RPGs

Micro RPG IV: To Elfland and Back

Reviews from R'lyeh -

The forest stands on the edge of the village fields or not far from the town walls, but it is somewhere to be feared. For under that canopy there is dappled light at best, darkness at worst, and something lurks there, ready to prey on the peasantry and add one more misery to their lives. And now, as if to justify those fears, something has been stolen. A child, or a coin purse, or a lover. In response the peasants have banded together and the bravest of them all will journey deep into the forest in order to retrieve the stolen item from the thieves that hide amongst the trees—the fae! This is the set-up for To Elfland and Back, a minimalist storytelling roleplaying game published by Planar Compass, best known for the fanzine of the same name, which takes Old School Essentials, the retroclone from Necrotic Gnome out onto the Astral Plane and beyond. To Elfland and Back is about as simple as it gets—a motivation for the players and their characters, character creation in four steps, fast mechanics, and a set of encounters that will develop through play. It can be played through in a single session, requires no more than a pair of six-sided dice, and offers a reasonable degree of replay value.

Player Character creation in To Elfland and Back is very light. All a player does is roll for a Job, chooses three or possessions, rolls for a Personality, and names the character. It should be noted that there just six Personalities, and it is a good thing that the game does not use a seven-sided dice or the Personality of ‘Doc’ would be added, because the six listed are all named after the Dwarves from Disney’s Snow White and the Seven Dwarves!

Matilde
Job: Tailor
Personality: Grumpy
Possessions: Needle, thread, thimble

Mechanically, To Elfland and Back is quick and easy. To have his character undertake an action, a player does a Challenge roll and rolls a six-sided die, consulting the Challenge Roll table for the outcome. One is a ‘Failure’, two to three is a ‘Success with negative consequences’, four and five indicate a ‘Success’, and six is a ‘Success with fantastic results’. Essentially, what you have here is the equivalent of ‘No’, ‘Yes, but…’, ‘Yes’, and ‘Yes and…’ results, and whatever the result the referee will describe the outcome. In addition, a Challenge roll can be made with Advantage or Disadvantage, the player rolling two six-sided dice and using the best result if at an Advantage or the worst if at a Disadvantage. The most obvious means of gaining Advantage will be from the Player Character’s Job, whilst the most obvious means of gaining Disadvantage is due to the Player Character’s Personality, though of course, other situations and causes will come up in play. Beyond that, the complexity of play—if any—comes from narrating the outcomes.
For the Referee there little in the way of advice, but rather a set of tables for generating various aspects of the story to be told, starting with what was stolen and where it was taken. After that, there are tables for encounters along the way, what fae can be encountered and what they might be riding, locations along the way, fae food and drink, and magic items that might be found in the fae lands. There is a table for what the fae might want in return for giving the purloined item back and lastly, because this is a fairy tale, the final table is a coda—how long have the Player Characters been gone?

Physically, To Elfland and Back is beautifully illustrated with a range of artwork, most notably medieval and Victorian pieces, as if it were an illuminated manuscript that was actually a Victorian collection of fairy tales. The writing is succinct.

Written for Fae Jam 2020, To Elfland and Back is at its most mechanical, a sparse set of tables with nothing in the way of advice or background. However, those tables are prompts that set the game up, enabling the Game Master to prepare a session quickly and easily beforehand or run a session straight from the rolls at the table. The latter makes To Elfland and Back a highly portable, low preparation game, making it great for a convention game or a pick-up game. In terms of background, this is a fairy tale roleplaying game and fairy tales are some of the earliest stories we are told as children, so most players are going to be familiar with the genre. In terms of play, To Elfland and Back is demanding in that it is relying on elements of storytelling more than mechanics, asking Game Master and player to create much of the world they go along, based upon the prompts taken form the game’s tables. Of which, there are enough to run To Elfland and Back more than a few times for the same group.

Overall, To Elfland and Back is a pleasing combination of simplicity and familiarity that is both easy to run and easy to play, and all with a genre and setting that needs no explanation.

Dracula, The Hunters' Journals: 2 August Log of the Demeter (Cont.)

The Other Side -

The fog continues

Dracula - The Hunters' Journals


2 August, midnight.—Woke up from few minutes’ sleep by hearing a cry, seemingly outside my port. Could see nothing in fog. Rushed on deck, and ran against mate. Tells me heard cry and ran, but no sign of man on watch. One more gone. Lord, help us! Mate says we must be past Straits of Dover, as in a moment of fog lifting he saw North Foreland, just as he heard the man cry out. If so we are now off in the North Sea, and only God can guide us in the fog, which seems to move with us; and God seems to have deserted us.


Notes

Moon Phase: Waxing Gibbous

The fog is indeed moving with them. I wonder if Stoker was influenced by the tales of King James VI and I and his recounting of the weather that "witches" used against him to prevent his return to England. The same sort of weather is now used to cover Dracula's arrival to England. In each case it is an example of those of evil influence using weather control, or Tempestarii

Hordes & Haven

Reviews from R'lyeh -

Road to Haven is a campaign for Zombicide Chronicles: The Roleplaying Game, which is based upon the collaborative board game, Zombicide: 2nd Edition. Published by CoolMiniOrNot and Guillotine Games, this introduces a new mode of play for the roleplaying game—‘Campaign Mode’. This introduces the concept of missions connected by a one or more plots and by recurring NPS—‘Non-Player Survivors’. In the case of Road to Haven, the number of missions is short, just ten, and the plots are not complex. Ultimately, what Road to Haven does is provide a continuing motivation for the Survivors—as the Player Characters are called in Zombicide Chronicles—to do more than roam the city in search of food and supplies to scavenge. The main plot concerns the location of a secret military base called ‘Haven 3’, which might be located somewhere in the city. If the Survivors can deduce its location, they can hopefully find it, open it up, and once inside determine if is safe from the zombie hordes outside. That truly would be a haven! However, discovering this information will not be easy. A secret military base is secret for a reason and even before the apocalypse, very few people knew of its existence. Of course, since the apocalypse and the rise of the corpse cortège, even fewer people know! Can the Survivors get lucky and find the one person surviving who does know? This is not the only problem that the Survivor will have to deal with in their quest for answers. There is also something causing the zombies to mutate weirdly and if it spreads, it is going to make life for everyone still alive in the city—let alone anywhere else—a whole lot harder. Plus, there are other Survivors, and Survivors being Survivors, they often come with their issues, some of them left over from before the apocalypse.
The Road to Haven: Campaign Book actually does a bit more than just present a campaign. It introduces a total of eight new Survivor Archetypes. Of these, four are ready to play, meaning that the players can pick from these or those from the core rulebook and that they also serve as replacement Survivors or NPS. These four are the School Teacher, the Mortician, the Surfer, and the Firefighter. The other four are first encountered as NPS in the course of the campaign and once the scenarios where they first appear have been resolved, they are ‘unlocked’ and can be played as Survivors. These four are the Conspiracy Theorist, the Urban Climber Girl, the Social Worker, and the Exotic Dancer. The other thing aspect about the campaign that is ‘unlockable’ is knowledge about the Zombies. Early on in the campaign, the Survivors will discover a dossier of notes about the zombies called, ‘Anatomical Guide to Zombies’. This depicts the various types of zombies and their potential weak points. As a Shelter Action carried out between missions, a Survivor can attempt a new training action, ‘Compile the Anatomical Guide’. This requires a Survivor to consider the zombies fought by the group in the previous mission. His player then rolls an Education Check and for every success, the Survivor identifies a ‘weakness point’ in particular type of zombies. Once all of the weakness points have been identified, the Survivors can replace ordinary dice with Mastery dice they attack that type of zombie.

The campaign will also have the Survivors facing off against some nasty zombified monsters in addition to those found in Zombicide Chronicles: The Roleplaying Game. They include several twisted animals and a zombie centipede that splits apart! Many of the new zombie threats are connected to the campaign’s secondary plot about the mutant zombies. In addition, the campaign can also be modified by ‘Campaign Events’. These can be used by the Game Master to modify individual missions with seemingly random events. Some are helpful, such as an unexpected cargo drop by a military aeroplane, or weird, such as an eclipse, but others are also tied to the main plot of the campaign itself. All of them are optional, but a lot of them are fun—the idea of fighting zombie hordes in the middle of an eclipse is never going to be less than memorable.
The campaign opens with a standard Supply Run-style mission. When the Survivors rescue an NPS called ‘Tinfoil’, he tells them about a secret he has discovered—a radio broadcast! This, he thinks, is coming from a secret bunker and if it is still intact, it means it will have supplies and it will be safe. However, he does not know where it is, and since there is no Internet anymore, there is no easy way of finding out! Confirming the existence of the bunker and determining its location form the main strand of the campaign. It will take the Survivors to various locations across the city, including a library, the old city zoo, and an ‘exotic’ nightclub… In the process, the Survivors will also encounter some oddly mutated and much deadlier zombies. The question is, is there something affecting the zombies and twisting them into much nastier versions? Of course there is, and investigating this forms the basis of the second of the three plot strands in Road to Haven. Both this and the third strand are much, much shorter than the campaign’s main plot to find the hidden bunker. When the Survivors do find the hidden bunker, they will also discover secrets so dangerous that they could destroy the world and the campaign with it...
All ten missions in Road to Haven are presented in the same format. This begins with an introduction and a detailed description of the locations, a set of floorplans, details of the events that will be triggered during the mission, and descriptions of the adversaries and NPS who will be encountered during the mission. Objectives are also outlined and what happens next is discussed in the in the aftermath. The event descriptions can be quite detailed, but it does feel slightly out of order to have them after the location descriptions rather than before.

