Johnny Restall / March 20, 2023

American cinema of the 1970s has long been recognized for its downbeat, character-led crime dramas. From Alan J. Pakula’s Klute (1971) to Arthur Penn’s Night Moves (1975) and Ulu Grosbard’s Straight Time (1978), the decade saw a wealth of unusually complex thrillers released by major Hollywood studios. While the critical reception to such films was largely positive, they frequently drew more mixed responses from contemporary audiences, as well as from nervous studio executives. Director Peter Yates’s 1973 The Friends of Eddie Coyle stands as a particularly bleak and restrained example of this cycle, adapted by Paul Monash from George V. Higgins’s 1970 novel of the same name. A deliberately low-key tale of a struggling small-time criminal clinging to the dark underbelly of Boston, it failed to make its money back at the box office, despite generally favorable reviews. Compelling and brilliantly understated, it remains a somewhat unsung gem of the period, ripe for reconsideration as we approach the 50th anniversary of its initial release.

We first see Eddie Coyle (Robert Mitchum) through the window of a run-down cafeteria. He approaches the glass from outside, slowly emerging from the evening crowds to stare warily into the interior, quietly surveying the scene inside in a way that suggests experience has taught him not to be hasty. His gray clothes match his exhausted, lugubrious features, with his cautious, hooded eyes the only expressive part of his appearance. Already, the film has subtly established Eddie as a shabby, lonely figure, forever on the outside looking in, still seeking his chance but more from habit than any residual self-belief. He is framed above the flowers on the interior windowsill, and their bright bloom contrasts with his drab shape like a funeral bouquet against a gravestone; almost subliminally, the visuals inform the audience that he is essentially a dead man walking.

Eddie is an aging professional criminal, painfully aware that his time and his options are inexorably running out. He is due to be sentenced for his part in a truck hijacking and has little reason to expect clemency, having already served time for previous offenses. He knows better than to inform on the people behind the job, partly from a shop-worn sense of honor and partly from simple self-preservation, having already earned an extra set of knuckles from his associates for a past mistake. He is also trying to make ends meet by supplying handguns to a gang of bank robbers, and his ears prick up when cocky young gunrunner Jackie Brown (Steven Keats) mentions another customer who is buying machine guns. If he passes this information on to the authorities, he might earn a reprieve from the law—he’s too old and tired to face prison again, and has a wife and children to provide for. But can he trust either the cops or the criminals? Eddie’s titular “friends” are closer to jackals nipping at his threadbare carcass, and the scent of his desperation may only bring them in for the kill.

While the plot synopsis may sound formulaic, the approach taken by Yates and Monash repeatedly confounds expectations. Echoing the ground-breaking style of Higgins’s book, the film provides little overt explanation or exposition. The characters, their relationships to one another, and the twists and turns of the labyrinthine plot are conveyed almost entirely through the sharp but sometimes oblique dialogue, forcing the viewer to draw their own conclusions from what is (or indeed isn’t) said. Most of the key scenes consist of innocuous-sounding but heavily freighted conversations between the duplicitous players, and we are never made privy to their inner thoughts or motivations beyond an occasional unguarded word or a vulnerability in their body language. Victor J. Kemper’s unobtrusive cinematography captures the characters under sickly fluorescent lights or lurking uncomfortably in the Autumn sunshine, inviting the audience to study them in their natural habitat as though they were anthropological exhibits. While this admittedly cold approach may alienate casual viewers, it contributes greatly to the film’s sense of realism. It often feels as if we just happen to be in the same dive bars and municipal parks as the cast, eavesdropping on their meetings and quietly connecting the fragments for ourselves—a notion taken further in Francis Ford Coppola’s deliberately disorientating The Conversation, released the following year.

The distinctly unglamorous documentary style of the film also extends to its brief bursts of violence. Yates made his name with the iconic 1968 Steve McQueen thriller Bullitt, as well as his underrated 1967 British feature Robbery, but while all three films share brilliant use of authentic locations, viewers hoping for a repeat of his earlier kinetic car chases will be disappointed here. The closest Eddie Coyle comes to an action scene is Jackie Brown’s abortive attempt to escape the police in the train station car park: barely 20 seconds of wayward driving leading only to an abrupt, clumsy crash. Perversely, Eddie Coyle is a thriller without any traditional thrills. The bank robberies are played with more of an eye for detail than for visceral excitement, as are the arrests. Even the climactic murder of Coyle himself is over almost as soon as it has begun, the victim deep in a drunken slumber and executed unawares while the experienced gunman casually discusses his choice of weapon and disposal plans for the body with the callow driver. The uncharacteristically restrained score by jazz musician Dave Grusin is used only sparingly, and even when it is allowed to breathe and build tension, the pay-off is always swift and matter-of-fact.

In part, this approach reflects the story’s focus on aging gangsters rather than hot-headed young hoodlums. Most of the characters are dull professional men who no longer have the energy or inclination to be incautious in their chosen line of work. Crucially, it also reflects the novel’s preoccupation with presenting crime as simply another form of employment, a thread shared with several other genre films in the age of Watergate. Again and again, The Friends of Eddie Coyle emphasizes the tedious practicalities of the illegal jobs in hand rather than their novelty or danger. The film opens with the robbers tailing an unsuspecting bank manager to his workplace, calmly monitoring his morning routine, casing the branch, and painstakingly setting up their plans, with the resulting heist defined by a similar attention to minutiae. Likewise, we follow the laborious processes of how Eddie buys and delivers his guns, how Brown sources them in the first place, how the criminals communicate with each other below the radar, and eventually how a hit is placed, performed, and dispensed with.

Tellingly, almost every one of these criminal actions is executed in everyday public locations, from a supermarket car park to a bowling alley, as if they were simply a part of ordinary life. We see Eddie at home in the city suburbs, taking out the trash as his children run for the school bus, looking for all the world like any other downtrodden blue collar worker. His wife Sheila (Helena Carroll) appears relatively sanguine about his chosen occupation, with their domestic life presented with a warmth absent from the novel’s more fractious depiction. The film seems to suggest that, while his career may be empty and crushing, it is little more so than several other legal forms of menial employment.

The universe inhabited by the film’s gangsters could barely be further from the epic grandeur of Francis Ford Coppola’s The Godfather, released the previous year to great critical and commercial acclaim. Eddie and his “friends” are at the bottom of the pile struggling to make ends meet, far from Coppola’s affluent if troubled Mafia clan. If the Corleones represent moral and political corruption reaching for the apex of US society (particularly in the 1974 sequel), Yates’s film deals with the lowest of the low, who are barely chiseling out a criminal living at the shabbiest, sharpest end of the American Dream. While Vito Corleone dreams of his son Michael becoming a senator, Coyle and his associates show little awareness of nationwide politics, let alone any ambitions in that direction. They are not even on the periphery of the kind of multi-million dollar deals attempted by the New York mobsters of William Friedkin’s The French Connection (1971). They gamble everything on a relative pittance, and fail to recognize their losing hand. Scalise (Alex Rocco) and his bank robbers may drive a Mercedes-Benz (presumably stolen), but this only serves to symbolize the way their desire overreaches their actual opportunities and abilities: their greedy decision to pull “one more move” even after a job goes murderously wrong seals their fate.

While the small-time crooks we see in the film scrounge a living from a life of crime, the police live off the criminals. There is a deeply parasitic relationship between the two, embodied by the ruthless agent Foley (Richard Jordan) and the quietly sinister Dillon (Peter Boyle), ostensibly a bartender but actually the man behind the truck hijacking that led to Eddie’s capture, as well as a secret police informer. Foley is ambitious, arrogant, and exploitative, happy to go back on his word or ignore a felony if it suits his purposes. He may share a lack of uniform and longer hair with the upstanding protagonist of Sidney Lumet’s Serpico, released the same year, but Foley’s duplicitous crusade is entirely for the benefit of his own career. He brags about driving fast cars confiscated from criminals, happy to profit from their ill-gotten gains, and thinks nothing of manipulating and exposing the lowly likes of Eddie, contemptuous of the fatal costs for his underworld connections. He regularly meets Dillon, paying him $20 for information and turning a blind eye to the bartender’s suspected illegalities in return, an arrangement tacitly endorsed by his cynical superior Waters (Mitchell Ryan). Foley blithely insists that a beleaguered nobody like Eddie puts his “whole soul” into informing, while effectively giving the more cunning and dangerous Dillon a free pass to run rings around him.

Like almost every other relationship in the film, enforcement of the law is a game rigged against the weakest. American society is depicted as being riddled with division and contempt, with everybody at odds with everyone else and playing entirely for their own advantage. The hippy radicals trying to buy machine guns are despised by professionals like Brown and vice versa, the criminals frequently betray each other, and the mob is rife with casual bigotry against Black activists and the ghetto, with the police working against them all and encouraging their mutual antipathies for fear of the various underclasses one day working together. Even the affluent, apolitical middle-classes are unwillingly dragged into the maelstrom, represented by the bemused bank managers and their terrified families, forced to endure violent reminders of the precariousness of their apparent social safety.

Naturally, such a bleak story requires strong performances if it is to be brought to life without entirely repulsing its audience. Mitchum’s work as Eddie must rank among the finest of his career, playing to his hangdog, world-weary strengths without allowing him to slip into the bored detachment that mars his lesser films. Coyle is no hero, and in many ways he is not even likable: he is bigoted, he arms violent men, and while he is far from stupid he is never quite smart enough, failing even to turn informer successfully. Yet Mitchum imbues the character with a dignity and pathos that ensures his downfall is as pitiful as it is inevitable, a deeply flawed but compellingly human victim of the hard and unforgiving world around him.

