.

Kim Mohan follows with Cover to Cover to let us know what is happening in this issue.

Ad for Fantasy Modeling magazine featuring a Vallejo scantily clad woman with two lizard/dragon monsters.

Out on A Limb gives us some letters.  One guy complains about all the new D&D groups springing up but no one plays it like "the old days" (which in his mind was 2.5 years ago).    Another one wants Dragon to stop writing so much about D&D and focus instead on AD&D.  There is no making people happy is there?

Our first article, Gas ‘em Up and Smoke ‘em Out is by Robert Plamondon.  It is actually really useful.  The article covers how smoke, gases and magical clouds move and fill up space.  Granted, modern systems simplify this, but someone out there would it very useful.  This followed up by Dungeon ventilation clears the air by the same author.   How can you breathe in the dungeon depths?   Again, really useful.   Robert Plamondon is kinda an interesting guy. Author, farmer and has some game design credits.  He can be found at http://www.plamondon.com/

Roger E. Moore is up for his fir "full time" paid articles and they are big ones.  NPCs For Hire: One who predicts... ...And One Who Seeks the Perfect Mix. This gives us two NPC classes, the Astrologer and the Alchemist.   The Astrologer is a pure NPC class, no XP or level advancement. It is a type of sage that can be used to predict the future.  The Alchemist, written with Georgia Moore, is a bit more detailed.

Philip Meyers has an article on distributing magic-items to NPC groups in Magic Items for Everyman. Obviously great for OSR/Old-school games, it might also scale right to new games, though new games tend to have less magic items.

Up On A Soapbox gives us two articles about Role-Playing.  Be a creative game-player by Kristan Wheaton discusses ways players should think more about their games and game playing style. This includes creative uses of levitate and fly.   Ways to handle high-level headaches by Lewis Pulsipher is on the other side of the table with how DMs can deal with high-level characters.

Bazaar of the Bizzare is up. This had always been one of my favorite old Dragon features.  This one gives us some subtle reminders that the 70s were not that far behind.  Among the items are Pet Rocks from Roger Moore.  There two kinds, normal and cursed.  They look like rocks and seem very close to a Stone of Commanding Earth Elementals.  On a command word they will attack an opponent.  Damage is like throwing a rock, that is, if the rock was +3 to hit and did 2d6 points of damage.
There is one though that is pretty interesting. A Ring of Oak, which will allow a dryad to move away from her tree.  Ruby Slippers do exactly what you think they do. I wish I had thought of these.  Bell of Pavlov makes you drool.

Ah. Now here is a good one.  Robert Plamondon is back with The Right Write Way to Get Published.  It is a very solid read with timeless advice.  English at this time was not my favorite subject and if you had told me in 1981 that I would be spending not just 90% of professional life writing, but most of my "free" time doing the same, I would have laughed.  So naturally, I ignored articles like this back then.  My mistake.  In fact, this article has such solid advice I am tempted to keep it.  Well...I'll print it out from my Dragon CD-ROM, the copy I have here is so mildewy it is taking me a lot longer to get through it.   Anyway, this article really is timeless advice especially when it comes to the second draft.  Some of the advice is no longer needed. For example how to space in for margins on a typewriter or the merits of a hand-written vs. typed manuscript. Also, and sadly, the magazines he suggests submitting to are all gone.

Merle M. Rasmussen is next with his The Rasmussen Files.  He has a set of Top Secret reactions and rule additions.  The growing interest in computers is visible here with the new Technical Bureau.  These days it is hard to imagine any sort of clandestine espionage without the back of data, technology and computers. Not to mention drones and satellites.  But this is 1981 and all that stuff, while not really new, was getting more and more public notice.

The article is split by an ad that makes me both happy and a little sad.


At least 10 of those addresses are within reasonable driving distances from me now.  One is within walking distance, and none of them are open today. Don't get me wrong, I am really spoiled with the game stores I have by me now including Games Plus, which would not get on to this list till 1982.
Shameless Plug:  If there is something you need and you don't have a local game store Games Plus is taking orders and shipping all over the world.

Len Lakofka's Leomund's Tiny Hut covers Missle Fire and the Archer sub-class.  I have always liked archers and outside of the ranger I never found a good one.  This article has some good adjustments to missile fire and the size of the target; something that has been incorporated into D&D since 3rd edition.  Again, Len treats us to a full class here that can be used as an NPC class or a PC one.   Looking it over I am thoughtful of the new Pathfinder 2nd version of the Fighter and Ranger that both have an Archer option.  Not identical obviously, but likely drawn from the same sources of inspiration.  I will say it is enough to have me reading the PF2 rules a lot this past week.