In terms of setting, the city in Road to Haven can be a generic city as in the core rulebook for Zombicide Chronicles: The Roleplaying Game or it can be set in the city of the Game Master’s choice. With its preponderance of guns, it is not as easy to adapt to anywhere outside of the USA.
Physically, Road to Haven is big, bold, and in your face. It is heavily illustrated with lots and lots of cartoon style artwork, decent maps and floorplans, and fully painted shots of the city. The book is well written and easy to read.

As a campaign, Road to Haven is short and uncomplicated, the latter meaning that it is relatively easy to run for the Game Master and the former that it can played through in as little as ten sessions (though it will probably take a few more). As the first campaign for Zombicide Chronicles: The Roleplaying Game, it completely suits the big, bold cartoon world of the roleplaying game and the board game it is based on.

Kickstart Your Weekend: Fun and Games Special!

The Other Side -

 I have a BIG Kickstart Your Weekend post here with lost of fun and games. Quite literally. Perfect since this is Gen Con weekend and I can't be there. So let's see what we have.

The African Boardgames Convention - AB Con 2024

AB Con

https://www.kickstarter.com/projects/oluwafemi/the-african-boardgames-convention-ab-con-2024?ref=theotherside

This is such a great Kickstarter. Yes there are rewards, but biggest reward is knowing you helped out a worthy cause and got some kids together to play some games. Check it out and support them if you can.

Damn It, Owen! Cartoons That Refused To NOT Be Drawn

Damn it Owen

https://www.kickstarter.com/projects/owenkcstephens/damn-it-owen-cartoons-that-refused-to-not-be-drawn?ref=theotherside

Drawings from industry vets Stan! on the words and wisdom of Owen K.C. Stephens.

This one is great on it's own, but knowing it helps Owen in his fight against cancer is just a huge bonus.

Kitty Clacks - Halloween Treats Polyhedral Dice!

Kitty Clacks - Halloween Treats Polyhedral Dice!

https://www.kickstarter.com/projects/blackoakworkshop/kitty-clacks-halloween-treats-polyhedral-dice?ref=theotherside

This one is fun! I love the dice from Black Oak Workshop and have a BIG feature I am doing on them in October. So this is quite timely really. 

If you like cats, dice, and Halloween, then this seems like a no-brainer.

D6 System: Second Edition

 Second Edition

https://www.kickstarter.com/projects/gallantknightgames/d6-system-second-edition?ref=theotherside

I like the D6 system. There are a lot of really fun games out there that use it and honestly I have never given it the attention it really deserves. Looks like I might get to change that with a new version/edition coming out from Gallant Knight Games and West End Games. 

This Kickstarter is doing well and I hope this is the start of a new era for the D6 system.

80's Adventures: 5e Supplement & Adventure Modules for DnD

 5e Supplement & Adventure Modules for DnD

https://www.kickstarter.com/projects/dicedungeons/80s-adventures?ref=theotherside

Ok this one is just silly and I love it. D&D Adventures set in the 1980s. I mean really, this has my name written all over it. Way of the Crane Monk, Path of Dance Barbarian? Yeah this will be fun.

Couple of comics featuring witches are next!

Tarot, Witch of the Black Rose: The Vampire of Halloween

 The Vampire of Halloween

https://www.kickstarter.comprojects/jimbalent/tarot-witch-of-the-black-rose-the-vampire-of-halloween?ref=theotherside

Jim (and Holly) are friends of The Other Side and of course I am a fan of all witches.

This one is not live yet, but they are seeking sign-ups for when it is launched next month. I will also repost this one then.

SKYCLAD: Graphic Novel by David Campiti & Michal Dutkiewicz

 Graphic Novel by David Campiti & Michal Dutkiewicz

https://www.kickstarter.com/projects/banzaigirl/skyclad-graphic-novel-by-david-campiti-and-michal-dutkiewicz?ref=theotherside

This one is new to me and seem cut from the same cloth as Tarot. Real witches in the real world. This one has witches running a strip club. Maybe it will give me some idea for my Mayfairs.

Not for everyone, but it looks fun.

Quite the round up. Have fun!

#RPGaDay2024 Most recently played

The Other Side -

 Most recent played?

That would have to be my AD&D 2nd Edition one set in the Forgotten Realms with my oldest.  We play a little here and there when he gets off of work (usually around 11:00pm to midnight).

AD&D 2nd Ed

We have not gotten very far. An hour or two here and there, but we have had a blast doing it.

This is the one where I am running my Sinéad as a DMPC. She is a Bard, so she is always just a support character, and she is the DM mouthpiece on Realms lore. It has been great since I remembered how much fun I always had with Bards.

I am participating in Dave Chapman's #RPGaDAY2024 for August. 

#RPGaDay2024

Dracula, The Hunters' Journals: 1 August Log of the Demeter (Cont.)

The Other Side -

The Demeter hits a patch of fog.

Dracula - The Hunters' Journals


1 August.—Two days of fog, and not a sail sighted. Had hoped when in the English Channel to be able to signal for help or get in somewhere. Not having power to work sails, have to run before wind. Dare not lower, as could not raise them again. We seem to be drifting to some terrible doom. Mate now more demoralised than either of men. His stronger nature seems to have worked inwardly against himself. Men are beyond fear, working stolidly and patiently, with minds made up to worst. They are Russian, he Roumanian.


Notes

Moon Phase: Waxing Gibbous

Here we see Dracula's ability to control the weather some more, a power often forgotten in some modern retellings of the Dracula story and almost completely ignored in other vampire tales.

We are now down to a crew of four.

#RPGaDay2024 First RPG bought this year

The Other Side -

That was a tough one to figure out. I bought a lot of RPG-related items this year from adventures to minis, but I think the first full RPG I bought this year was the Spanish Language version of CJ Carella's WitchCraft RPG.

WitchCraft RPG

The Spanish Language version from Edge most resembles the Eden Studios 2nd Edition. The text is the same and the art is the same.

Wicce in Spanish

The difference, of course, is this new Edge version is in Spanish.

I am happy to have this as this was one of the other "Holy Grail" items for my Spanish collection of RPGs. It was also the last CJ Carella WitchCraft book I am likely able to buy. 

CJ Carella's WitchCraft RPG

I am pleased that I was able to read a lot of it. Granted, my Spanish is still very limited, but I know this book very, very well. 

My collection of Spanish Language RPGs is not huge, but it covers my favorite games and about 85-90% of the games I like to play.

Spanish Language RPGs

Not a lot, but enough to keep me busy for a while.

I am participating in Dave Chapman's #RPGaDAY2024 for August. 

#RPGaDay2024

 Since it makes sense, here is Roberto Micheri's Spanish translation. You can find Roberto (and me often making a fool of myself with my pre-school-level Spanish) in the Puerto Rico Role Players Facebook Group.

Si es tu primera vez, todos los días de agosto mira la sugerencia y escribe, haz un blog, vlog, podcast, dibuja, haz manualidades o lo que sea como respuesta. Si no te gusta la pregunta completa, por ejemplo, en el Día 3 la pregunta es "RPG (juego de rol) más jugado", la palabra "más" está en negrilla y puedes usar sólo esa palabra como respuesta si quieres hablar de otra cosa. 

También hay una opción alternativa al final, por si acaso. Si no te gusta ninguna de estas sugerencias, sigue leyendo.

  1. Primer RPG comprado este año
  2. RPG jugado más recientemente
  3. RPG más jugado
  4. RPG con gran arte
  5. RPG muy bien escrito
  6. RPG fácil de usar
  7. RPG con "buena forma"
  8. Un accesorio que aprecies
  9. Un accesorio que te gustaría ver
  10. RPG que te gustaría ver en televisión
  11. RPG con “one-shots” bien respaldados
  12. RPG con campañas bien sustentadas
  13. Entornos evocadores
  14. Personajes fascinantes
  15. Gran equipamiento para los personajes
  16. Rápido de aprender
  17. Una comunidad RPG cautivadora
  18. Momentos de juego memorables
  19. Sesión sensacional
  20. Aventura increíble
  21. Campaña clásica
  22. Notable personaje no jugador (NPC)
  23. Jugador sin igual
  24. Aclamados consejos
  25. Dados deseables
  26. Magnífica pantalla
  27. Maravillosa miniatura
  28. Excelente artilugio para “gamers”
  29. Impresionante aplicación (app)
  30. Persona con la que te gustaría jugar
  31. Juego o jugador que echas de menos

Alternativa - Una anécdota sorprendenteSi no te gusta ninguno de estas sugerencias, ya sé que son de última hora, puedes optar por un conjunto de temas para #RPGaDAY completamente diferente. Sugeridas por Skala Wyzwania, estas ideas son muy divertidas e incluso hay un gráfico muy atractivo para esta versión. 

Sólo tienes que mirar el día a la izquierda, elegir el tema y tirar un d10 para descubrir qué deberías hacer con ese tema ese día. 

Genial, gracias Skala.

  1. Runas
  2. Bosque
  3. Demonología
  4. Cosmos
  5. Hadas
  6. Portal
  7. Ciudad olvidada
  8. Experimento
  9. Héroes
  10. Steampunk
  11. Invasión
  12. Mundos paralelos
  13. Zombis
  14. Despertar
  15. Genética
  16. Mazmorra
  17. IA (inteligencia artificial)
  18. Maldición
  19. Holograma
  20. Batalla 
  21. Desastre
  22. Espacio interdimensional
  23. Ritual
  24. Antiguo
  25. Mutante
  26. Tatuaje
  27. Transformación / Cambiar de forma
  28. Mimeto (Mimic)
  29. Caballero
  30. Trampa 
  31. Dragones

Cada día tira un d10 para seguir la sugerencia

Resultado

  1. Describe un monstruo
  2. Crea un personaje no jugador (NPC)
  3. Escribir una misión para el tablón de anuncios
  4. Inventar un objeto
  5. Escribe una leyenda o un rumor 
  6. Crear una tabla al azar
  7. Crear una mecánica sencilla
  8. Presentar una idea para un encuentro aleatorio
  9. Escribir un diálogo escuchado a escondidas
  10. ¡Dibuja!