Despite the prominence of his name, Mitchum’s character is actually only on screen intermittently, with much of the film carried by the universally superb supporting cast. Jackie Brown is almost a second lead, with Keats playing him with just the right amount of intriguing obnoxiousness. He seems the polar opposite of Coyle: young, loudly dressed, driving a flashy car, and full of tough, cocksure bravado. Yet the two are inextricably linked, sharing the first scene post-credits, and reuniting at several other key moments. It is with Brown that Eddie shares his care-worn wisdom and back story—not that it does either of them any good in the long run. Brown is too arrogant to heed Eddie’s warnings that “You don’t understand like I understand,” and is dismissive of the older man’s complaints, failing to see that Coyle is essentially a mirror reflecting Brown’s own probable future. Eddie, meanwhile, seems to resent the younger man’s opportunities and vigor, seizing his opportunity to sell the gunrunner out with only the mildest sense of distaste. Neither quite has the wit to escape his respective fate, and both are too mistrustful and scheming to consider anything beyond immediate personal profit, inadvertently ensuring that they become easy prey for the venal likes of Foley and Dillon.

The conclusion of Monash’s screenplay departs from Higgins’s book to deliver a last pessimistic twist of the narrative knife. In the novel, Scalise is secretly betrayed by his mistreated girlfriend Wanda, but the mob suspects Eddie of being the informer and orders his murder at Dillon’s hands. (The desperate Eddie does in fact decide to inform on the thieves, only to find he has left his decision too late, with the men already in custody and his information now useless.) In the film, the informer is revealed to be Dillon, who has maneuvered himself into the clear with an utterly sociopathic coldness. He has eliminated Eddie, who could have informed on Dillon’s role in the hijacking that started his troubles, and he has avoided any mob suspicion of being the informer himself by framing and assassinating a (relatively) innocent man for his own treachery, even earning himself $5,000 in the process. Further, he has correctly calculated that the ambitious Foley will be so delighted with the capture of the prolific bank robbers that he will have no interest in the murder of a small-fry like Eddie. The agent simply shrugs off Dillon’s suspected role in the killing in favor of remaining on good terms with his prize informant.

While the book ends with Brown’s lawyer and prosecutor lamenting the repetitive parade of criminals passing through their courtroom, the film closes even more cynically by showing both sides of the law actively perpetuating the cycle. The most ruthless and corrupt cops and criminals play the system for their own ends, walking away with virtual impunity and leaving hapless souls like Eddie and his family crushed in their wake. Hardened robber Scalise gleefully describes crime as “a great life if you don’t weaken”—loaded words that could be applied to the entire dog-eat-dog world depicted within the film—but even he underestimates just how cruelly and duplicitously the game will be played by the eventual victors.

Johnny Restall writes freelance about films, music, and books. He specializes in Cult and Horror. You can find links to his published work here. 

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

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

—oOo—
Name: Saturday the 14thPublisher: Chaosium, Inc.
Author: Sabrina Haenze

Setting: 1980s Maine
Product: ScenarioWhat You Get: Twenty-Eight page, 9.55 MB Full Colour PDF
Elevator Pitch: Friday the 13th meets Groundhog Day (sort of...)Plot Hook: How many times can you die before you solve the crime?Plot Support: Staging advice, four pre-generated Investigators, four NPCs, twenty-five victims, three handouts, and two Mythos monsters.Production Values: Plain.
Pros# Clever twist upon the repetitive slasher movie horror cliché# Straightforward and very direct plot # Movie night one-shot# Diokophobia# Chronophobia

Cons# Clever twist upon the repetitive slasher movie horror cliché# Straightforward, linear, and very direct plot# Needs an edit# This is a cliché # Pre-generated Investigators scruffily presented
Conclusion# Ups the ante on the clichéd slasher movie by making the Investigators relive it multiple times to solve the crimes# Undemanding movie night horror

This room is another semi-circular chamber, like Room #12. The room has a hallway to the left, and the hallway continues straight. 

This room, like Room 12, shows signs of a recent battle. There is a dead orc here with a usable sword, non-magical. He has a pouch of 23 cp that his "killers" missed.  There is a poison dart in his neck.

The orc is lying on top of a trap trigger; this is what killed him. Moving the orc will trigger it again.

Finding the trap and disarming before it fires is worth 50xp. After it fires, it is only worth 0 xp.

Since 1978 and the publication of Heritage Models’ Star Trek: Adventure Gaming in the Final Frontier, there have been ten roleplaying games that have visited the world’s largest Science Fiction franchise that is Star Trek, notable titles being FASA’s highly regarded Star Trek: The Role Playing Game, the original Star Trek RPG for many in 1982 and 1998’s well received Star Trek: The Next Generation Role-playing Game from Last Unicorn Games. The tenth is Star Trek Adventures: The Roleplaying Game, published by Modiphius Entertainment in 2017 of which Star Trek Adventures: The Roleplaying Game – Core Rulebook provides a full introduction to both the setting and the rules. (A shorter introduction is provided in the Star Trek Adventures: The Roleplaying Game Starter Set.) The eleventh roleplaying game based upon the Star Trek universe is different because it is dedicated to the Klingons.

Much like its predecessor, Star Trek Adventures: The Klingon Empire has a big job to do—perhaps an even bigger one than Star Trek Adventures: The Roleplaying Game. Despite there having been ten roleplaying games set within the world of Star Trek, only two of them have received supplements dedicated to the Klingons, the most notable of which was The Klingons. Written by the late John M. Ford for FASA’s Star Trek: The Role Playing Game, for many years this supplement would heavily influence the portrayal of Star Trek’s second most popular alien race on both screen and in print. However, much of the background the Klingons has subsequently been rewritten and how they are portrayed today differs greatly. The other difference between the previous supplements devoted to the Klingons and Star Trek Adventures: The Klingon Empire is that this book is a standalone roleplaying game, rather than a supplement. Like Star Trek Adventures: The Roleplaying Game, it enables players to create characters and the Game Master to run a game in three different eras of Star Trek. It not only has to do this, but it also to present a culture and an outlook that is the antithesis of both the United Federation of Planets and Starfleet, make both characters and campaigns playable whilst highlighting how both differ from a standard Star Trek Adventures game, and accounting for the differences in the portrayal and appearance onscreen over the course of Star Trek’s history. Further, it updates the core rules for the Star Trek Adventures roleplaying game.
As with Star Trek Adventures: The Roleplaying Game, the default setting in Star Trek Adventures: The Klingon Empire is late twenty-fourth century, late in the period of Star Trek: The Next Generation, at the beginning of Star Trek: Deep Space 9, and before Star Trek: Voyager. The specific year is 2371, but it explores further than this, right up to the end of the war with the Dominion, fought with an alliance with both the Federation and the Romulans. With both rebuilding in the wake of the war and Cardassia much reduced, there is scope for exploration and expansion, for every warrior in the Klingon Defence Force to gain glory and honour for the empire. There is guidance too on the Klingons in the twenty-third and twenty-second centuries, during periods portrayed by the Star Trek: The Original Series and Star Trek: Enterprise respectively. However, of the two periods, it is the Star Trek: The Original Series-era Klingons which get the most attention, since that is when we see them first portrayed on screen, almost piratical in their untrustworthiness and scheming.
Star Trek Adventures: The Klingon Empire—the House of Duras, the House of Mogh, the House of Kor, the House of Kang, and more—as well as the explanation of the High Council is important in game terms because unlike a Star Trek Adventures: The Roleplaying Game campaign, one involving the Klingons is very likely to involve politics as well as exploration, expansion, and war. The chapter on worlds and locations, of course, starts with the Kingon homeworld, Qo’nos, but also an explanation of the Klingon Department of Stellar Records’ system of Planetary Classification. It divides them into three levels— ‘Conquerable’, ‘Exploitable, Of Use’, and ‘Habitable’, given as an in-game rejection of the Federation Planetary Classification System that succinctly sums up the Klingon mindset.

In Star Trek Adventures: The Klingon Empire, players take the role of honourable warriors and other members of the Klingon Defence Force, serving aboard a starship. What exactly constitutes honour is neatly summed up not once, but twice. First from the Klingon point of view as you would expect, but then from the Vulcan perspective, which provides another way of understanding it and making it easier to roleplay. Unlike Star Trek Adventures: The Roleplaying Game, where the players have numerous options as to what they can play, Star Trek Adventures: The Klingon Empire only offers two—Klingon or QuchHa’ Klingon. The latter, also known as ‘the unhappy ones’, are the Klingons portrayed on screen during the Star Trek: The Original Series, genetically changed as a result of a cure for a lethal plague that would leave them appearing more Human-like, aggressive and more ruthless in their cunning, along with a reputation for being less honourable and trustworthy. In campaign terms, they best suit the Star Trek: Enterprise and Star Trek: The Original Series periods rather than later periods when medical treatment has restored them to the Klingon norm.
A Klingon in Star Trek Adventures: The Klingon Empire is defined by Attributes, Disciplines, Focuses, Traits, Talents, and Values and Dictates. The six Attributes—Control, Daring, Fitness, Insight, Presence, and Reason—represent ways of or approaches to doing things as well as intrinsic capabilities. They are rated between seven and twelve. The six Disciplines—Command, Conn, Engineering, Security, Science, and Medicine—are skills, knowledges, and areas of training representing the wide roles aboard a starship. They are rated between one and five. Focuses represent narrow areas of study or skill specialities, for example, Astrophysics, Xenobiology, or Warp Field Dynamics. Traits and Talents represent anything from what a character believes, is motivated by, intrinsic abilities, ways of doing things, and so on. They come from a character’s species, upbringing, training, and life experience, for example, the Klingon species Talent is Brak’lul, which is their general physiological hardiness, whilst a security officer might have Warrior’s Strike Talent. Values represent a Klingon’s attitudes and beliefs, whilst Dictates are specific orders which a Klingon must obey. Both can be triggered to provide various benefits by spending a character’s Determination points, but also challenged to gain complications and Determination points. Their use in play can also lead to both gain and loss of honour, depending on the circumstances.