Next, we get to the big feature of this issue, The Dragon Dungeon Design Kit.
Much to my chagrin, the cardboard pages that were in this issue are gone.  Checking them out on my CD-ROM pdfs I see they are essential Dungeon Tiles.  They even look like 5' squares in most cases.
Kinda wish I had these. I could use them in a game now and my kids would get all excited about using some "real old school material."   Maybe I'll print them out.

We get an installment of the Minarian Legends from Glenn Rahman for the Divine Right game.  This time covering The History of Dwarves.  Divine Right pre-dates my involvement in the hobby, though I do know about it.  I had a chance to pick up a copy cheap, but never did it.  If I find one I might grab it just to see what it was all about.  This history could be used in any game to be honest, but it feels tied to the world it is from to be of use to me.  Still, maybe I'll come back to this if I need to add on to my dwarfs a bit.

Some ads. A Squad Leader scenario. More ads.
Con Calendar.

Electronic Eye from Mark Herro has some dice rolling programs for programable calculators and the new "mini" computers, the Sinclair ZX-80 and the Radio Shack’s “Pocket” TRS-80.  If you are reading this post on your phone, then congratulations, you are in a future that Mark Herro dreamed about.

Daniel Maxfield has more tips for Bunnies & Burrows in Hop, Hop, Hooray!

In what I think is a rarity for ANY era of Dragon, Roger Moore (busy guy this edition) has an article on the advantages of playing evil in How to have a good time being evil.

Reviews for Bloodtree Rebellion, Space Marines, and Grail Quest follow.

Letters from Out on a Limb continue with someone complaining that the last adventure was too "childish."  I guess something do never change.

Ah..now here is some fun stuff.  Dragon's Bestiary covers some new monsters. The Skyzorr’n, a race of humanoid insect beings. Sand Lizard, a desert lizard (I can use these now!). The Dust Devil, a combined earth and air elemental (also could use this) and all three have art by the great Bill Willingham.

Some comics in Dragon's Mirth.   There is an installment of Finneous Fingers. Plus The Story of Jasmine from Darlene, better known as the artist that gave us the World of Greyhawk map.  I know nothing of this series and have no idea if it kept going or not, but it was very different than the fare at the time. I just checked my Issue #43 and there is an entry there as well.  A bit more research has turned up quite bit more. It ran for 12 issues starting in #37. Now I am curious, maybe I'll do a special This Old Dragon Feature on it!

A fun trip down memory lane again.  I some respects quite literal, since in the process of working on this I drove by some of the places advertised as having been game stores and are now gone.

Hopefully, I can do some more of these.

It's "shelter in place" time here in Illinois.  So I am spending my time playing D&D and CoC with my kids and doing research for my BlackStar game.


To that end, I am pouring over my Trek books, both sourcebooks, and RPGs, to find a nice mix.

Plus I am doing research on my favorite class of starship, The Ambassador Class.

https://memory-beta.fandom.com/wiki/USS_Enterprise_(NCC-1701-C)
https://memory-beta.fandom.com/wiki/Ambassador_class

Up first a few "history of" and "technical specifications of" the Ambassador Class ship










This is a "walk through" but I think they got the size of the bridge wrong.




Star Trek Online takes the same "space" as Starfleet Battles for me.  Similar, but a separate timeline where there is more war.   Here is a player taking his Ambassador class "Support Ship" through some paces.



Enjoy the videos.

By 1980, RuneQuest had begun to mark itself as a roleplaying game and setting in the form of Glorantha, which was very different in comparison to other fantasy roleplaying games. It was skill-focused and emphasised every player characters’ faith and belief system and world view in the context of the world of Glorantha, especially in the form of the superlative Cults of Prax. Then came along Plunder, a supplement detailing some six-hundred-and-forty pre-generated treasure hoards and forty-three magical treasures of Glorantha. Plunder does not add as much to the world of Glorantha, but it does support it, both in terms of the mechanics and the background.