---

Dracula, The Hunters' Journals: 30 July Log of the Demeter (Cont.)

The Other Side -

The Demeter nears England, but so few crew remain.

Dracula - The Hunters' Journals


30 July.—Last night. Rejoiced we are nearing England. Weather fine, all sails set. Retired worn out; slept soundly; awaked by mate telling me that both man of watch and steersman missing. Only self and mate and two hands left to work ship.


Notes

Moon Phase: Waxing Crescent

Dracula must be absolutely gorged at this point. 

The High Witchcraft Tradition

The Other Side -

The Magic Circle - John William WaterhouseI have been on a mini vacation to see my wife's family. They all moved down south. Personally, I dislike going south of Joliet, IL but that is me.  Anyway they are all huge card players staying up till the wee hours playing. That is cool, I got to watch the Olympics. You don't see me talking a lot about sports here though I am a life-long St. Louis Cardinals fan and a complete Olympics junkie. I am no expert by any stretch of the imagination, but I love the Olympics.

With some projects done, and others on hold (Basic Bestiary. Waiting for more art), I started a new project over my extended weekend.

The High Witchcraft Tradition

Well..."new" might be the wrong word.  

I have a lot of notes from other projects that didn't quite fit or didn't get developed enough to get added. Plus this is a book I have been picking at for a while and have been calling my "Last Witch Book."  If it is that remains to be seen, but I do have some great ideas.

Here is the shape of the book so far.

High Magic

It will include the use of High Magic, so magic that invokes spirits, demons, angels and the like. I would also like to include High Magic options for Magic-users. A bit like my Hermetic Mage Prestige class I did for 3.x.

Advanced

This book will be my first "true" book for the Advanced era. So compatibility with OSRIC, Advanced Labyrinth Lord, and Old-School Essentials Advanced is implied. Originally this book was going to be part of my "Basic Witch" series and focus on how I mixed AD&D 1st ed with the Expert set back in the day. I still might do that. I have a lot of ideas for that sort of play, but this is not the book for that.

Plus I will freely admit I am not as enthusiastic for D&D's future as I once was. I will buy D&D 5R, I will even likely play it a few times. But as much as I love digital and online games, that is not my preferred mode. 

So instead of endlessly complaining about it, I am just going to focus my efforts into the types of games I DO enjoy playing. If you are looking for ragey click-bait, you won't find it here.

Best of the Old, Best of the New (Maybe)

I love my old-school games. I also am rather fond of new-school games as well. For me it has always been about maximum fun. So I would love to go back over some of the newer developments in games and see what can be ported back over. This one is not a guarantee. My focus first and foremost is a witch book from circa 1986.   

Cover Art

For this book I am going to commission some original cover art. I have already been sending out emails to artists I want to work with and ones I have worked with in the past for this. And as much as I love the Pre-Raphaelite covers I have used in the past, I have something specific in mind for this one.

Waterhouse's "The Magic Circle" above was one of the ideas I originally had. I am, of course, sad not to use it for this book, but I also want something new. 

I want this book to be really good. I want it to challenge my writing ability and game design ability. Plus I also want it to be able to cover any "so-called" witch written about in the "Advanced-era."  If someone else's book/game/adventure set in the same era with the same or similar rule system and they have a witch character, I want my rules to be flexible enough and comprehensive enough that you could play that character using my rules. Lofty? Maybe. Do able? Certainly.

Potential High Witches

I have been tossing this idea around for a few years now. I finally hit a critical mass of notes to make it a real book. For me as much as for you, here are my posts about it. 

Links to relevant posts

Dracula, The Hunters' Journals: 29 July Log of the Demeter (Cont.)

The Other Side -

The Demeter suffers more deaths.

Dracula - The Hunters' Journals


29 July.—Another tragedy. Had single watch to-night, as crew too tired to double. When morning watch came on deck could find no one except steersman. Raised outcry, and all came on deck. Thorough search, but no one found. Are now without second mate, and crew in a panic. Mate and I agreed to go armed henceforth and wait for any sign of cause.


Notes

Moon Phase: Waxing Crescent

Dracula is hungry, and he will make himself appear younger by using the blood and life of this crew. 

Dracula, The Hunters' Journals: 28 July Log of the Demeter (Cont.)

The Other Side -

The Demeter travels through storms.

Dracula - The Hunters' Journals


28 July.—Four days in hell, knocking about in a sort of maelstrom, and the wind a tempest. No sleep for any one. Men all worn out. Hardly know how to set a watch, since no one fit to go on. Second mate volunteered to steer and watch, and let men snatch a few hours’ sleep. Wind abating; seas still terrific, but feel them less, as ship is steadier.

Notes

Moon Phase: Waxing Crescent

These storms are caused by Dracula. Both to weaken the crew and speed his journey to England.

Dracula, The Hunters' Journals: 27 July Mina Murray's Journal (Cont.)

The Other Side -

 Still no news from Harker.

Dracula - The Hunters' Journals


27 July.—No news from Jonathan. I am getting quite uneasy about him, though why I should I do not know; but I do wish that he would write, if it were only a single line. Lucy walks more than ever, and each night I am awakened by her moving about the room. Fortunately, the weather is so hot that she cannot get cold; but still the anxiety and the perpetually being wakened is beginning to tell on me, and I am getting nervous and wakeful myself. Thank God, Lucy’s health keeps up. Mr. Holmwood has been suddenly called to Ring to see his father, who has been taken seriously ill. Lucy frets at the postponement of seeing him, but it does not touch her looks; she is a trifle stouter, and her cheeks are a lovely rose-pink. She has lost that anæmic look which she had. I pray it will all last.


Notes

Moon Phase: Waxing Crescent

The plot, unbeknownst to our heroes is moving forward. 

The Ring is the Holmwood Family estate.

1984: BattleTech: A Game of Armoured Combat

Reviews from R'lyeh -

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

—oOo—
BattleTech infamously began life as BattleDroids. Originally published by FASA Corporation in 1984, for the second edition it would be renamed BattleTech because George Lucas and Lucasfilm claimed the rights to the term ‘droid’. It was also infamously, the game of ‘big, stompy robots’, but as BattleTech, it would go on to be so much more. In the forty years since its publication, this has included numerous expansions to the core board game, numerous supplements adding rules and detailing the background to the game, several ranges of miniatures—both plastic and metal, over one hundred novels, a cartoon series, a collectible card game, and multiple computer games. These options have allowed fans to enjoy the setting in numerous ways, sometimes without even playing the core game, but the franchise has always been about the play of the boxed game that is BattleTech. This is a review of the second edition of BattleTech, published in 1985.


BattleTech is a turn-based multiplayer game, played on large maps marked with hexes and terrain with players fielding twelve-metre-tall humanoid armoured, fusion-powered combat units, weighting between ten and a hundred tons, called BattleMechs, or ’mechs. These are not robots, but are controlled by human pilots who will manoeuvre across the battlefield, exchanging fire from lasers, autocannons, missile-launchers, and the dreaded PPC or particle projection cannon. If close enough, they may even punch or kick each other, and if they have jump jets, launch a risky death from above attack. Over the course of a battle, a ’mech will build up heat due to movement and weapons fire, and if it cannot bleed off enough heat, the excess will impair its targeting systems, impede its movement, and potentially cause any ammunition it is carrying to explode or the ’mech to simply shutdown. Each unit is represented by one figure, an illustrated—front and back—cardboard piece that slots into a plastic base, and a record sheet. Each record sheet contains information about the amount of armour a ’mech has, how many weapons, and where the armour and weapons are located, as well as being used to track damage suffered and its location, ammunition used, and how much heat it builds up from one turn to the next.

BattleTech: A Game of Armoured Combat carries the description, “In the 30th century, life is cheap, but BattleMechs aren’t.” The box contains forty-eight playing pieces depicting the various BattleMechs, twenty-four plastic holders for them, one-hundred-and-twenty unit insignias for the game’s various armies and mercenary units, a forty-eight page rulebook, two full-colour card maps, and two six-sided dice. The forty-eight playing pieces are an inch high, whilst the maps measure twenty-two by seventeen inches, are marked in one-and-a-quarter inch-wide hexes, and are both identical. Each hex is roughly a hundred feet across. the game is designed to be played by two or more players, aged twelve and up. The basic unit in the game is a lance of four ’mechs, so with twenty-four plastic holders, it is possible for six players to field a lance each, two players to field three lances each, and so on. It is also possible for a player to control just a single battlemech depending upon the circumstances, such as a duel or a roleplaying situation.


The black and white rulebook covers everything that the players need to know about playing BattleTech. This includes its rules—going from basic training to advanced gunnery, expert and optional rules—as well details of fourteen different ’mechs. These range in size between 20 and 100 tons, and include the Marauder, Phoenix Hawk, Warhammer, Stinger, Locust, and BattleMaster. Many of these are regarded as classics even today, though lawsuits over who owned the rights to use their images, taken from various different Japanese anime, including Dougram, Crusher Joe, and Macross, would result in FASA Corporation withdrawing their original appearances and all art associated artwork from the game. These would be labelled as ‘the unseen’ by BattleTech fans, and were missing from the game for many years until a legal agreement was reached that allowed many of them to return.