To create a character, a player puts him through a lifepath—much like previous Star Trek roleplaying games—the seven stages of which for Klingons encompass his species, home environment, caste, training, career length and its events, and current status. At each stage, a player adjusts Attributes, selects and adjusts Disciplines, and picks Focuses, Traits, Talents, and Values. Some of these elements a player has to select, but he can choose to roll for them and determine randomly. Our sample character is Kargan, a QuchHa’ Klingon who grew up on a poor frontier world who enlisted in the Klingon Defence Force to prove to the empire that he can be more than a farm labourer. He is ambitious and always on the look out for chances and opportunities that will get him noticed and promoted. This includes undermining his superiors and his fellow soldiers if it will fulfill his ambitions and does not reflect poor on him. So far this has including killing his immediate superior during a boarding action by Romulans and taking command of the engineering department’s defence and being promoted into his position.
KarganRace: Klingon (QuchHa’)Department: Engineering Rank: Corporal

AttributesControl 10 Daring 11 Fitness 10Insight 9 Presence 8 Reason 7
DisciplinesCommand 3 Conn 2 Engineering 3Security 4 Science 1 Medicine 1
FocusesAnimal Handling, Lead by Example, Starship Maintenance, Survival
TraitsKlingon, QuchHa’
ValuesAlways the outsider, Worth the risk
TalentsFollow My Lead, Killer’s Instinct, Quick to Action, Untapped Potential
Environment: Frontier WorldCaste: AgricultureTraining: LabourerCareer Events: Required to Take Command
The result is a Klingon Defence Force member of varying though still competent experience, but Star Trek Adventures provides other options in terms of what can be played and how they are created. One is supporting characters, which are other members of the crew and although not as fully detailed as the Player Characters—essentially members of the main cast—they enable players to roleplay other types of character, to be involved in scenes their main character would not, and to provide support where there are relatively few players in a game. Supporting characters can be fully played, but are not fully developed, having neither Talents or Values. These will come up in play as the Supporting Character reappears again and again, meaning that the players will learn more about him as the campaign goes on and he slowly grows from a Supporting Character to a Main Character. The option for creating is via play rather than at the start of a campaign and so is created in response to the narrative. One issue with character is the lack of ready Values for a player to choose or take inspiration from.
In terms of progression, a character does not earn Experience Points as he might in other roleplaying games. Instead, to reflect the fact that the characters on screen in Star Trek grow and change only periodically, player characters in Star Trek Adventures: The Klingon Empire achieve Milestones and Arcs, which are recorded in a character log, including the Values which came into play. Arcs take longer to achieve through play, but both Milestones and Arcs can reward a Player Character or a ship and its crew. Reputation is also crucial for a Klingon and his family and house. It fluctuates over time, reflecting a Klingon’s actions, meaning it can go up and down. It can can be used to substitute an influence roll over others and it can rolled to generate Glory, which can then be spent on Favours, be granted Awards, given promotion, and so on. However, a poor performance will generate Shame and these can spent to ruin a Klingon’s Reputation, have him demoted, imprisoned, and more. Both Glory and Shame are spent immediately, but if Shame is not spent or expunged with negative consequences, it can grow and grow.

In addition to creating a Player Character, a player can also create a House for his Klingon to below to, each House having its own status, legacy, and temperament. The Player Characters might be from the same House or different ones, but in play a House can support or aid a Player Character, but is equally expecting the Player Character to bring honour and glory that will last for years to come. The presence and role of the House is to give a wider stage for the campaign, to bring intrigue and politics into play, and thus greater potential for roleplaying.
Star Trek Adventures: The Klingon Empire employs the 2d20 System previously used in the publisher’s Mutant Chronicles: Techno Fantasy Roleplaying Game and Robert E. Howard’s Conan: Adventures in an Age Undreamed Of. To undertake an action, a character’s player rolls two twenty-sided dice, aiming to have both roll under the total of an Attribute and a Discipline. Each roll under this total counts as a success, an average task requiring two successes. Rolls of one count as two successes and if a character has an appropriate Focus, rolls under the value of the Discipline also count as two successes.
For example, during the Romulan boarding action, the engineering section of Kargan’s ship has been breached and he and his superior, Barot, have fought off the invaders. Both are wounded and as they eye each other after the fight, Kargan sees an opportunity to better himself by killing Barot and claiming that his superior died gloriously in the defence of the ship. Barot realises what Kargan is about to do and they both dive for the Romulan disruptor pistol on the floor. Kargan’s player says that he will spend a point of Determination to ignore the injury he suffered in the fight and taps the ‘Worth the risk’ Value to do so. The Game Master states that Kargan’s attempt will have a Difficulty of one, whereas rolling for Borat, she has a Difficulty of two due to the wounds he has suffered. Kargan’s player selects Daring and Security, meaning he has a target of fifteen to roll under and rolls under four will generate extra Successes. A roll of two and nine generates three successes. This gives him two Successes taking into account the Difficulty. With a Control of eleven and Security of three, Barot’s target is fourteen and three if the Game Master wants to generate extra successes. Her roll of four and eleven generates only two Successes, not enough to overcome the Difficulty and get the weapon before his subordinate can. With a grin, Kurgan has the drop on Barot and pulls the trigger. He will tell his superiors that Barot did not die in vain…Main characters like the player characters possess Determination, which works with their Values. A Value can either be challenged once per session in a negative or difficult situation to gain Determination or invoked once per session to spend Determination to gain an extra die for a check (a ‘Perfect Opportunity’), to get a reroll of the dice in a check (‘Moment of Inspiration’), to gain a second action when time of the essence (‘Surge of Activity’), and to create an Advantage (‘Execute!’). They also have Talents and Traits which will grant a character an advantage in certain situations. So Bold (Engineering) enables a player to reroll a single twenty-sided die for his character if he has purchased extra dice by adding to the Game Master’s Threat pool or Dauntless, which allows a player to roll an extra twenty-sided die for his character to resist being intimidated or threatened.

Now where the players generate Momentum to spend on their characters, the Game Master has Threat which can be spent on similar things for the NPCs as well as to trigger their special abilities. She begins each session with a pool of Threat, but can gain more through various circumstances. These include a player purchasing extra dice to roll on a test, a player rolling a natural twenty and so adding two Threat (instead of the usual Complication), the situation itself being threatening, or NPCs rolling well and generating Momentum and so adding that to Threat pool. In return, the Gamemaster can spend it on minor inconveniences, complications, and serious complications to inflict upon the player characters, as well as triggering NPC special abilities, having NPCs seize the initiative, and bringing the environment dramatically into play.

What the Momentum and Threat mechanics do is set up a pair of parallel economies with Threat being fed in part by Momentum, but Momentum in the main being used to overcome the complications and circumstances which the expenditure of Threat can bring into play. The primary use of Threat though, is to ratchet up the tension and the challenge, whereas the primary use of Momentum is to enable the player characters to overcome this challenge and in action, be larger than life.

Conflict uses the same mechanics, but offers more options in terms of what Momentum can be spent on, which includes both social and combat. Obviously for combat, includes doing extra damage, disarming an opponent, keeping the initiative—initiative works by alternating between between the player characters and the NPCs and keeping it allows two player characters to act before an NPC does, avoid an injury, and so on. Damage in combat is rolled on the Challenge dice, the number of ‘Heart of Virtue’ or ‘tIq ghob’ symbols rolled determining how much damage is inflicted. A similar roll is made to resist the damage, and any leftover is deducted from a character’s Stress. If a character’s Stress is reduced to zero or five or more damage is inflicted, then a character is injured. Any Starfleet insignia symbols rolled indicate an effect as well as the damage. In keeping with the tone of the various series, weapon damage can be deadly, melee or hand-to-hand, less so. Rules cover stun settings and of course, diving for cover, whilst a lovely reinforcement of the genre is that killing attacks generate Threat to add to the Game Master’s pool. Combat of course, has to take into account the fact that Klingons are lot tougher than those puny members of Starfleet!
The rules themselves in Star Trek Adventures are not difficult to understand and in the main they remain unchanged in Star Trek Adventures: The Klingon Empire. However, they are better presented and are better supported with examples, and also cleaner layout. As thematic as the use of LCARS is in Star Trek Adventures, it is not always easy to read. The adjustments to the rules are in some places cosmetic, such as renaming Talents to reflect Klingons rather than Starfleet, but the addition of the Reputation, Glory, and Shame are excellent and will help drive further roleplaying upon the part of the players.
Where Star Trek Adventures: The Klingon Empire cannot ease the complexity of the rules is Star Trek Adventures is starship combat, although it does its best. Details of ships of the Klingon Defence force are provided for all three eras, though sadly no really useful images. Starships are treated in a fashion similar to characters, but have Systems and Departments instead of Attributes and Disciplines. Star Trek Adventures: The Klingon Empire covers just about everything that a crew might do with their ship, from general operation to going toe-to-toe with a Romulan Bird of Prey in starship combat. The latter works in a similar fashion to that of personal combat, except that as Department Heads, the player characters are in control of different aspects of the ship. Instead of injuries for taking five damage in one hit, a ship suffers breaches which can knockout a ship’s systems. Her crew or a player character can repair them, but too many breeches and ship is disabled or even destroyed. As with Star Trek Adventures, the roleplaying game also covers starbases and personalising both starships and starbases.