The first half of Plunder consists of ten tables, each an eight-by-eight grid, thus providing sixty-four results in each table. In each space is the listing for a treasure hoard that the player characters might be found in their intrepid adventures in Glorantha. This might be nothing; 38 Clacks; 406 Clacks, 364 Lunars, 30 Wheels, and a single gem or piece of jewellery; or 1068 Clacks, 1383 Lunars, 332 Wheels, four gems or pieces of jewellery, and a special item. When the Game Master needs to determine the contents of a hoard, he turns to a table and rolls two eight-sided dice to get a result. Two further tables enable the Game Master to determine what the gems and jewellery are if there are any and what the special items are if there are any. So the gems and jewellery might be an excellent gemstone worth 900 Lunars or costume jewellery worth 45 Lunars, and special items might be a scroll written in Stormspeech which grants a +5% bonus to the Dagger skill if studied, an eleven-point Power storage crystal, or a wand with the Glamour matrix on it.

Mechanically, this all ties into the use of Treasure Factors from the second edition of RuneQuest, recently republished as RuneQuest Classic. Treasure Factors are are means of determining how much loot a monster or an NPC might. The Treasure Factor for any one creature derived from its Hit Points, combat skills, how many extra dice are rolled when it inflicts damage, armour, combat spells, special powers, any poison used, and any extra attacks. If there is more than one monster or NPC, their individual Treasure Factors are added together, and the final value broken down into groups of a hundred. When it comes to using Plunder, the Treasure Factor is used to determine which table the Game Master will roll on when it comes to generating the hoard for a monster or an NPC. So for a single Trollkin with a Treasure factor of six, the Game Master would roll on the very first table in Plunder, but add a whole lot more Trollkin and mix in a Dark Troll or two, and the Treasure Factor rises rapidly so that the Game Master will be rolling on a table later in the book. In general, if the Game Master knows the Treasure Factor, she can generate a treasure hoard with just a handful of rolls.

The second half is dedicated to just some of the magical devices to be found on Glorantha. These range from the marvellously mundane, such as the Golden Torches which never go out, even underwater or in great darkness or Soup Bones which can always be boiled to provide soup, to amazingly magical, like Tora’s Hammer, a stone Warhammer wielded by a hero during the Dawn Ages who slaughtered untold numbers of Mostali with it and which returns to the hand if thrown, and Glass Butterflies, tireless magical messengers which will deliver a spoken phrase anywhere in the universe! Many are very particular in terms of who can use them, such as Morokanth Thumbs, black lumps of thumb-like flesh which when Power is sacrificed, the thumbs can attach to a Morokanth’s hands and enable him to be as dextrous as any human, whilst others are tied to a particular cult. For example, the Lightning Bands once worn by the bodyguards of a high priest of Orlanth Thunderous, which when imbued with Power, enables the wearer to blast out a bolt of lightning via a spear. There are treasures from the Aldryami and the Mostali, Chalana Arroy, Chaos, Kyger Litor, Dragonewts (and from Dragonewts), Waha, Stormbull, and more. Some have more generic links such as Fire or Sky cults.

Every item follows the format. A description, followed by a listing of the cults associated with the item as well as those friendly, hostile, or enemy to it; a discussion of how common knowledge of the item is, ranging from common to one of a kind or owner only; its history and the procedure required to use it (and sometimes make it); and lastly powers and value. The latter should one come up for sale. For example, Bajora’s Shield is a large iron shield with a glowing Death rune on it. It is associated in friendly fashion with Humakt and knowledge of it is automatically known to Humakt’s cult, though it is a cult secret, it is famous and one of a kind. Its history is that it was originally carried by Bajora, a friend of Humakt who sacrificed his life to save Humakt from a thing of Chaos. All that was left of Bajora was his shield, which Humakt carried for the rest of Godtime in his honour. Humakt refused to use it though and so since time began, none of his followers can either. They do know of the shield’s powers, so anyone wielding it and wanting to use if to its fullest powers needs to be on good terms with Humakt’s cult.

The procedure to use it requires the wielder to be a Rune Lord of a cult not an enemy of Humakt. He must then sacrifice a point of Power. Once attuned it grants a +20% bonus to the wielder’s Shield skill, the same effect as the Shield 4 spell when in melee, Light spells on command with no expenditure of Power, and immunity to Sever Spirits when cast anyone other than a Humakti. The value 120,000 Lunars and selling it would offend any Humakti (although buying it to donate to the temple is fine).

One issue perhaps is that a few of the items are unlikely to come into play, for example, the Aluminium Tridents of various sea cults, and of course there are some treasures which are unlikely to fall into the hands of the player characters—mostly Chaos related. Plenty of the others though will be desired by the player characters and some will certainly be subject of great hero quests. If there is an issue with the selection it is that there are few treasures related to the Air and Earth cults, but that is likely due to the contents of Plunder, like Cults of Prax before it, being set in Prax rather Sartar and its surrounds.