The rulebook also contains the setting to BattleTech, which is explained in sidebars which run down each page. The setting is the Inner Sphere, a region of interstellar space surrounding Earth with a radius of roughly five hundred light years. It contains some two thousand settled worlds, reachable by both Faster-Than-Light travel and communication. Beyond the Inner Sphere lies the Periphery. In the thousand years that mankind has had Faster-Than-Light travel, no signs of sentient, alien life have ever been found. In the early thirty-first century, several hundred years after a civil war that saw the collapse of the Star League, the Inner Sphere is dominated by five Great Houses—the Capellan Confederation ruled by House Liao, the Draconis Combine ruled by House Kurita, the Federated Suns ruled by House Davion, the Free Worlds League ruled by House Marik, and the Lyran Commonwealth ruled by House Steiner. Each house claimed the right to be First Lord of the Star League, but none could agree as who was right, and in a series of Succession Wars, the houses have battled each other into technological decline. In that time, the battlemech has remained king of the battlefield, each house fiercely protecting the few battlemech manufacturing facilities each possesses and suffering from a decreasing capacity both to produce new ’mechs and repair them. A battlemech pilot is akin to a knight of old and many ’mechs are handed down through families. The last thing that any pilot wants to suffer is a loss of his mech and his becoming one of the Dispossessed. As well as presenting a history of the Inner Sphere and details of the five great Houses, the rule book also describes numerous mercenary units with their own histories and relationships to the Houses, plus the Bandit Kingdoms of the Periphery.


The background, essentially a ‘feudalist future’, provides reasons and rivalries in what is an age of continual war, that can explain the whys and wherefores of any battles that the players want to stage. If perhaps the rulebook is missing anything, it is some actual scenario ideas that the players can simply set up and play.


In terms of game, the players will roll for initiative and then alternate the movement of their battlemechs. A battlemech can walk, run, or jump—the latter requiring jump jets—which determines how many Movement Points it has to spend on crossing terrain. The terrain can be open or rough ground, cliffs and bluffs, light and heavy woods, and water. The heavier terrain costs more Movement Points to cross. Once movement has been completed, the players take it in turn to declare their attacks for their battlemechs and then roll for the attacks. Battlemechs are equipped with an array of different weapon types and sizes. Lasers can be small, medium, or large; short range missiles launchers fire volleys of two, four, or six missiles; and long-range missile launchers fire volleys of five, ten, or twenty missiles. Plus, there are an autocannon and the PPC. The different weapons have their own ranges, damage inflicted, and heat generated. Rolling to hit is based on the range and is modified by the gunnery skill of a battlemech’s pilot, the movement of both attacker and defender, terrain and cover, and lastly, any ongoing effects of heat for the attacker. The attacking player then rolls the dice, aiming to roll equal to or higher than the target number.


The location of successful hits is determined randomly as the targeting systems of the Inner Sphere are poor. This includes individual missiles for short range missiles, but groups of five for long range missiles. Damage is first deducted from armour in a location and when that is gone, from the internal structure. Critical hits on the hit location roll can bypass armour and automatically do damage to internal structure. Any damage to the internal structure has a chance to inflict damage to weapons or ammunition in a location, to the engine or gyro in the torso, to actuators in the arms and legs, and even the pilot himself on a headshot. Critical hits have severe consequences. Damage to a weapon will destroy it, ammunition will explode causing more damage, damaged actuators and gyro make the battlemech more difficult to operate, a damaged engine will increase its heat output and if it takes more damage cause it to explode and possibly kill the pilot, and head hits can also kill the pilot or knock out an important component. In the meantime, if damage exceeds the amount of internal structure, a leg or arm can fall off or be destroyed. Excess damage can also be transferred to other locations.


Lastly, as well as tracking ammunition use, a player must track the heat a battlemech generates from movement and weapons use as well as damage to the engine. Each battlemech comes with ten heat sinks which will bleed off a certain amount of heat, and more may be fitted, depending upon the design. Excess heat is retained until it is bled off via the heat sinks, meaning that a battlemech will probably need to firer fewer weapons and move a shorter distance to do this. One part of play is thus managing heat from turn to turn. Rushing into an engagement all guns blazing is likely to generate far too much heat, limiting tactical options in subsequent turns. Most battlemechs have an optimal range for its weapons so working within those parameters will also help in heat management. This is in addition to making the best use of the terrain to gain cover or if necessary, standing in the water to work off excess heat!


Rounding out the rulebook are expert rules that allow a battlemech to twist its torso as a reaction to change its firing arc, make physical attacks—including picking up a blown-off limb and using it as a club, charging, and setting fire to the wooded areas. There are also rules for battlemech design, enabling a player to create his own and then test them out on the field of battle. It is just four pages long, and even includes an example, but expands game play in a surprising direction, enabling a player to experiment beyond the fourteen official designs included in the game.


Physically, BattleTech: A Game of Armoured Combat is a good-looking game. It might only use cardboard standees, but they are attractive and they look decent on the very nice maps. The rulebook itself is in black and white and whilst packing a lot of detail into its forty-eight pages is easy to read and understand. This helped by examples of the rules throughout.

—oOo—Trever Mendham reviewed Battledroids in ‘Open Box’ in White Dwarf Issue 66 (June 1985). He said, “Overall, this is a well-written, easy-to-understand set of rules. Much of the design is clearly specific to robot combat and succeeds in capturing the flavour of this sort of battle. As it stands, Battledroids is a very good robot combat system, but very little in terms of ‘game’. The production value leads one to expect more.” before awarding it an overall score of seven out of ten.

In The Space Gamer Number 75 (July/August 1985), Aaron Allston reviewed the original game in ‘Featured Review: Battledroids’. His initial reaction was that the game was one of “…[G]iant
Japanese robot combat.” and was surprised to discover that it was not, feeling that its “…[F]uture-era “dark age”” was “…[F]leshed out far more than is necessary for a boardgame.” He then said, “But none of it feels like the Japanese cartoons. Rules such as beat buildup and weary campaign background are just wrong for the genre. It’s rather akin to designing a roleplaying game where the characters have superpowers and skintight costumes - and then run about performing political infighting and corporate takeovers a la Dallas or Dynasty. As the Japanese models and cartoons become more common over here, more and more buyers will be purchasing this game expecting something like the source materials, and they’ll be disappointed as I was. They’ll have a decent enough game on their hands – but they may not want to play it.” However, he was more positive in his conclusion: “My recommendation? Buy Battledroids if you'd like a giant-robots boardgame that has nothing to do with the Japanese cartoons. It’s a decent game. You won’t throw away any of your other games to play Battledroids fulltime, but you’ll be adequately entertained.”

BattleTech was reviewed in Adventurer: The Superior Fantasy & Science Fiction Games Magazine Issue #7 (February 1987), alongside the expansions, CityTech, which added urban terrain, infantry, and armour, and AeroTech, which added aerial and space combat. Ashley Watkins made some comparisons between BattleTech and some of the anime titles that were the source material for game and overall, had few reservations, concluding that, “Battletech has a real science fiction flavour, and it’s not often that the elements of playability and background come together in an SF game. So get Citytech for the combat rules, Battletech you want to design your own mechs, Aerotech only if you want the variable geometry mechs, or want to play the space game. This game could well become a cult classic and I highly recommend that you give it a look.”

Dale L. Kemper reviewed BattleTech and CityTech in ‘Game Reviews’ of Different Worlds Issue 45 (March/April 1987). He countered some of the criticism of the game not being Japanese enough by saying, “Battletech surpasses other “Japanese robot”-type games on the market for the simple reason that its universe makes sense. The Battlemech vehicles in the game (many which resemble those from such Japanimation shows as Macross and its Robotec U.S. variant) are piloted military units with strengths and weaknesses. They resemble walking tanks alot more than they resemble the shape-changing robots popularized in the latest cartoons. Certain tactics will aid Mechwarriors in various situations and others will not. Practice and skill outweigh luck in this game.” Before moving on to look at some of the expansions, he concluded that, “All in all Battletech is a good introduction to the universe of the Succession Wars. It should whet your appetite for more and FASA plans on giving it to you. With all the addon games and rules, Battletech will be around for some time to come.” and awarded it three-and-a-half stars.

Steve Wieck reviewed BattleTech in White Wolf Issue #7 (April 1987), continuing the trend of reviewing alongside the supplements Citytech, Aerotech, and MechWarrior. He awarded BattleTech a rating of eight out of ten and said that, “If the true test of any game is its playability, then Battletech is a good system. It is extremely easy to gamemaster and fun to play, at an hourly price that eventually beats the movies.”

Space Gamer/Fantasy Gamer Number 78 (April/May 1987) returned to BattleTech when Scott Tanner asked the question, “Feeling overwhelmed by the number of products for mechwarrior gaming? Here's
a survey of FASA Corps. BATTLETECH products.” in ‘Infotech on BATTLETECH’. He concluded his description of the core game with, “Battletech is a good game which stands on its own, but lacks
in two important areas which the next two supplements cover; warfare in an urban environment and air combat.” The article also contained descriptions of CityTech, AeroTech, and MechWarrior.

Battletech was reviewd in ‘Role-Playing Reviews: Tickets to the stars’ in Dragon Magazine Issue #131 (March 1988) by Jim Bambra alongside the MechWarrior roleplaying game. He said, “The BATTLETECH game is a brilliantly conceived and presented game of robotic combat set in the war-torn universe of the Successor States.” before concluding about the game, “The BATTLETECH game system requires tactical thinking and detailed combat resolution, without becoming too mechanically complicated. Add in the background which appears in sidebars throughout the book, and you have a very good game rich in depth and technical information.”—oOo—
From the basis of BattleTech: A Game of Armoured Combat has spawned a rich and detailed setting supported by numerous games and editions, as well as miniatures and more, but what has made the BattleTech franchise what it is today has to start somewhere. Returning to the original game and there is a pleasing elegance to BattleTech: A Game of Armoured Combat that is easy to grasp and play. What you might play is as another matter, for whilst the background is excellent, the issue with it is that not much is made it of in the rule book. There are no scenarios or suggested battles and had there been, that would have drawn the players into the game and setting. That said, there are hooks here and there in the background that can be developed in scenario set-ups, especially in the descriptions of the mercenary units and the bandit kingdoms. BattleTech: A Game of Armoured Combat is still a very playable and enjoyable game with flavoursome combat and a good background.