In terms of threats, again, a wide range of vessels and NPCs are given. These include Starfleet Constitution, Defiant, and Excelsior Class vessels, D’Deridex Class Warbirds of the Romulan Star Empire, Galor Class cruisers of the Cardassian Union, and the Dominion’s Jem’hadar Attack Ships. NPCs include major and minor characters from across the eras, for example, Commander Kang and his wife, Mara; ‘Arne Darvin’, who attempted to poison the grain shipment for Sherman’s Planet and then go back in time to stop his efforts from being thwarted; and Chancellor Gowron of the High Council as well as Worf! The other NPCs, whether from the Romulan Star Empire, Cardassian Union, United Federation of Planets, the Dominion, and the Borg Collective, are more generic in nature, awaiting the Game Master to personalise them to suit her campaign. The ‘Beasts of the Galaxy, does of course, include the terrible Tribbles!
For the Game Master, there is general advice on running Star Trek scenarios and campaign, but also specifically Klingon scenarios and campaigns too. It suggests campaign styles such as ‘Proud Sons and Daughters of Kahless’, ‘The Empire Needs Loyal Soldiers’, ‘Lower Decks’, and more. There are some interesting ideas here, but they are not developed to any real extent, the advice really covering character creation, handling the rules, and the role of the Player Characters aboard a vessel. The latter is specifically from a Klingon point of view, as is the advice for creating Kling campaigns and scenarios. This highlights the expansive nature of the Klingon Empire’s objectives and the use of the Klingon Defence Force as its primary tool. Theatres of operation included are the Klingon-Romulan border, the Klingon-Federation Neutral Zone, and The Shackleton Expanse, the campaign setting for Star Trek Adventures, and even the Officer Exchange Program with the Federation. The plot components are based on the Red, Gold, and Blue components for Command and Conn, Security and Engineering, and Science and Medical respectively, taken from The Command Division, The Operations Division, and The Sciences Division supplements. However, these have been adjusted to include Klingon elements, such as Matters of Honour, Obligations to House, Political Rivalry, and more, as well as Oaths of Vengeance and Espionage Missions. They are primarily pointers here, awaiting development by the Game Master, but they are all good starting points.

In addition to twelve mission briefs, including an adventure where the ship’s cook has to gather and prepare enough food to ensure the crew’s survival following a disastrous battle with the Dominion and the ship has been stranded, Star Trek Adventures: The Klingon Empire includes an introductory adventure. This is ‘The Oracle of Bar’Koth Reach’, a short affair in which the crew of a Klingon vessel set out to locate and gain the wisdom of the fabled Oracle of Bar’Koth Reach. It is scientifically challenging in places, but involves a lot of combat and opportunities to save the honour of a lost warrior and thus the honour of the empire. The scenario offers perhaps a session or two’s worth of play, but is a good start for a campaign.
Physically, Star Trek Adventures: The Klingon Empire is cleanly presented in a fashion that is much more accessible than Star Trek Adventures. Consequently, it feels and looks more like a traditional roleplaying game than Star Trek Adventures does. The roleplaying game, like the other books in the line, is illustrated, not with photographs from the films and television series, but fully painted depictions of Klingon life and culture, and the Klingon Defence Force and its ships and warriors. Again, some thought has been put into organising the book’s content thematically, so ‘Reporting for Battle’ covers character creation and ‘To Command the Stars’ details starships and starship combat, for example. The book could have done with a tighter edit in places though, but a nice touch is the inclusion of a map of the Klingon Empire marked in both ‘tlhIngan Hol’, the Klingon language and English. The book includes a primer to ‘tlhIngan Hol’ as well.
Star Trek Adventures: The Klingon Empire places the Klingons front and centre in the world of Star Trek Adventures, enabling a Game Master and her players to play out campaigns of aggressive action and intrigue, honourable combat, defending or expanding the empire, and more. It depends on the period when a campaign is set. One set during the period of Star Trek: The Original Series will differ from that of Star Trek: Deep Space-9, but whatever the period there is also plenty of scope for political intrigue as well as the search for honour and glory. This is in addition to the possibilities of crossovers between Star Trek Adventures and Star Trek Adventures: The Klingon Empire—each serves as a supplement for the other! Ultimately, Star Trek Adventures: The Klingon Empire is the definitive guide to playing Klingons and renders them not just glory and honour, but also justice!

Drakkenhall: City of Monsters takes you right into the home of one member of the thirteen Icons of the Dragon Empire of the 13th Age—the Blue, a Blue Dragon also known as the Blue Sorceress. Once it was the city of Highrock, which protected the Midland Sea and the empire from invasion, but four centuries ago it was invaded and reduced to ruins. So, it remained until one hundred years ago, when the Blue Dragon took the city for herself and rebuilt half it, making it a haven within the empire for all of the monsters who would not normally be allowed to reside within other cities. Even as she allows the Goblin Market—famous for its deals, steals, and buyer’s remorse—to operate within the walls of Drakkenhall, an Ogre Mage to head her secret police, and numerous cults to practice their dark faiths in their profane temples—yet denying access to the city by any Orc, the Blue Sorceress serves as the Imperial Governor of Drakkenhall under geas from the Emperor and the Archmage. The question is, has the power of the Blue been constrained within the limits of Drakkenhall by making her part of the Dragon Empire’s hierarchy, or is this part of the Blue Dragon’s plan to subvert the empire from within? Ultimately, this is not question that the supplement will answer, but like other supplements in the line, it is one that is explored and multiple answers suggested.

Drakkenhall: City of Monsters is a supplement for 13th Age, the roleplaying game from Pelgrane Press which combines the best elements of both Dungeons & Dragons, Third Edition and Dungeons & Dragons, Fourth Edition to give high action combat, strong narrative ties, and exciting play. Designed for adventurer and champion-tier campaigns, it explores the various different aspects of a city infested by monsters, run by monsters, and constraining monsters. It is both radically law-abiding and radically criminal, fastidiously good mannered and rudely brutal, a half city built on the shattered remains of an old city, the ruins hiding dungeons and secrets which stretch from the former city walls into the depths of the city harbour waters. Alongside this, ordinary folk of the Dragon Empire get by and know how live alongside the turbulent nature of the city’s other, often unpleasant or difficult inhabitants, and in between New Rat City which provides a safe, if expensive underground route into Drakkenhall, the docks of Saltside where the lowlifes encountered are likely to be tourists as much as other visitors, and the Goblin Market, where getting fleeced is just part of doing business, there are points of goodness and light. The most notable of which is Pleasantville, an old Highrock city block in the rubblehood run by the Halfling, Uncle Papa Brother Knuckles, which is clean and minty fresh, covered in flowers and vines, and even has a supply of good drinking water, as well as the Scales enclave, a place of business barely tolerated by the Blue despite its normality, but such places are far and few between, and very much at odds with the rest of the city.

Drakkenhall: City of Monsters is not a conventional city guide in that it does not explore the city as a whole. Rather, it focuses on particular aspects of the city, with each chapter written by a different author, but it begins with an overview of its power brokers and pawns. It starts by highlighting the huge divide between the manors and estates of the wealthy and the surrounding shantytown ruins, little details such as the city’s odd status and high criminality making food supply and trade highly irregular, that many inhabitants of the city have to swear an oath of fealty to the Blue Sorceress, and instead of having a rat problem, Drakkenhall has an ooze problem! It divides its manors and estates—its ‘Estates of Significance’—between ‘Estates of Decadence’ and ‘Blood Houses’, connecting them to cults, demonic salons of science and discovery, fashion trends, and best of all, a social season with Enchanted Dance Cards each of which tracks the holder’s points with each of the Three. Suggestions are included too for the other Icons, but primarily it is with the Black, Blue, and Red Dragons, and the bearer can possibly earn one-time relationships with each one of them. There are even Fashionista Oozes which accompany their owners to parties and often react badly to fashions and styles their owners hold in poor regard and mechanical barber-surgeons like the Cut Monkey and the Amputation Mechanoid, which partially fill the void left by the lack of ready healing in the city. There are rules too for prosthetic limbs, so if a Player Character needs healing, the party had best keep a healing spell or two in reserve lest one of the automatons comes cutting… Much like the rest of Drakkenhall: City of Monsters, this opening chapter explores various aspects of the city, but in places, such the ‘Estates of Significance’, it leaves the specifics up the Game Master, and so in comparison, there are elements of the chapter that are not as interesting as the rest of the supplement.

‘Welcome to the Rubblehood’ hits some of the highlights of Drakkenhall’s ruins, for example, Hobtown, the fortified compound where the Jagged Company, a Hobgoblin mercenary unit drills daily, or the Float Royale, a pirate haven which floats just offshore, where the best beverages in the city can be found and the worst magical items in the empire go to be lost, whilst the bay itself is protected by a sleepy Dragon Turtle, who just happens to have a tame Kaiju-Shark at its beck and call. Every entry, as with the rest of the book is accompanied by a numerous adventure hooks and links to the Icons. There are more of the latter here than in other chapters, there being thirteen per Icon. ‘The Docks of Drakkenhall’ begins where the previous chapter left off at the shore’s edge, Saltside, the docks that are very much everyone’s idea of what dockside dives should be. There are Drakkenhall touches though, like the Dybbuk Inns, where guests get drugged of a night, their bodies possessed and put to some nefarious task, only to wake up with a terrible headache, but none the wiser or the Drowned District, an underwater remanent of Highrock just off  the coast, where the ghosts of the district’s former inhabitants, known as Lamenters, silently wail on the seabed, when they are not marching on the shore, likely with the aid of the Liche King. Accompanying these are quick and dirty rules for sea travel in the Dragon Empire, essentially handling them as travel montages as per the 13th Age Game Master’s Screen & Resource, whilst the Isles of Doom in the Midland Sea, Omen, which constantly spawns living dungeons that attack ships, and Necropolis, home to a massive army raised by the Liche King to threaten local shipping, are worthy of chapters of their own.