Physically, Plunder is again a book of two halves. The first is tables—large, open, and easy to read tables, but tables nonetheless. The second is more open, with one or two entries per page. Some are illustrated, some not, but the artwork is decent, if a little ‘Swords & Sorcery’ in style in places. If any of the artwork is disappointing, it is the cover, which comes from the ‘chainmail bikini’ school of female depiction in fantasy. The skull panties are a notable feature.

At the time of its release, critics could not agree about Plunder. In Space Gamer Number 33 (November 1980), Forest Johnson said that, “About half this book is not very useful. It consists of a shorthand method for generating treasure. (This does nothing to lighten the real work – adding up all those cursed treasure factors.)”, but ended on a positive note, concluding that, “The lack of exotic magic items has heretofore been a weak point in RuneQuest. These items have authentic Gloranthan flavour, complete with history and cult affinities. The discreet use of these items will add spice to a campaign without reducing it to Monty Haul.” Conversely, writing in The Dungeoneer’s Journal Issue: 25 (February/ March 1981), Clayton Miner said, “The variety of the items, and the detailed information included with the great treasures is sure to make this book very useful to Judges. Of more use to a Runequest Judge is the first section of Plunder, which presents easy to use tables for determining that value of a lesser treasure…” and that, “…[T]his book would make a welcome addition to a Judge’s stock of Runequest items. Plunder is definitely a useful piece of work and shows a great deal of imagination, and the only question I had with the book as a whole is, why so none of the items listed under Treasures of Glorantha have a negative side effect on the user.”

Other reviews were more balanced. Oliver Macdonald, reviewing Plunder in White Dwarf No. 25 (June/July 1981) awarded the supplement just five out of ten, adding that, “All points considered Plunder is an interesting but by no means essential RuneQuest play aid, certainly not worth buying if you have a limited budget.” Plunder was reviewed by John Sapienza, Jr. in Different Worlds Issue 12 (July 1981). Of the first half, he wrote that, “I think that a bit of reflection will let the GM realize just how dull it is putting treasure descriptions together, particularly those that get improvised during gaming. Once you realize this, the usefulness of this play aid makes it attractive.” He was more positive about the second half, saying that, “…[T]he treasures are, by and large, not out of balance, and most of them come complete with cult associations that provide effective limits on their use. Other limits are the tendency of certain races to take offense and kill the wearer, such as a suit of dragonewt skin armor. Use this at your own risk, in other words. Neat.” before concluding that, “Plunder is a useful idea, and well done. I recommend it to all RQ GMs.”

Plunder is a curio from a bygone age and another style of play. That style of play is one in which plunder is important. In Dungeons & Dragons, it was treasure and it would directly count towards the number of Experience Points a character gained in addition to that gained from killing monsters. In RuneQuest and Glorantha, the plunder paid first for any dues you owed to your cult and temple, second any monies owed to a cult, temple, or guild for prior training, and third for any skill or spell training undertaken with your cult, temple, or guild. Certainly in RuneQuest II, all of this would cost a character thousands of Lunars. Not so in the latest iteration, RuneQuest: Roleplaying in Glorantha, which presumes that a character’s training has already been paid for, though a character still owes his tithes to his cult and is encouraged to purchase further training. So there is less of an emphasis today on plunder when roleplaying and exploring Glorantha, as evidenced by advice given in the back of the core rulebook to cut the value of the treasure found when playing classic scenarios. 

So, forty years ago in Glorantha, the need for treasure was greater. Player characters had debts. Thus, the Game Master had to seed his scenarios with plunder aplenty—well not too aplenty because the characters had to have a reason to be coming back for plunder and the peril which went with it—and that took time and effort. Forty years ago then, the tables in the first half of Plunder were useful as they helped speed the process. Not so now when they feel redundant. Similarly, the second half of Plunder with its listing of forty-three magical treasures was useful forty years ago because so few of them had been then detailed in the early days of RuneQuest. So the forty three were useful, many of them tying into the cults described in Cults of Prax and so helping to build the world of Glorantha just a little further. 

Conversely, at this point in the history of RuneQuest: Roleplaying in Glorantha, the current iteration of the roleplaying game has the same problem—few if any treasures of note have been detailed. There is background and detail to many of these forty-three items that the Game Master could bring them to her Glorantha today and they would still work. Doubtless, new supplements will appear detailing new treasures of Dragon Pass, but the conversion process is anything other than challenging. Until such a supplement is published, Plunder is actually more than a curio.