Solitaire: Gloomhaven: Buttons & Bugs

Reviews from R'lyeh -

One of the biggest board games in recent years has been Gloomhaven, a fantasy-themed, campaign-based tactical skirmish game which combined narrative campaign, almost one hundred scenarios, and seventeen different playable Classes. The box itself is huge, the extent of the campaign vast, and the playing time months. Published by Cephalofair Games, it offered a roleplaying-board game hybrid and it has been a huge success. Now there is an option which is a tenth the size. Not only a tenth the size, but a tenth the playing size, a tenth the set-up time, and definitely a tenth the playing time. This is Gloomhaven: Buttons & Bugs. This is a game in which everything—including the protagonist and the game components and the play time—have been shrunk down. Gloomhaven: Buttons & Bugs is a solo board game set in the dark fantasy world of Gloomhaven, designed for ages ten and over, and to be played in just twenty minutes per session. It includes six different characters or mercenaries and over twenty individual scenarios, plus variable difficulty levels, means a combination which offers plenty of replay value. This does though come at a loss of some of the expansiveness of Gloomhaven, but then Gloomhaven: Buttons & Bugs is designed to offer more self-contained play.

The tight little Gloomhaven: Buttons & Bugs contains a small, thirty-six page rulebook, a set of plastic cubes to use as markers and monsters, six tiny miniatures representing each of the characters a player can choose from, five dials for tracking Hit Points—for both those of the monsters and the character, and a single die. The die is marked with an ‘O’, a ‘+’, or a ‘—’ symbol. This is used to determine if the movement, attack, and defence values for a hero are lower or better in round, and if the initiative, movement, attack, and defence values for the monsters are lower or better in round. There are also a lot of cards. These start with the Character Cards. There are six of these and include a brawler, a fighter, a spellcaster, a tinkerer, magical manipulator, and an assassin. Each give the character’s Hit Points, Ability Cards—at both the base level and the improved level, and also a complexity indication. There are three low complexity characters and two high, but only one medium complexity character. There is a set of Character Ability Cards for each character. As well as indicating the Initiative value for that round, each one provides two actions, at their most basic, a move action and an attack action. Other actions might provide an area attack, an elemental spell effect, or a piercing blow that ignores part of the defending monster’s defence value. On a turn, a player will choose two of these cards from his hand. He will use the best Initiative value of the two cards and when it is his turn to act, he will use two actions. These cannot come from the same Character Ability Card of the two, meaning that the player will choose the one from the top of one Character Ability Card and the one from the bottom of the other Character Ability Card. This gives a player some great choices when mixing and matching the actions on the Character Ability Cards.

Character Ability Cards are double-sided. The abilities on the ‘A’ are played first and then the Character Ability Cards are flipped over and the abilities on their ‘B’ side can be used on subsequent turns. When the latter have been used, the Character Ability Cards are discarded. Some Character Ability Cards have the ‘Lost’ Icon, which means that when it is used, it goes into Lost pile. Some have ‘Active’ abilities, which remain in effect. Should a player be in danger of running out of Character Ability Cards, he can perform rests to restore cards. Resting also forces the player to lose one card into the Lost pile.

The Monster Ability Stat Cards give values for their initiative, movement, attack, and defence in three different columns. The middle column gives the standard values, the lefthand column the lower values, and the righthand columns the better values. At the start of a round, the player will roll the die. If the ‘—’ is rolled, the lower, lefthand column values are used; for a ‘O’ symbol; there is no change and the middle column is used; and for the ‘+’ symbol, better, righthand values are used. The Monster Ability Stat Cards are double-sided and have a different monster on each side. The Monster Difficulty Modifier Cards are used to make the monsters more or less challenging to defeat and are used in conjunction with the Player Modifier Tray. There are some counters to track the effects of elemental icons and conditions during play and there is also an Icon Reference Card, which is definitely needed as there are a lot of Icons in the game.
Then there are the Scenario Cards. There is a deck of twenty of these, which together make up the whole campaign in Gloomhaven: Buttons & Bugs. They are double-sided. One side is split into three parts. The top part is the introduction to the scenario and how to set it up, whilst the second is the outcome if the hero is successful. In between, there is a list of the monsters required. At the very top and bottom of the card are the rewards that the hero will earn if successful. The hero can only use the one at the top or bottom of the Scenario Card—not both! On the reverse is the actual play area, a grid of hexes five by hexes, each hex being a centimetre across. The grid is also marked with the starting position both the hero and the monsters, obstacles, and possible traps. Some may also include effects and goals specific to the scenario. Whilst the hero has his own miniature, the monsters are represented by coloured cubes. These are not sophisticated maps, but to be fair, they do not have to be. Each scenario is intended to be completed in roughly twenty minutes.

There are several thick cardboard trays. There is a Player Modifier Tray and several Monster Modifier Trays. The Player Modifier Tray has a slot to track the adjustments made to the character action from one turn to the next. At best, the adjustments will add a bonus, at worst they will completely negate the effect of the decided action that turn. Different cards be slotted into the Player Modifier Tray to represent a character improving. A Monster Ability Stat Card slots into a Monster Modifier Tray, which has a slot to track the column used on the card.

Set-up of a Gloomhaven: Buttons & Bugs session is easy. Once set up, play is mechanically very easy, with relatively few components for the player to keep track off, a light skirmish game in which the player focuses on the Character Ability Cards and keeps track of the various conditions and icons. Then when play starts, Gloomhaven: Buttons & Bugs really is fun to play. And what is even better is that the game does not outstay its welcome because the play time for a single scenario is so short, and then set-up and put away time is so short.

The events of Gloomhaven: Buttons & Bugs are set after those of the main board game. A would-be adventurer approaches Hail, the mysterious Aesther who lives in the Crooked Bone, a derelict tavern, and who is said to be capable of turning anyone into a hero. This is what the character wants, but as soon as he steps over the threshold of the Crooked Bone, things go awry! He is shrunk and quickly finds himself attacked in the first scenario. It appears that Hail has set a trap to dissuade people from following up on the rumours, so the would-be hero must strike out across the ‘Button Realm’ and into the Crooked Bone where he will both prove himself worthy and find a way of being restored to normal size. So not only has Gloomhaven: Buttons & Bugs been shrunk from standard Gloomhaven, so has the effective play area—across a street and into a building—and the size of each scenario!

Physically, Gloomhaven: Buttons & Bugs is small, but impressive. The production values are good and the artwork excellent. If there is an issue with the game is that out of the box, some of the cards are slightly warped. If there is another issue, it is that the rulebook in the box is really an introduction to the game rather than a full set of the rules.

The scale and size of Gloomhaven: Buttons & Bugs does come at some cost. The story is linear and progression in terms of the characters is limited. Nor does it have the expansiveness or the ability to unlock elements of play like its big brother. The rulebook which comes in the box only really covers lay of the first scenario. The player will need to download the full rulebook. Yet these are minor issues in comparison to what Gloomhaven: Buttons & Bugs does offer. A self-contained game with twenty scenarios and six different characters to play, easy to learn rules, and then constant choices in play as to which combination of Character Ability Cards and their actions to use from one turn to the next. It is also easy to set-up and once you have played through all twenty scenarios, there is still the option of return to play another character. The replay value is very high—as is the portability. Plus, there is certainly scope for expansion as well.

Gloomhaven: Buttons & Bugs is incredibly pocket-friendly and packs a lot of game play and a surprising amount of depth into that game play. Gloomhaven: Buttons & Bugs is proof is that tiny can be great.

Dracula, The Hunters' Journals: 26 July Mina Murray's Journal

The Other Side -

 Mina is getting increasingly worried about Jonathan.

Dracula - The Hunters' Journals


26 July.—I am anxious, and it soothes me to express myself here; it is like whispering to one’s self and listening at the same time. And there is also something about the shorthand symbols that makes it different from writing. I am unhappy about Lucy and about Jonathan. I had not heard from Jonathan for some time, and was very concerned; but yesterday dear Mr. Hawkins, who is always so kind, sent me a letter from him. I had written asking him if he had heard, and he said the enclosed had just been received. It is only a line dated from Castle Dracula, and says that he is just starting for home. That is not like Jonathan; I do not understand it, and it makes me uneasy. Then, too, Lucy, although she is so well, has lately taken to her old habit of walking in her sleep. Her mother has spoken to me about it, and we have decided that I am to lock the door of our room every night. Mrs. Westenra has got an idea that sleep-walkers always go out on roofs of houses and along the edges of cliffs and then get suddenly wakened and fall over with a despairing cry that echoes all over the place. Poor dear, she is naturally anxious about Lucy, and she tells me that her husband, Lucy’s father, had the same habit; that he would get up in the night and dress himself and go out, if he were not stopped. Lucy is to be married in the autumn, and she is already planning out her dresses and how her house is to be arranged. I sympathise with her, for I do the same, only Jonathan and I will start in life in a very simple way, and shall have to try to make both ends meet. Mr. Holmwood—he is the Hon. Arthur Holmwood, only son of Lord Godalming—is coming up here very shortly—as soon as he can leave town, for his father is not very well, and I think dear Lucy is counting the moments till he comes. She wants to take him up to the seat on the churchyard cliff and show him the beauty of Whitby. I daresay it is the waiting which disturbs her; she will be all right when he arrives.