‘The Goblin Market’ is the standout chapter in Drakkenhall: City of Monsters. It describes the structure of the market from its outer Stalls to the deepest sections of Rock Bottom via the Underways; its own argot, a Goblinoid gang cant; and scam after scam, starting with all trades having to be in the market’s Blue Imp coins rather than Imperial coins, meaning currencies have to be exchanged, and then planting items on customers and claiming them to be stolen, drugging unsuspecting tourists and not only relieving them of their valuables, but delivering them ready to fight in the Fighting Pits, escalating a spilled drink into a demand for satisfaction which can only be settled in the fighting pit, and even demanding visitor’s fingers—especially if they are an Elf (such sweet meat)—as compensation for intruding on gang territory. Parts of the Goblin Market shift, but mostly it remains in Rubble City, run by the feudal mafia-like Organisation of goblinoid gangs, the most notable of which are the Rippers who operate the Double Draught speakeasy. This complete with gambling pits, a stage where even the most famous of the Dragon Empire’s entertainers have performed, impromptu blood brawls are set up, and a Halfling chef—so the food is good. Located in the depths of Rock Bottom, the Double Draught is going to be somewhere that the Player Characters are going to have to work to get to and get into, but once there, there are plenty of adventure hooks and ongoing plots to keep them coming back.

Drakkenhall: City of Monsters includes lots and lots of adventure hooks, but one thing it lacks until ‘Smash and Grab’ is a sense of an overarching plot that might keep the Player Characters in the city and crossing back and forth from one location to another. What ‘Smash and Grab’ suggests is a big scavenger hunt, leading to a treasure hunt. The ‘Society of Monster Archaeologists Searching for Hoards’—or ‘SMASH’—a secret society whose members possess a degree of immunity in a city of criminals. This is because members have a reputation for being tough, even mad, having delved into the deepest, darkest, most dangerous parts of Drakkenhall and the former Highrock in search of treasure and returned. Can the Player Characters join? Of course, they can! They just have to find the headquarters first, which is a hunt in itself, then when they have, they have to prove themselves worthy. This provides reasons for longer term play in Drakkenhall as well suggestions as to where to look for treasure worthy of SMASH. There are ideas too, for the Player Character who has SMASH as part of his Background during character creation.

Penultimately, Drakkenhall: City of Monsters presents some ideas as to why exactly, the Blue does not allow Orcs into the city. None of the four options are simple, but all four of them point to the deviousness of the Blue Sorceress. They are useful if the party includes an Orc Player Character. Lastly, there are stats for the Blue Dragon as the Blue Sorceress, though whether this is who she is, is open to conjecture…

Physically, Drakkenhall: City of Monsters is well written. However, the map of the city is not particularly detailed, so not as useful as it could have been, and the artwork does vary in quality. 

As written, Drakkenhall: City of Monsters does not feel like a coherent book. There is no overview which might pull all of the book’s content and city description together and its treatment of the city is scattershot. That though is by design. Drakkenhall is far from a cohesive city, raucous and rowdy, lawless until someone steps out of line, order of a sought being maintained by fear, dread oaths of fealty, and the Blue Sorceress’ secret police and Kobold force of the Glinting Legionnaires. The result is that a Player Character is never going to quite get a true grasp of what the city is like and how it really works, and even if he did, there is no knowing quite what would be different if he left and came back. The Game Master is supported with plenty of new threats, a handful of new magical items, and too many adventure ideas and hooks and more to mention, so that each time a Player Character comes back there will be a new scam he has not run into, a new plot to get tied up in, and more. It also means that from one visit to the next, the Game Master never has to keep all of the city in mind, but can rather focus on particular locations and how the Icons might be involved. There are elements which Game Master will need to develop, but with half a city reduced to rubble, there are plenty of places to put them.

Ultimately, Drakkenhall: City of Monsters is a criminally chaotic—to a point—and an evilly entertaining city to visit for a 13th Age campaign. Probably more than once. However, full of malevolent magics and would be marauding monsters, with a government lamentably legitimate, and almost everyone ready to swindle almost everyone else, Drakkenhall: City of Monsters is probably not somewhere to stay for long.

 Moving down the hall another 10', there is another cell on the left.

This room was recently sacked by the group in room 18. There are three dead orcs here. If the party searched they will find a potion of healing that was missed. 

Quick-starts are means of trying out a roleplaying game before you buy. Each should provide a Game Master with sufficient background to introduce and explain the setting to her players, the rules to run the scenario included, and a set of ready-to-play, pre-generated characters that the players can pick up and understand almost as soon as they have sat down to play. The scenario itself should provide an introduction to the setting for the players as well as to the type of adventures that their characters will have and just an idea of some of the things their characters will be doing on said adventures. All of which should be packaged up in an easy-to-understand booklet whose contents, with a minimum of preparation upon the part of the Game Master, can be brought to the table and run for her gaming group in a single evening’s session—or perhaps too. And at the end of it, Game Master and players alike should ideally know whether they want to play the game again, perhaps purchasing another adventure or even the full rules for the roleplaying game.

Alternatively, if the Game Master already has the full rules for the roleplaying game for the quick-start is for, then what it provides is a sample scenario that she still run as an introduction or even as part of her campaign for the roleplaying game. The ideal quick-start should entice and intrigue a playing group, but above all effectively introduce and teach the roleplaying game, as well as showcase both rules and setting.

—oOo—

What is it?SLA Industries 2nd Edition: Quick Start is the quick-start for SLA Industries 2nd Edition, a roleplaying game of dark dystopian splatter punk and corporate noir horror.

It includes a basic explanation of the setting, rules for actions and combat, details of the arms, armour, and equipment fielded by the Player Characters, the mission, ‘The Cleaners’, and five ready-to-play, Player Characters, or SLA Operatives.

It is a fifty-two page, full colour book.

The quick-start is lightly illustrated, but the artwork is excellent. The rules are a slightly stripped down version from the core rulebook, but do  include examples of the rules which speed the learning of the game.

The themes and nature of SLA Industries and thus the SLA Industries 2nd Edition: Quick Start means that it is best suited to a mature audience.

How long will it take to play?
SLA Industries 2nd Edition: Quick Start and its adventure, ‘The Cleaners’, is designed to be played through in one or two sessions.

Who do you play?
The five Player Characters are all SLA Operatives who recently graduated from training and formed a squad called ‘Blistering Rain’. They consist of a Malice Stormer 313 with the Close Assault package, an Ebonite Medic, a Neophron with the Investigation & Interrogation package, a Frother with the Heavy Support package, and a Human with the Strike & Sweep package.

How is a Player Character defined?
An Operative has six stats—Strength, Dexterity, Knowledge, Concentration, and Cool. The sixth is Luck, except for the Ebonite, who have the Flux stat instead. Stats are rated between zero and six, whilst the skills are rated between one and four. Ratings Points represent an Operative’s ratings in various areas, such as televised action, corporate sponsorship, or faith in his own abilities. They are expended to overcome obstacles, perform cinematic feats, or avoid certain death or defeat. They are divided between three categories—Body, Brains, and Bravado—and indicate the ways in which an Operative will perform best on camera. For example, with Body 5, Brains 0, and Bravado 2, the Malice Stormer 313 will best seen performing an ‘Impossible Feat’ or going to ‘Tear Right Through Them’.

An Operative also has various traits such as Anger, Ambidextrous, Drug Addict, Arrogant, and so on. Each Operative sheet includes a thumbnail headshot illustration, some background, and several weapons. Each ‘SLA Operative Security Clearance Card’ or character sheet is clear and easy to read and understand.

How do the mechanics work?
Mechanically, SLA Industries, Second Edition uses the ‘S5S’ System. This is a dice pool system which uses ten-sided dice. The dice pool consists of one ten-sided die, called the Success Die, and Skill Dice equal to the skill being used, plus one. The Success Die should be of a different colour from the Skill Dice. The results of the dice roll are not added, but counted separately. Thus, to each roll is added the value of the Skill being rolled, plus its associated stat. If the result on the Success Die is equal to or greater than the Target Number, ranging from seven and Challenging to sixteen and Insane, then the Operative has succeeded. If the results of the Skill Dice also equal or exceed the Target Number, this improves the quality of the successful skill attempt. However, if the roll on the Success Die does not equal or exceed the Target Number, the attempt fails, even if multiple rolls on the Success Dice do. Except that is where there are four or more results which equal or exceed the Target Number on the Success Dice. This is counted as a minimum success though.

How does combat work?
Combat in SLA Industries is designed to be desperate and dangerous. It is detailed and tactical. It takes into account offensive and defensive manoeuvres, rate of fire, recoil, damage inflicted on armour, cover, aiming, and so on. The scenario features a lot of combat and the Game Master should pay particular attention to those rules in the quick-start.

All SLA Operatives are combat trained, though some do specialise. The Frother is also addicted to a combat drug which gives him an advantage in combat.

How does the Ebb work?
One of the pre-generated SLA Operative is an Ebonite and can calculate the formulae underlying the Ebb disciplines. In play, each discipline is treated as a separate skill, requires the expenditure of Fluxx points, and can be used in and out of combat. The Ebonite has the Heal, Thermal: Blue, and Communicate disciplines. Thus she is capable of conversing by thought, healing wounds, resisting heat, manipulating the cold, and forming temporary blades of ice.

What do you play?
The SLA Industries 2nd Edition: Quick Start includes ‘The Cleaners’, a short BPN or Blue Print News file assignment which starts out in intentionally frustrating and dreary fashion with the SLA Operatives waiting around to receive and assignment, before being transported by a squad of Shivers—local law enforcement and occasional riot squad—to the site where strange sounds coming from the sewers are heard. No one is really pleased to see the Operatives, but they are least pleased that someone will deal with the problem. There are some nice opportunities for roleplaying here before the SLA Operatives climb down into sewers.