There can be no doubt that Plunder is no Cults of Prax, for it is very much a curate’s egg. Its dual focus and character—divided equally between the mundane and magical—mean that one half is at best utilitarian, at worst bland, whilst the other by comparison rich in detail and flavour. Conversely, the Game Master is likely to have got more use out of the Treasure Tables than the individual items, even if they are mundane, but nevertheless, the actual treasures in Plunder further showcase the more fantastical nature of Glorantha.

We are on vacation this week.  Were supposed to drive down to see my wife's sister, but instead we are holed up here.  So I am starting my mini-campaign of "The Deserts of Desolation & Death" today.

Going through my books last night I figured I needed something new.  Everyone has seen all the old monsters.  Plus I wanted to up the feeling of necromantic dread.  So this guy popped into my head.

Besides. I like undead beasties.

So here it is for 5e D&D (what I am playing today).

Sand Ghoul
The Ghoul by Les EdwardsSand Ghouls are formed when naturally occurring mummies in the desert are possessed with demonic or necromantic power.  They are stronger and faster than normal ghouls.  The drying process also robs them of their stench.
Elves are immune to the Paralyzing touch of the Sand Ghoul.  Desert Orcs living in a combined Desert Elven / Desert Orc community are also immune.

Medium undead (Desert), chaotic evil
Armor Class 16 (natural armor)
Hit Points 31 (7d8)
Speed 30 ft., burrow 40 ft., climb 20 ft.

STR 14 (+2)
DEX 16 (+3)
CON 10 (+0)
INT 10 (+0)
WIS 9 (-1)
CHA 5 (-3)

Saving Throws Str +4, Dex +5
Skills Acrobatics +5, Perception +1, Survival +3
Damage Vulnerabilities fire, radiant
Damage Immunities poison
Condition Immunities poisoned
Senses darkvision 60 ft., passive Perception 11
Languages Common
Challenge 3 (700 XP)

Undead Fortitude. If damage reduces the sand ghoul to 0 hit points, it must make a Constitution saving throw with a DC of 5 + the damage taken, unless the damage is radiant or from a critical hit. On a success, the sand ghoul drops to 1 hit point instead.

Keen Sight and Smell. The sand ghoul has advantage on Wisdom (Perception) checks that rely on sight or smell.

Actions
Bite. Melee Weapon Attack: +2 to hit, reach 5 ft., one creature. Hit: 9 (2d6 + 2) piercing damage.
Claws. Melee Weapon Attack: +4 to hit, reach 5 ft., one target. Hit: 7 (2d4 + 2) slashing damage. If the target is a creature other than an elf or undead, it must succeed on a DC 10 Constitution saving throw or be paralyzed for 1 minute. The target can repeat the saving throw at the end of each of its turns, ending the effect on itself on a success.


Stat block Generator: https://tetra-cube.com/dnd/dnd-statblock.html

It has been a great time for genre TV for the last few years.  Now we are getting a bunch of new witch shows on TV and you know I am happy.  So let's have a look.



Charmed (2018)
Last years Charmed reboot got a second season and turned the premise of the show upside down.   The Charmed Ones are still, well Charmed, but they lost their powers. They can still cast and there are still demons to be fought and witches to be saved. The show is subtly different and in many ways better.  It's taking a while to get to the main plot but from what I have seen so far, I am a few episodes behind, looks fun.



Chilling Adventures of Sabrina
We just got Season 3 and it was great.  Satanic witches, Lilith, Hecate, and Pagan witches. Again, it's like someone has been reading my Christmas list.  Very fun.



Luna Nera
This is an Italian series on Netflix. Taking place in 17th Century Italy it features more witches vs. witches. This time it is witches vs. Benandanti; it sounds like one of my games!



Motherland: Fort Salem
This is the big premiere from the previous week.  An alternate reality where the U.S. Government made a deal with the witches at Salem to create an elite unit of witches in the U.S. Army.
The first episode was fun. Again we have two groups of witches fighting each other as our main plot.  Or at least one of them so far. Looking forward to seeing where this one goes too.


Magicians
This show gets crazier all the time. Though now we are in our last season. Going to miss them all.

Witcher
Not a "Witch show" per se, but plenty of magic and witches here.

Vampires
Not witches but Vampire the Masquerade: The High School Years.  I only watched two episodes of this French import on Netflix, so not as sure about this one yet.