Notes

Moon Phase: Waxing Crescent

So Lucy is walking in her sleep. Sleepwalking was of great interest to the Victorians both from the Spiritual and Scientific frames of mind. It was believed that the sleep walker was "between worlds" and had access to knowledge or wisdom. 

Debate goes on. Was Lucy sleepwalking because she was under Dracula's thrall already, OR was she more susceptible of Dracula because of her history of sleepwalking?  I believe it was the latter. Her father had it and Lucy represents the "Old World" of England vs. Mina's New World of England. So Lucy still has a foot in that other, older, and more spiritual world. 

This also hints at the duality of Lucy. The innocent bride to be now and later the horrifying "Bloofer Lady" to come. This too was part of Victorian pop-psychology of the time. See the "Strange Case of Dr Jekyll and Mr Hyde" for a more developed example of this. 

There is a solid implication here. Lucy, in her innocence, makes her a "tasty" target for Dracula. We have seen in many movies that while Lucy is Dracula's appetizer, Mina is the meal. She is described by Van Helsing as being "remarkable" and having a "man like mind." All Victorian for Mina is smart and shrewd.  So. What sort of Vampire would Mina have been? Terrifying to be sure. I think this is a bit that Alan Moore grabbed onto in "The League of Extraordinary Gentlemen."

We are really just getting introduced to Mina still. But she is, as I'll show, the real star and the real hero of this tale.

Propping Up Your Pocket

Reviews from R'lyeh -

From the moment you see the words “Gleason’s Department Store. Arkham, Mass.” on the lid of the patterned box you know that you have something special in your hands. Open it on the inside of the lid it says “Arkham Leather” above the wallet itself, wrapped in red tissue paper. There is a ‘User Guide: Read Me First’, but honestly, you are not going to read that first. You might look at the ‘Automobile Bail Bond Certificate’ or the ‘Operator’s License’ as issued by the ‘State of New York—Bureau of Motor Vehicles’, with actual headshot photograph attached, but what you are really looking at is the wallet. The brown, real vintage-style leather wallet is also marked with the ‘Arkham Leather’ stamp and inside can be found an embarrassment of riches. There is a ‘Motor Vehicle Registration Card’ issued by The Commonwealth of Massachusetts Dept. of Public Works Registry of Motor Vehicles, a ticket to the ‘Miskatonic University Exhibit Museum’, membership cards for both the ‘Arkham Historical Society’ and ‘The Eye of Amara Society’, a card for the ‘Grafton Diner’, a ‘Locker Rental Assignment—Men’s Gymnasium’ for the local YMCA, a ticket for the ‘Northside Line’ of the ‘Arkham Transit Company’. There is matchbox* for a restaurant, amusingly called ‘The Red Herring’. There are coins and tokens, and even a genuine period key, as well as several dollar bills, and a ‘Prescription Blank National Prohibition Act’ so that the holder can legally drink!
* This is a prop set. Of course, there has to be a matchbox.

The attention to detail is genuinely verisimilitudinous. For example, the card for the ‘Grafton Diner’ has loyalty program punches around its edges, whilst the card for ‘Fennel’s Roadhouse’ has the name ‘Betty’ handwritten on it. The fact that it says, “For Good Time ’Phone 8031’ suggests that this is more than a simple roadside stop offering fuel and lodging.

This then is the Arkham Investigator’s Wallet. It is stunningly stuffed full of things, prop after prop. Things that you and perhaps your players—if you ever let them get their grubby hands on it—are going to be amazed by what they find. Lastly, when you do get to the ‘User Guide: Read Me First’, it explains its use and more. On the back of it is the ‘Arkham Investigator’s Wallet Prop Inventory’, which lists all forty-seven items. Many of them are marked in green, indicating that they can be downloaded and printed out again.

The H.P. Lovecraft Historical Society is best known for servicing the great campaigns for Call of Cthulhu with amazing props and objets d’art, such as the Masks of Nyarlathotep Gamer Prop Set and Call of Cthulhu Classic Gamer Prop Set, but with the Arkham Investigator’s Wallet, it has done the reverse. It has provided the Arkham Investigator’s Wallet, not with a campaign, but a scenario which makes use of many of the items to be found within the pockets and folds of the wallet. This is The Dog Walker: A Scenario in 1920s Arkham, inspired by H.P. Lovecraft’s ‘The Shadow Out of Time’. As the title suggests, this takes place in Arkham, so you can make use of Chaosium, Inc.’s Call of Cthulhu: Arkham. It begins with Charlotte Foley, a precocious young dog walker and would-be detective, out walking one of her canine charges behind Christchurch Cemetery when she encounters a man acting strangely as if having some kind of a fit. Rushing to the nearest house—where the occupant, Madge Tomlinson and her friends are discussing plans for the neighbourhood’s annual Halloween party—for help, when she returns, the man has entirely disappeared. All that is left behind is a pair of spectacles and a wallet! What has happened to the man? Charlotte is determined to find out.

The Dog Walker is designed to be played with between two and six Investigators. Six pre-generated Investigators are provided in the book. They include a journalist, a history teacher, a retired cook, a retired professor of physics (with a drinking and gambling problem that may actually help the investigation in certain locations!), and a civil engineer, as well as young Charlotte. This is a nicely genteel selection of Investigators notable for the fact that all but one of them is unarmed, so the scenario is not one designed to be concluded through force of arms. That said, six Investigators does feel slightly too many for the scale of the scenario and perhaps some advice as to which of the six pre-generated Investigators to use with fewer players would have been helpful. The scenario is designed to be played solo, the player taking the role of Charlotte and using the ‘Solo Player PDF’ available to download. Alternatively, a Keeper can run The Dog Walker with the one player who can take the role of Charlotte. Lastly, the Arkham Investigator's Wallet Prop Set does require some customisation and set-up upon the part of the Keeper, removing certain props and adding details to others. The Dog Walker includes full advice for the Keeper as to what needs to be done as part of this set-up. An alternative option might be to combine the scenario with The Eldritch New England Holiday Collection and turn it into an all ‘kids-as-Investigators’ scenario.

The items in the wallet are all clues of course. Some, like the Bail Bond Certificate will hint at the missing man’s background, others such as the key enable easy entry to his nearby home, and still more grant access to otherwise closed locations, the Eye of Amara Society membership card granting the holder entry to the otherwise private members’ society. The clues will take the Investigators back and forth across Arkham, from dives such as Irish mobster Dan O’Bannion’s Lucky Clover Cartage Company to the Orne Library where they might meet Professor Henry Armitage. As the scenario progresses and the Investigators follow up clue after clue, location after location, The Dog Walker becomes a MacGuffin hunt as well. Ultimately though, everything leads back to the missing man and his home.

The Dog Walker is decently supported beyond the solidity of the props from the Arkham Investigator’s Wallet. There is a breakdown of all of the clues and how to prepare them for play—as well as a checklist for those that are pertinent to the scenario, the NPC stats, a timeline, and a map of the Lower Southside neighbourhood where the scenario begins. Physically, the scenario is cleanly laid out, very nicely illustrated (only one piece of artwork lets the look of the book down), and the props to be used in the scenario are also illustrated as well.

It is notable that Charlotte, the young girl and dog walker who makes the discovery of the lost wallet that triggers the mystery in The Dog Walker: A Scenario in 1920s Arkham is a fan of detective stories and Sherlock Holmes in particular. This is because the story itself is reminiscent of one of the best Sherlock Holmes stories, or rather one of the best pastiches. This is The Abergavenny Murder, the first episode in the second series of The Further Adventures of Sherlock Holmes, which continued the very fine BBC pairing of Clive Merrison and Andrew Sachs as Holmes and Watson—and Clive Merrison and Michael Williams before that—with stories based on cases mentioned by Sir Arthur Conan Doyle, but never expanded upon. In The Abergavenny Murder, the duo are at home at 221b Baker Street with nothing to do and lamenting the lack of crime to investigate, when a man rushes into their sitting room and drops down dead. Holmes and Watson then have forty-five minutes in which to solve the crime entirely based on the man’s corpse in front of them and what is on his body. It is a delightful ‘ship-in-a-bottle’ style episode and two-hander, displaying all of the personalities of the two men and the author’s inventiveness.

The Dog Walker feels much like this, though much more expansive than four walls of the sitting room at 221b Baker Street, and of course, having a wallet of clues to go on rather than a corpse and the contents of its pockets. Quite so too, since it would hardly be the done thing for young Charlotte to discover a corpse! That though highlights an issue with the scenario in that how does the adult world react to the inquisitiveness of a twelve-year-old? Apart from one NPC whose reaction to Charlotte may play an important role in the scenario, the issue is not addressed.

The Dog Walker: A Scenario in 1920s Arkham is a charmingly parochial mystery, its revelations hinting at the true nature of the universe, rather than fully blasting the minds of the Investigations with its actual uncaring majesty and the insignificance of humanity’s place within it. In fact, the scenario is almost gentle by other scenarios’ standards, there being only the one possible Sanity check in its telling. Which, of course, is how it should be given that Charlotte Foley is just twelve. All of which is supported by the Arkham Investigator’s Wallet and its marvellous props—of which, it should be noted, The Dog Walker: A Scenario in 1920s Arkham uses barely half, enabling the Keeper to return to the wallet to create his own mystery or the author to write a sequel. Above all, together The Dog Walker: A Scenario in 1920s Arkham and the Arkham Investigator’s Wallet are a wonderfully crafted combination that will provide a thoroughly enjoyable and engaging evening’s worth of detective work that will introduce one young lady to the mysteries of the cosmos.