The BPN involves a sewer sweep and clear of rats and other vermin, such as carrien and carnivorous pig. As the Operatives work their way through the sewers they will find clues suggesting that something else is going on. 

Is there anything missing?
The SLA Industries 2nd Edition: Quick Start is complete and it even comes with a pair of extra BPN files which the Game Master could develop and run if her players want to discover what happens next to the members of Blistering Rain. If there is anything missing which would made the scenario easier to run, it would be a map of the sewers, but this is not absolutely necessary. The Game Master may want to assign some names to the antagonists of the scenario as it is something that the players and their Operatives will ask about.

Is it easy to prepare?
The core rules presented in the SLA Industries 2nd Edition: Quick Start are relatively easy to prepare. The Game Master will need to pay closer attention to how combat works in the game as it is the most complex part of the rules and highly tactical in play. There is decent advice for the Game Master on how to run the scenario.
Is it worth it?
Yes. Although the SLA Industries 2nd Edition: Quick Start does not touch upon the weirdness and true horror that is part of the World of Progress, it  presents a solid introduction to the ‘S5S’ System and the rules for SLA Industries 2nd Edition, as well as to the World of Progress and how it works for Operatives at the bottom of the ladder, being assigned a rotten job and not getting the full recognition for it. This means that it will work as a one-shot as a taster or convention scenario, but can also be added to or used to start a campaign. The scenario has an atmospheric tension from paranoia and the lack of trust that those around have for the SLA Operatives, which will ultimately end in a crescendo of violence down the sewers... 
Where can you get it?
The SLA Industries 2nd Edition: Quick Start is available to download here. 

Taking the left turn you continue down the hallway there is a door to your immediate right (18), and another further down to the left (19). The door to the right is open.  

This is a much larger cell, and inside are 6 Human Fighters (level 3, Chaotic).  They all wear platemail (AC 4) and carry swords (1d8+1).  Their hp are 16, 13, 11, 11, 10, 9.

Fighter #1 (16hp) has a dagger +1 that he will use if combat is going against them.

They have a total of 250 pp, 800 gp, 1,250 ep, 220 sp, and 3,000 cp.  This is the group that has been looting the dungeon ahead of the characters. Adjust their number and hp as needed. 

Board games have got big recently, as just about any newspaper headline on the subject will tell you, so much so that the headline has become a cliché. Yet there is some truth to the headline, for as long as anyone can imagine board games have always been popular, but board games really, really have got popular—and relatively recently. By recently, we mean the last forty years, and definitely the last thirty years as the board game evolved from something played during our childhoods to something that could be played and enjoyed by adults, who happened to be board game devotees. Then from this niche, the playing of board games as a hobby gained wider acceptance and moved into the mainstream to become an acceptable, even normal, pastime. Pioneered by classic titles such as Settlers of Catan, Carcassonne, and Ticket to Ride, board games have got big in the last few years. What these three designs have in common is that they all won the Spiel des Jahres, the German ‘Game of the Year Award’ which recognises family-friendly game design and promotes excellent games in the German market. To win the Spiel des Jahres is the equivalent of winning the Oscar for Best Picture. It is a mark of recognition not just for the game itself, but also for the designer and the publisher, and winning the Spiel des Jahres can mean tens of thousands of extra sales as everyone wants to try out the new critically acclaimed game. So, the question is, “What makes a Spiel des Jahres winner a good game?” It is answered some forty or so times by James Wallis in Everybody Wins: Four Decades of Greatest Board Games Ever Made.

Wallis, has of course, already explored the history of board games in the company of Sir Ian Livingstone with Board Games in 100 Moves: 8,000 Years of Play, but in Everybody Wins: Four Decades of Greatest Board Games Ever Made, published by Aconyte Books, he delves into the more recent forty-three years of the hobby to examine and give his opinion upon every one of the Spiel des Jahres winners, from the award’s inception in 1979 to 2022. The majority of them are good, some indifferent, and a few disappointing. Along the way he charts the changes in the hobby over the period as reflected through the awards, although as the author makes clear, this is not an actual history of the Spiel des Jahres award, its jury, and the deliberations it makes each year and the decisions it comes to. Its focus is very much on the games themselves and its tone and style is lighter, more that of a coffee table style book than some dry history. Consequently, this is a book which can be enjoyed by the casual board game player as much as the veteran. Further, the big, bold, bright format means that the book can be put in the hands of someone who does not play board games, and they will not be intimidated by the book itself or the games it showcases.

Everybody Wins is divided up into five colour-coded sections which each explore the different eras of the Spiel des Jahres, including the themes, the changes in design, and trends in the hobby in that time, beginning with ‘Opening Moves’ of 1979 to 1985, and going through ‘The Golden Age’ of 1996 to 2004 and ‘Identity Crisis’ of 2005 to 2015, before finding ‘New Purpose, New Direction’ since 2016. Each section opens with an overview of the period. For example, ‘Opening Moves’ explains how the award came to be founded and what it set out to do, which was to highlight, if not necessarily the best game of the year, then the most interesting, the most playable, and the most fun game of year, which had been published in German in the last year, and in the process, to broaden the acceptance of board games beyond just the hobby. Later eras examine the changing fortunes of the award and game design, for example, ‘The Golden Age’ exploring the effect that Settlers of Catan, winner in 1995, had on both hobby and industry, and how the period would not only see the rise of classic game, but also several heavier, more complicated games would not necessarily appeal to a family audience. Each overview is then followed by the winners for that period, every title receiving an essay that details its background, gameplay, the author’s opinion, and more. Notes give both the publisher and current  availability, plus whether or not the game was a worthy winner and is still worth playing now. The occasional sidebar explains particular rule types or gives a thumbnail portrait of a designer and every entry concludes with a full list of the nominees and winners of the various awards the Spiel des Jahres jury has given out over the years, initially special awards, but more recently the Kinderspiel and Kennerspiel awards.

Everybody Wins does not look at the winners of the other two awards that the jury gives out— the Kinderspiel and Kennerspiel awards. Neither are quite as important as the Spiel des Jahres, nor do they quite have the same effect on the industry, but where Everybody Wins does come up short is in not looking at the ‘what if’s’ of the Spiel des Jahres. Only once does the author look closely at another nomination for the award, Matt Leacock’s Forbidden Island, a nominee in 2011 when Quirkle won. This is less of an issue when what is regarded as a classic won in a particular year, such as Settlers of Catan in 1995, Dominion in 2009, or Codenames in 2016, but what about in 2002 when the stacking game, Villa Paletti won? Wallis tells the reader that, “In no possible sense was this the game of the year.” It would have been interesting to pull the other nominees out and give them the space to explain why they should have won instead. For example, Puerto Rico and TransAmerica in 2002, but also for Niagara in 2005 and later, Keltis in 2008. Later, Wallis does look at ‘The Ones That Didn’t Win’, but this is only a brief overview, primarily highlighting the commercialism of a game or it not suiting the Spiel des Jahres criteria, but there are games here that do fit those criteria, and would have been worthy winners, such as Pandemic in 2009.

Physically, Everybody Wins: Four Decades of Greatest Board Games Ever Made is lovingly presented, with every entry very nicely illustrated and accompanied with an engaging description. One obvious issue with the presentation is the book’s sidebars. Done in white on colour boxes, the text is not strong enough to read without the aid of good lighting.

The response to Everybody Wins will vary according to how much of a board game player the reader is. If the reader is a veteran, this will send him scurrying back into his collection to pull out titles and try them again, checking them against past plays and the author’s assessment. Or scouring online sellers for the titles that he does not have. The more casual player is more likely to pick and choose from the range of titles discussed in the pages of the book, probably looking for the classics and the titles that the author recommends as worth his time and the reader’s time. Whatever way in which the reader responds to the book, Everybody Wins: Four Decades of Greatest Board Games Ever Made is an entertaining and informative primer on the past four decades of the board game hobby and the winners of its greatest prize.

So new Kickstarters up from the last week or so. All are doing well and certainly don't need my signal boost, but I feel obligated to do so.

MythCraft | A Complete TTRPG Universe and Game System

https://www.kickstarter.com/projects/quasigrant/mythcraft-rpg?ref=theotherside

MythCraft aims high. It looks great and the team certainly put a lot of love and care into it.  What I am hearing most about it is the detailed character-building rules and options.  Indeed it looks quite fun to be honest and the game is attractive as hell. They are going all out here.

It *might* just be another Fantasy Heartbreaker, but even if it is, it is still detailed enough to have my attention.  There is a Quick Start here, and I am quite excited for them.

There is a lot, and I mean A LOT of material here and there is no way I can do it justice, but check them out and see for your self. 

Can You Play A Witch? Yes! In fact the witch is one of the four classes (out of 11) that they are featuring here.  You can see her on the cover, upper left. 

All the Witches

https://www.kickstarter.com/projects/allthewitches/all-the-witches?ref=theotherside

I interviewed the project lead and "head witch" Emmapanada yesterday. Well this one came screaming out the gate and was funded in under 3 hours!  

What else can I add? I love the art and I am really looking forward to seeing this one become a reality.

Can You Play A Witch? Yes! Correction. HELL YES! That's what this game is all about and honestly, I am all here for it.

Shadowdark RPG: Old-School Gaming, Modernized

https://www.kickstarter.com/projects/shadowdarkrpg/shadowdark-rpg-old-school-gaming-modernized?ref=theotherside

The current darling of the Old-School crowd. It is fun, I have had the QuickStart since Gary Con last year and played around with it.  The production values here are top notch, so it is certainly a very attractive set.

It is fun yes and has a lot going for it. I think it lives somewhere in between DCC and OSE. Though I do admit I can't really see what this does for me that OSE can't do.  Still, I know this will be fun for the right groups.

Can You Play A Witch? Yes, but you will need to grab her from the Cursed Scroll #1 zine to add her. 

--

Lots of great games out there!

For every Ptolus: City by the Spire or Zweihander: Grim & Perilous Roleplaying or World’s Largest Dungeon or Invisible Sun—the desire to make the biggest or most compressive roleplaying game, campaign, or adventure, there is the opposite desire—to make the smallest roleplaying game or adventure. Reindeer Games’ TWERPS (The World's Easiest Role-Playing System) is perhaps one of the earliest examples of this, but more recent examples might include the Micro Chapbook series or the Tiny D6 series. Yet even these are not small enough and there is the drive to make roleplaying games smaller, often in order to answer the question, “Can I fit a roleplaying game on a postcard?” or “Can I fit a roleplaying game on a business card?” And just as with roleplaying games, this ever-shrinking format has been used for scenarios as well, to see just how much adventure can be packed into as little space as possible. Recent examples of these include The Isle of Glaslyn, The God With No Name, and Bastard King of Thraxford Castle, all published by Leyline Press.

The Pocket Sized Perils series uses the same A4 sheet folded down to A6 as the titles from Leyline Press, or rather the titles from Leyline Press use the same A4 sheet folded down to A6 sheet as Pocket Sized Perils series. Funded via a Kickstarter campaign as part of the inaugural ZineQuest—although it debatable whether the one sheet of paper folded down counts as an actual fanzine—this is a series of six mini-scenarios designed for use with Dungeons & Dragons, Fifth Edition, but actually rules light enough to be used with any retroclone, whether that is the Dungeon Crawl Classics Roleplaying Game or Old School Essentials. Just because it says ‘5e’ on the cover, do not let that dissuade you from taking a look at this series and see whether individual entries can be added to your game. The mechanics are kept to a minimum, the emphasis is on the Player Characters and their decisions, and the actual adventures are fully drawn and sketched out rather than being all text and maps.

The Beast of Bleakmarsh is the second entry in the Pocket Sized Perils series following on from An Ambush in Avenwood. Designed for Second Level Player Characters, the scenario is more complex than An Ambush in Avenwood, involving a mystery to investigate, things most foul to reveal, and monsters to hunt. It can be played through in a single session, but might take a little longer as the Player Characters follow the clues across an area of marshland. The beginning of the scenario sets the Player Characters up as monster hunters who have been asked by their friend Godric to travel to the village of Bleakmarsh which is being plagued by a mysterious beast. As they make their way towards the ferry station, they hear cries for help coming from the marsh. When the Player Characters investigate the source, they find a women imperiled by a swarm of frenzied swamp beasts. After they have rescued her, the Player Characters will learn that she is a bard, travelling with her band to perform in the village of Bleakmarsh. Unfortunately, the frenzied swamp beasts have eaten her bandmates and their horses, so asks the Player Characters if they will escort her to her destination. As thanks, she offers to split the takings from her performance that night.

When they arrive, the Player Characters have the opportunity to learn more about the so-called ‘Beast of Bleakmarsh’ as well as other gossip, and also discover that their friend Godric has disappeared! With Bleakmarsh as their base, they can then begin their investigations into the locations of both the beast and their friend. Of course, the Player Characters do not have follow this path exactly. The Player Characters could simply be passing by, on their way to another destination, when they hear the cries of the bard emanating from the marsh, though the Game Master will need to make Godric important to the Player Characters in some other way. Instead of being asked by Godric, the Player Characters could alternatively have been asked by the authorities to deal with the beast threatening the village. In this way, the scenario can be be run as short sidequest. Whichever way the Dungeon Master decides to use The Beast of Bleakmarsh, it is easy to add to an ongoing game.

The mystery at the heart of The Beast of Bleakmarsh unfolds at the same time and pace as the Dungeon Master literally unfolds the scenario. The initial three double-page spreads provide and illustrate the scenario’s set-up and opening encounter, then the village of Bleakmarsh and its inhabitants and gossip, and lastly, an explanation of what is going on. Which is not quite as simple as there being a beast threatening the village—the threat comes from within rather them without. There is a list of clues and items to be found which may help the Player Characters, but the adventure literally opens up when the Game Master pulls The Beast of Bleakmarsh apart to reveal a map of the area with its important locations marked. Pull the map apart and the location of the scenario’s final confrontation and the details of those responsible for the disappearances.

The openness of the scenario means that The Beast of Bleakmarsh is slightly more difficult to run than the previous An Ambush in Avenwood. It is not as heavily plotted and is primarily player and Player Character-led as they follow up on the clues littered across the landscape and the scenario. One potential issue is that the Player Characters will weapons that either silvered or magical and it is unlikely that all of the Player Characters will have them. Fortunately, the scenario includes a means of solving this issue—if the Player Characters can find it. If they cannot, then the final confrontation with the real danger threatening the village will be very short indeed.

The Beast of Bleakmarsh has the feel of a bigger scenario parred down to fit a smaller page. In some ways it is more of detailed outline than a full detailed adventure, and the Dungeon Master may want to add a few NPCs for the Player Characters to interact with in Bleakmarsh and probably prepare some notes as the scenario cannot really be run just from the main map. Of course, the Dungeon Master will have to flip back and forth just as in other scenarios, but here there is some page folding too. And that makes running The Beast of Bleakmarsh just that much more fiddley than a standard scenario.

Physically, The Beast of Bleakmarsh is very nicely presented, being more drawn than actually written. It has a cartoonish sensibility to it which partially obscures the degree of peril to be found within the reaches of the marsh. There is a sense of humour too in the details of the drawings, obviously more for the benefit of the Dungeon Master than her players. The combination of having been drawn and the cartoonish artwork with the high quality of the paper stock also gives The Beast of Bleakmarsh a physical feel which feels genuinely good in the hand. Its small size means that it is very easy to transport.

The Beast of Bleakmarsh presents a simple little mystery at the heart of the marsh, with a limited trail of clues which lead to a dangerous confrontation with the villains threatening the villagers of Bleakmarsh. It has a slightly humorous, if no less grim—and slightly Lovecraftian—tone which the Dungeon Master is free to ignore or emphasise as is her wont. At its most basic, The Beast of Bleakmarsh is easy to prepare, but the Dungeon Master will probably want to spend a little more time developing it in places, especially if she wants to play up the horror and sense of bleak isolation which the scenario suggests, but does not really give itself the room to really present. The Beast of Bleakmarsh has the same charming physicality of the other entries in the Pocket Sized Perils series, but will need more effort—though not too much effort—than those others to get the fullest out of the scenario.

The hallway continues a bit and then turns to the left, but before that, there is another cell on the right.

The doors are open. Inside this cell are three orcs with swords.  They are searching the cell, but have not found anything, they attack the party.

They have normal amounts of treasure for wandering orcs.

--

The orcs come from a portal on the second level.

Something special today.  I had the chance to talk to Emma, aka Emmapanada, the lead designer of the RPG "All the Witches" that is Kickstarting today.  What is "All the Witches?"  Well, let us find out!

All the Witches

https://www.kickstarter.com/projects/allthewitches/all-the-witches?ref=theotherside

Tim Brannan/The Other Side: It is my pleasure today to be interviewing the team that is currently Kickstaring a new Witch-based RPG, “All The Witches.” Which you can find here, https://www.kickstarter.com/projects/allthewitches/all-the-witches

Today I am talking with Lead Designer Emma for today’s launch. 

Before we get into all the questions, please introduce yourself and tell us all what your role is on this team.

Emma: My name is Emma, also known as Emmapanada! I use they/she pronouns and I’m the Creator, Lead Developer, Lead Game Designer for All the Witches. I’ve been playing TTRPGs for a little over 10 years now, and I started creating systems in September of 2020. I’ve been working on All the Witches since about December 2021, and I’m incredibly excited to have it finally come to Kickstarter!

TB/TOS: What are some of your favorite games? Why?

Emma: Dungeons and Dragons 2nd Edition has a special place in my heart, because it was the first TTRPG I played long term. My friends and I would play every Saturday in College for 12-14 hours, and it was an absolute blast. Dnd 5e was starting to get playtested when we were playing, so we were way behind the times, but it was a ton of fun. Once I started playing more systems, I really fell in love with Kids on Bikes because sneaking around town hunting for ghosts and cryptids is really fun and stressful, and World of Darkness holds a special place in my heart because it was the first game I played with my partner. 

TB/TOS: That is great, I also rather enjoyed the World of Darkness, as well, and Kids on Bikes is great fun. Tell us a bit about this game and what backers should look forward to when they get it.

Emma:  Absolutely! All the Witches is an original Tabletop Roleplaying Game with some deck-building mechanics utilizing the standard array of dice except for the D100. In the system, you have 5 attributes that any skill checks made during gameplay will fall under. Those attributes are Power, Agility, Soul, Mind, and Endurance. When you try to make a check, your GM will tell you what attribute they think that check relates to, and then they'll tell you to roll a certain die. In this system, the die you roll determines the difficulty of the check, and you succeed on the check if you roll at or below the corresponding attribute's rank. So if your GM tells you to make a D10 Agility check, and your Agility is rank 4, then you succeed on rolling a 4 or below. As you play the game, your Attributes will rank up, and over time you'll automatically pass certain levels of difficulties for checks because you Attribute rank is higher than the value of the die. 