[Free RPG Day 2024] Across the Veil of Time

Reviews from R'lyeh -

Now in its seventeenth year, Free RPG Day for 2024 took place on Saturday, June 22nd. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. This included dice, miniatures, vouchers, and more. Thanks to the generosity of Waylands Forge in Birmingham, Reviews from R’lyeh was able to get hold of many of the titles released for Free RPG Day.

—oOo—

2024 Free RPG Day Module: Across the Veil of Time is Goodman Games’ only contribution to Free RPG Day 2023. It is a scenario for use with the publisher’s highly popular Dungeon Crawl Classics Role Playing Game and written by the author of the very good Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen (though it should be noted that this is the second scenario by the author to use the word ‘veil’ in the title, so either he should stop now or use ‘veil’ in the title of every scenario from now on as his motif). Across the Veil of Time is designed for First Level Player Characters and can be played through in a single session or so. It is thus a slight affair, though one in which the entirety of time is in danger.

The scenario begins with the Player Characters on their travels reaching a village only to find it devoid of inhabitants. It appears that the village has been abandoned, except for a note on the door of a local haberdashery, “ENTER THE SHOP”, written in the hand of one the Player Characters and on a scrap of his cloak too! What is going on and how did the strange note appear on the door of a shop that the Player Characters have never seen before, in a place that the Player Characters have been to before? This is only the start of the strangeness in Across the Veil of Time. The Player Characters are thrown back in time again and again before they can gather enough clues to have any idea as to what is going on. The scenario ramps up the weirdness and will see the Player Characters racing along a bridge over the Sands of Time, trying not to fall in or be knocked off, and then up the ‘Clock Tower at the Centre of Time’, which of course, looks like a grandfather clock, though one with a cosmically horological mechanism at its heart rather than a simple clockwork. Here they will battle the ‘Time Lord’, the temporal demon, responsible for the situation, hopefully avoid blows from his nasty ‘grim’ Reaper, and save both the other person responsible and the universe!
Time [sic] constraints mean that Across the Veil of Time is a linear adventure. After all, it is designed to be played in a single session. However, it is really a series of puzzle-locked locations. Solve one puzzle and the Player Characters can move on to the next location. It is also very action and combat orientated, and there is very little scope for anything else. For a scenario with such tight playing time constraints, that really is the primary issue with Across the Veil of Time—no room for interaction or roleplaying. There is potential for expansion, especially early on in the scenario, if the Judge wanted to develop it, adding to its time and horological themes, and perhaps adding that the missing interaction and the NPCs necessary for that. Then, if the Player Characters are successful, then everything resets itself, the universe is safe, and all they will be left with is a slight sense of déjà vu… Appropriate, but paltry in terms of reward for having saved the universe.
Physically, Across the Veil of Time is very well presented. Both maps and artwork are decent and handouts, a surprising number for a scenario as short as this, are also good.
2024 Free RPG Day Module: Across the Veil of Time is easy to set up and run, being better as a convention or demonstration scenario. Its theme of facing time running backwards is intriguing, but the format constraints of the scenario being designed for a short, single-session playing time means that it is not explored enough. Without those constraints, the them could have been explored to greater effect and the scenario could have been much, much better. 2024 Free RPG Day Module: Across the Veil of Time is full of thematic potential, but it is just not allowed to fulfil that and so it is just all too slight.

Dracula, The Hunters' Journals: 25 July Mina Murray's Journal (Cont.)

The Other Side -

 Mina has another encounter with the old fisherman and his friends.

Dracula - The Hunters' Journals


25 July Whitby*—I came up here an hour ago with Lucy, and we had a most interesting talk with my old friend and the two others who always come and join him. He is evidently the Sir Oracle of them, and I should think must have been in his time a most dictatorial person. He will not admit anything, and downfaces everybody. If he can’t out-argue them he bullies them, and then takes their silence for agreement with his views. Lucy was looking sweetly pretty in her white lawn frock; she has got a beautiful colour since she has been here. I noticed that the old men did not lose any time in coming up and sitting near her when we sat down. She is so sweet with old people; I think they all fell in love with her on the spot. Even my old man succumbed and did not contradict her, but gave me double share instead. I got him on the subject of the legends, and he went off at once into a sort of sermon. I must try to remember it and put it down:—

“It be all fool-talk, lock, stock, and barrel; that’s what it be, an’ nowt else. These bans an’ wafts an’ boh-ghosts an’ barguests an’ bogles an’ all anent them is only fit to set bairns an’ dizzy women a-belderin’. They be nowt but air-blebs. They, an’ all grims an’ signs an’ warnin’s, be all invented by parsons an’ illsome beuk-bodies an’ railway touters to skeer an’ scunner hafflin’s, an’ to get folks to do somethin’ that they don’t other incline to. It makes me ireful to think o’ them. Why, it’s them that, not content with printin’ lies on paper an’ preachin’ them out of pulpits, does want to be cuttin’ them on the tombstones. Look here all around you in what airt ye will; all them steans, holdin’ up their heads as well as they can out of their pride, is acant—simply tumblin’ down with the weight o’ the lies wrote on them, ‘Here lies the body’ or ‘Sacred to the memory’ wrote on all of them, an’ yet in nigh half of them there bean’t no bodies at all; an’ the memories of them bean’t cared a pinch of snuff about, much less sacred. Lies all of them, nothin’ but lies of one kind or another! My gog, but it’ll be a quare scowderment at the Day of Judgment when they come tumblin’ up in their death-sarks, all jouped together an’ tryin’ to drag their tombsteans with them to prove how good they was; some of them trimmlin’ and ditherin’, with their hands that dozzened an’ slippy from lyin’ in the sea that they can’t even keep their grup o’ them.”

I could see from the old fellow’s self-satisfied air and the way in which he looked round for the approval of his cronies that he was “showing off,” so I put in a word to keep him going:—

“Oh, Mr. Swales, you can’t be serious. Surely these tombstones are not all wrong?”

“Yabblins! There may be a poorish few not wrong, savin’ where they make out the people too good; for there be folk that do think a balm-bowl be like the sea, if only it be their own. The whole thing be only lies. Now look you here; you come here a stranger, an’ you see this kirk-garth.” I nodded, for I thought it better to assent, though I did not quite understand his dialect. I knew it had something to do with the church. He went on: “And you consate that all these steans be aboon folk that be happed here, snod an’ snog?” I assented again. “Then that be just where the lie comes in. Why, there be scores of these lay-beds that be toom as old Dun’s ’bacca-box on Friday night.” He nudged one of his companions, and they all laughed. “And my gog! how could they be otherwise? Look at that one, the aftest abaft the bier-bank: read it!” I went over and read:—

“Edward Spencelagh, master mariner, murdered by pirates off the coast of Andres, April, 1854, æt. 30.” When I came back Mr. Swales went on:—

“Who brought him home, I wonder, to hap him here? Murdered off the coast of Andres! an’ you consated his body lay under! Why, I could name ye a dozen whose bones lie in the Greenland seas above”—he pointed northwards—“or where the currents may have drifted them. There be the steans around ye. Ye can, with your young eyes, read the small-print of the lies from here. This Braithwaite Lowrey—I knew his father, lost in the Lively off Greenland in ’20; or Andrew Woodhouse, drowned in the same seas in 1777**; or John Paxton, drowned off Cape Farewell a year later; or old John Rawlings, whose grandfather sailed with me, drowned in the Gulf of Finland in ’50. Do ye think that all these men will have to make a rush to Whitby when the trumpet sounds? I have me antherums aboot it! I tell ye that when they got here they’d be jommlin’ an’ jostlin’ one another that way that it ’ud be like a fight up on the ice in the old days, when we’d be at one another from daylight to dark, an’ tryin’ to tie up our cuts by the light of the aurora borealis.” This was evidently local pleasantry, for the old man cackled over it, and his cronies joined in with gusto.

“But,” I said, “surely you are not quite correct, for you start on the assumption that all the poor people, or their spirits, will have to take their tombstones with them on the Day of Judgment. Do you think that will be really necessary?”

“Well, what else be they tombstones for? Answer me that, miss!”

“To please their relatives, I suppose.”

“To please their relatives, you suppose!” This he said with intense scorn. “How will it pleasure their relatives to know that lies is wrote over them, and that everybody in the place knows that they be lies?” He pointed to a stone at our feet which had been laid down as a slab, on which the seat was rested, close to the edge of the cliff. “Read the lies on that thruff-stean,” he said. The letters were upside down to me from where I sat, but Lucy was more opposite to them, so she leant over and read:—

“Sacred to the memory of George Canon, who died, in the hope of a glorious resurrection, on July, 29, 1873, falling from the rocks at Kettleness. This tomb was erected by his sorrowing mother to her dearly beloved son. ‘He was the only son of his mother, and she was a widow.’ Really, Mr. Swales, I don’t see anything very funny in that!” She spoke her comment very gravely and somewhat severely.

“Ye don’t see aught funny! Ha! ha! But that’s because ye don’t gawm the sorrowin’ mother was a hell-cat that hated him because he was acrewk’d—a regular lamiter he was—an’ he hated her so that he committed suicide in order that she mightn’t get an insurance she put on his life. He blew nigh the top of his head off with an old musket that they had for scarin’ the crows with. ’Twarn’t for crows then, for it brought the clegs and the dowps to him. That’s the way he fell off the rocks. And, as to hopes of a glorious resurrection, I’ve often heard him say masel’ that he hoped he’d go to hell, for his mother was so pious that she’d be sure to go to heaven, an’ he didn’t want to addle where she was. Now isn’t that stean at any rate”—he hammered it with his stick as he spoke—“a pack of lies? and won’t it make Gabriel keckle when Geordie comes pantin’ up the grees with the tombstean balanced on his hump, and asks it to be took as evidence!”

I did not know what to say, but Lucy turned the conversation as she said, rising up:—

“Oh, why did you tell us of this? It is my favourite seat, and I cannot leave it; and now I find I must go on sitting over the grave of a suicide.”

“That won’t harm ye, my pretty; an’ it may make poor Geordie gladsome to have so trim a lass sittin’ on his lap. That won’t hurt ye. Why, I’ve sat here off an’ on for nigh twenty years past, an’ it hasn’t done me no harm. Don’t ye fash about them as lies under ye, or that doesn’ lie there either! It’ll be time for ye to be getting scart when ye see the tombsteans all run away with, and the place as bare as a stubble-field. There’s the clock, an’ I must gang. My service to ye, ladies!” And off he hobbled.

Lucy and I sat awhile, and it was all so beautiful before us that we took hands as we sat; and she told me all over again about Arthur and their coming marriage. That made me just a little heart-sick, for I haven’t heard from Jonathan for a whole month.

 

The same day. I came up here alone, for I am very sad. There was no letter for me. I hope there cannot be anything the matter with Jonathan. The clock has just struck nine. I see the lights scattered all over the town, sometimes in rows where the streets are, and sometimes singly; they run right up the Esk and die away in the curve of the valley. To my left the view is cut off by a black line of roof of the old house next the abbey. The sheep and lambs are bleating in the fields away behind me, and there is a clatter of a donkey’s hoofs up the paved road below. The band on the pier is playing a harsh waltz in good time, and further along the quay there is a Salvation Army meeting in a back street. Neither of the bands hears the other, but up here I hear and see them both. I wonder where Jonathan is and if he is thinking of me! I wish he were here.


Notes

Moon Phase: Waxing Crescent

*Note. The text of Dracula lists this day as August 1 and the next day as July 26. I have corrected it here.

**Another misprint. This should be 1877. I kept it here to make it clearer.

Swales argues that most of the graves here are empty since he knew some of the sailors they belonged too and he knows they are at the bottom of various seas. 

Mina is getting worried about Harker. She was supposed to have heard from him by May 16 and it is now July 25.

Dracula, The Hunters' Journals: 24 July Mina Murray's Journal & Log of the Demeter

The Other Side -

 Mina and Lucy have an odd encounter with an old fisherman. The Demeter continues on. 

Dracula - The Hunters' Journals


Mina Murray's Journal

24 July Whitby.—Lucy met me at the station, looking sweeter and lovelier than ever, and we drove up to the house at the Crescent in which they have rooms. This is a lovely place. The little river, the Esk, runs through a deep valley, which broadens out as it comes near the harbour. A great viaduct runs across, with high piers, through which the view seems somehow further away than it really is. The valley is beautifully green, and it is so steep that when you are on the high land on either side you look right across it, unless you are near enough to see down. The houses of the old town—the side away from us—are all red-roofed, and seem piled up one over the other anyhow, like the pictures we see of Nuremberg. Right over the town is the ruin of Whitby Abbey, which was sacked by the Danes, and which is the scene of part of “Marmion,” where the girl was built up in the wall. It is a most noble ruin, of immense size, and full of beautiful and romantic bits; there is a legend that a white lady is seen in one of the windows. Between it and the town there is another church, the parish one, round which is a big graveyard, all full of tombstones. This is to my mind the nicest spot in Whitby, for it lies right over the town, and has a full view of the harbour and all up the bay to where the headland called Kettleness stretches out into the sea. It descends so steeply over the harbour that part of the bank has fallen away, and some of the graves have been destroyed. In one place part of the stonework of the graves stretches out over the sandy pathway far below. There are walks, with seats beside them, through the churchyard; and people go and sit there all day long looking at the beautiful view and enjoying the breeze. I shall come and sit here very often myself and work. Indeed, I am writing now, with my book on my knee, and listening to the talk of three old men who are sitting beside me. They seem to do nothing all day but sit up here and talk.

The harbour lies below me, with, on the far side, one long granite wall stretching out into the sea, with a curve outwards at the end of it, in the middle of which is a lighthouse. A heavy sea-wall runs along outside of it. On the near side, the sea-wall makes an elbow crooked inversely, and its end too has a lighthouse. Between the two piers there is a narrow opening into the harbour, which then suddenly widens.

It is nice at high water; but when the tide is out it shoals away to nothing, and there is merely the stream of the Esk, running between banks of sand, with rocks here and there. Outside the harbour on this side there rises for about half a mile a great reef, the sharp edge of which runs straight out from behind the south lighthouse. At the end of it is a buoy with a bell, which swings in bad weather, and sends in a mournful sound on the wind. They have a legend here that when a ship is lost bells are heard out at sea. I must ask the old man about this; he is coming this way....

He is a funny old man. He must be awfully old, for his face is all gnarled and twisted like the bark of a tree. He tells me that he is nearly a hundred, and that he was a sailor in the Greenland fishing fleet when Waterloo was fought. He is, I am afraid, a very sceptical person, for when I asked him about the bells at sea and the White Lady at the abbey he said very brusquely:—

“I wouldn’t fash masel’ about them, miss. Them things be all wore out. Mind, I don’t say that they never was, but I do say that they wasn’t in my time. They be all very well for comers and trippers, an’ the like, but not for a nice young lady like you. Them feet-folks from York and Leeds that be always eatin’ cured herrin’s an’ drinkin’ tea an’ lookin’ out to buy cheap jet would creed aught. I wonder masel’ who’d be bothered tellin’ lies to them—even the newspapers, which is full of fool-talk.” I thought he would be a good person to learn interesting things from, so I asked him if he would mind telling me something about the whale-fishing in the old days. He was just settling himself to begin when the clock struck six, whereupon he laboured to get up, and said:—

“I must gang ageeanwards home now, miss. My grand-daughter doesn’t like to be kept waitin’ when the tea is ready, for it takes me time to crammle aboon the grees, for there be a many of ’em; an’, miss, I lack belly-timber sairly by the clock.”

He hobbled away, and I could see him hurrying, as well as he could, down the steps. The steps are a great feature on the place. They lead from the town up to the church, there are hundreds of them—I do not know how many—and they wind up in a delicate curve; the slope is so gentle that a horse could easily walk up and down them. I think they must originally have had something to do with the abbey. I shall go home too. Lucy went out visiting with her mother, and as they were only duty calls, I did not go. They will be home by this.

Log of the Demeter

24 July.—There seems some doom over this ship. Already a hand short, and entering on the Bay of Biscay with wild weather ahead, and yet last night another man lost—disappeared. Like the first, he came off his watch and was not seen again. Men all in a panic of fear; sent a round robin, asking to have double watch, as they fear to be alone. Mate angry. Fear there will be some trouble, as either he or the men will do some violence.

Notes

Moon Phase: Waning Crescent

We are treated to picturesque Whitby on the North Sea.

So who is this guy? We will learn later he is named "Swales." A version of this character appears in the 1979 John Badham "Dracula" played by the late Teddy Turner. He does make an appearance in the 1977 BBC mini-series closer to the character here. 

He is nearly 100 years old by his tale, and claims to have been at the Battle of Waterloo in 1815. So if he was in his late teens or younger 20s then he would be close to 100 now in (my suggested) 1892. 

His language, supposedly a Doric dialect, almost needs a translation guide. 

"I wouldn’t fash masel’ about them, miss." = "I would not trouble myself about them, miss."

"Feet Folks" = "Tourists"

"I must gang ageeanwards home now." = "I must be getting home now."

"for it takes me time to crammle aboon the grees, for there be a many of ’em" = "it takes me time to hobble (move) about the graves because there are so many of them."

"I lack belly-timber sairly by the clock." = "I am very hungry according to the clock" = "It's dinner time."

For the steps? There are 200 of them, according to many Dracula scholars.

Meanwhile the Demeter makes it slow and inventible way to where Mina now sits. 

Adventure Week: The Mosidian Temple

The Other Side -

The Mosidian Temple Here is another one I have been waiting for for a bit. The Mosidian Temple is from David Flor of Darklight Interactive. With this you actually get three products. There is the The Mosidian Temple, OSRIC version, the "Developer's Cut", and the original 1983 version.

The Mosidian Temple

by David Flor, 50 pages, color covers, black & white interior art.  Art and maps from David Flor, Dean Spencer, and Dyson Logos.

So, there is a lot to love about this adventure. First, I LOVE that it is an update of something David wrote in 1983. I wish I had saved some of my adventures from then. 

You don't need all three to run the adventures, but the original and the developer's cut are so much fun. 

The adventure is a dungeon crawl, pure and simple. Don't go looking for deep plots or characters; that is a "feature" and not a "bug."  There is a background here that is reminiscent of B1 In Search of the Unknown and T1 Villiage of Hommlet. An ancient temple, set up by some former adventurers, falls into ruins. A Macguffin hunt. Evil cults. There is nothing *new* here but that is fine, in fact that is great.  

Like all good adventures of the 1980s, this one features new monsters, new magic, and plenty of interesting locales. 

Monsters are given brief stats with notes to their page numbers in the Monster Manual. Not 100% sure that is fine with the OGL, but that is just me nickpicking. There are a LOT of monsters here too. This adventure will challenge the characters. It is listed for character levels 6 to 10, and I believe it. 

Half the fun of this adventure is reading the original version and the developer notes. 

The regular and developer editions are currently $5.99, and the Original 1983 edition is PWYW. So the price is quite good really.

How I Plan to Use This

Not quite sure just yet. It has a lot of potential but mostly it is just a fun adventure. No plot, no over arching narrative, just rolling dice like it is 1983. And honestly, what more do you need?

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