The deck building comes into play during encounters. Your deck is made up of number cards from either the Minor Arcana of a Tarot Deck, or from a deck of playing cards. At the start of the game, you'll have 5 cards in your deck that numerically equate to each of your Attributes' ranks. When you enter an encounter, you'll draw three cards from your deck and when it's your turn, you'll play a card from your hand. The card you play determines the number of Actions you get in that turn. If you play a 4 of Swords, then you have 4 actions that turn. You can use actions to cast spells, move, interact with objects, attack, or use abilities. As you play the game you'll add more numbered cards to your deck, some special face cards that give you special abilities on your turn, and as you reach certain parts of the game the suits of the cards you play will come into effect. 

Our goal as a team is not to create an entire world in All the Witches. Instead, our plan is to feature 3 regions of the world and flesh them each out with rich detail. Groups that play All the Witches can start off in one of these regions and have entire adventures there, they can go and travel to the other regions to explore, or they can collectively imagine what the rest of this world might look like and build things together to make their stories truly theirs. 

The three regions that All the Witches will feature are:

-Tane: A dense forest region that once thrived with life and beauty. Long ago, some adventurers slew a great spirit that resided in Tane, and its death sent the entire region into a spiral of corruption and Discordance. Not many live there now because the region is extremely toxic and dangerous, but those that do rely heavily on Witches to keep their towns free of corruption, poison, and dangerous creatures. Groups that start here will often find themselves fighting against the very nature around them in order to survive. 

-The Golden Islands: A large chain of islands that house two civilizations that couldn't be more opposite to one another. The United Islands of Sunder are a free people that use magic to sail the seas, explore the unknown, and keep the treasures they find. Darkhammer on the other hand is a society with strict rules that uses magic to strengthen and protect their ships and trading routes. These two come into conflict often, and groups that start here will find themselves fighting people from either civilization in order to survive. 

-Cyllynys: A verdant gem in the northern seas, Cyllynys is a small nation with a big impact on the world at large. Settled long ago by a diverse array of peoples, its earliest history is shrouded in myth and legend; ancient monuments of mysterious origin dot the landscape. The people of Cyllynys have, since their earliest days, put a tremendous value upon knowledge and wisdom, and this led to their development of steam technology. Now, that same technology threatens to take over the traditions and ancient monuments that once meant so much. Groups that start here will face a changing nation, and the tensions that arise because of that change.

We're committed to being a digital-only product with our Kickstarter launch for a number of reasons:

1. We're a small TTRPG project and printing generally takes up about a third of a project's entire budget. In a COVID world where a lot of groups are currently playing digitally, we think that money can be better spent on accessibility resources to help people learn and play our game. We're hoping to build a website to help people with character creation and upkeep, to incorporate links into our PDF that lead to short, professionally produced videos explaining certain portions of the rules for people that struggle learning systems just from reading text, and more.

2. Due to the world wide paper shortage the past few years, a number of TTRPG projects have been delayed, and we think that as a small project we should do what we can to encourage others to seek a paperless route. We hope to show the TTRPG industry what all can be done with your project when you aren't focused on physical prints of your books.

3. Because we're focusing on a digital product, we'll be able to include a lot more to enhance the player experience. With each purchase of All the Witches, we'll be including various music files, portraits for NPCs and Characters, digital maps, and more. 

Since this is a digital product where everyone will get all the resources that are made, there will only be a few pledge levels on the Kickstarter itself. The main pledge level will be $30, and that will get you the PDF as well as all other digital resources such as musical tracks, character and NPC portraits, maps, stream overlays, stream assets, emotes, and more. There will be a $50 pledge level that's for those that want to support the book a little more, and for those that pledge at that level there will be thank you pages dedicated to them at the back of the book with fun art. Then there will be a $200 pledge level that will get a personalized thank you at the back of the book, and a Character/NPC portrait will be made based on them. 

TB/TOS: What do you all feel makes All The Witches different from games currently on the market? What do you say makes it special? Or, bottom line, why should people want to buy this game?

Emma: On top of having a unique rule system that I think will surprise a lot of people, our commitment to being a wholly digital game gives us the opportunity to do a lot that other games aren’t doing. With the release of our game, we’re also sending backers tools to help enhance their online roleplaying experience including original orchestrations that tables can use in their games, NPC and Character tokens, emotes, stream overlays and assets, and professionally produced videos to help people learn our system who have a hard time learning just by reading. Additionally, since we’re digital, after release we can continue making new content for All the Witches and releasing it for free in content patches to the PDF. I like to think of All the Witches as a living TTRPG, because I have plans to keep updating it after release at no additional cost to those who have already purchased the book. 

TB/TOS: Tell me a bit more about the deck-building mechanic. This is a feature of a few games, but not really a lot.

Emma:  I talked a bit about the deck-building mechanics above, but it’s a really hard system to incorporate into a TTRPG without those mechanics becoming the sole-identity of the rules. I wanted to find a way to have deck building, but also have it be balanced with the rest of the system without stealing the spotlight from the other mechanics. It took me a long time to figure out, but I think I found a really great way to do it, and I’m excited for everyone to see the ways deck building influences the entire system and what it brings to it as a whole. 

TB/TOS: What sorts of games do you see others playing with these rules? In other words, what can players do in this game?

Emma: There are so many different kinds of games that people can play with All the Witches. Groups can use All the Witches to have a magical school simulator where you live as students, recruit new professors to your schools, meet new students, establish new traditions, and more. They can use the system to play an entire campaign centered around the magical sport that we’ve created called Ryndarost. They can follow a traditional story of adventure and fighting monsters that have been brought about due to the corruption in the world. They can even become heroes that ease the corruption in the world through a special mechanic called a Harmonization Ceremony! The goal is to build a system full enough that a group can take it and use it for any kind of story that they’d like to explore about Witches, and I think we’ve got a really amazing team in order to bring that vision together. 

TB/TOS: The art so far in All the Witches looks amazing. What is the diving vision here on the art and how does that influence the game design and vice-versa?

Emma:  That’s incredibly kind of you to say! I think art is one of the most important things for an indie TTRPG, and it absolutely helps bring life to the world. I’m not an artist, but working with artists causes me to think about how things look visually, because they ask me a lot of questions, and that causes me to have to make a lot of stylistic decisions about the system that have an impact on everything. Do Witches use a staff or a wand? What do they look like and what are they made of? Do Witches have to have them in order to cast magic? What benefits does using a staff or wand give to a Witch that they wouldn’t have normally? One simple question often branches off into so much more, which helps our team develop a fuller and more cohesive game. 

Because I’m not an artist, I’ve been working alone for a lot of this pre-Kickstarter process to pull together cool images to help give life to All the Witches. But hiring Nala Wu has been incredibly helpful, and they’re expertise has already proven invaluable. They’re going to start working fully on all the art for All the Witches after the Kickstarter, but they helped me put the cover and the landscape pieces together, and those pieces bring so much life and character to our game that I’m excited to see what we’re able to make together next once we have our funding. 

TB/TOS: Who would you say All the Witches is for?

Emma:  All the Witches is a game made for those who grew up escaping into worlds of fantasy and magic that have felt abandoned by those world’s creators. We are here to give you the tools and resources to explore a world full of magic and adventure with stories built by you and those you love. Escape into a new world of fantasy and magic built by a team of Queer and BIPOC writers and designers.

TB/TOS: What are your future plans for this game?

Emma:  If all goes according to plan and we successfully fund and are able to fully create and release All the Witches, the plan is that I’ll periodically keep updating the game with new content that will be released for free to everyone who owns a copy of the PDF while I continue working on my next two unannounced TTRPG projects. 

TB/TOS: And, for the benefit of my audience, well, and me (!), who are all of your favorite witches or magic-using characters?

Emma:  I grew up on Final Fantasy games and RPGs, so Vivi from Final Fantasy IX will always have a special place in my heart on top of Morrigan from Dragon Age: Origins! 

TB: And finally, where can we find you all on the internet?

Emma:  You can find us on Twitter @allthewitches_ to keep updated on everything going on, and you can find my personal account @emmapanada! 

--All the Witches is Kickstarting right now! Check it out.

This room is down the hall and to the left.

Inside this room is a Lesser Iron Golem. It is like an iron golem in all respects, but only has 4HD and it does 1d8+1 points of damage per hit.

It instructed to attack, the problem was it attacks everyone even its makers. So they left it here. 

There is double treasure type E scattered about the floor of this room. 

Once again, I am participating in the April A to Z Blogging Challenge, but this year I wanted to do something a little different than more normal witch or monster-related postings. 

This year is the 60th Anniversary of my favorite sci-fi show of all time, Doctor Who!

I thought it would be fun to celebrate all things Doctor Who next month. 

Not 100% sure what I'll talk about, but I know I have plenty to work with.

Continuing down the hallway there is another cell on the right (where the ghosts seemed to have been running too).

This room also has two more Wraiths. They appear to be two adventurers in the process of looting a corpse. The corpse is now only old bones.

The wraiths will break their loop and attack the characters.

The skeleton has a rusted sword, tattered clothes, and a dagger in its back.  There is a bag with 15 gp in it.

A couple of weeks ago, I mentioned the GoFundMe page for the funeral expenses of Jonathan Thompson. 

Pinnacle Entertainment has now set up a bundle on DriveThruRPG to help aid in more of his family's expenses. 

Jonathan M. Thompson Memorial [BUNDLE]
(not an affiliate link)

This bundle has close to 150 titles valued at $644.54, all yours for $25.

There is a wide variety here too. Old-school OSR, lots of Savage Worlds, even some Chivalry & Sorcery. Or, in other words, a lot of Jonathan's favorite games.

So please pick this up. Lots of great titles, and the proceeds go to help a grieving family.

Continuing down the hallway, you see two figures leaving the cell on the left.

The figures are two Wraiths and they are leaving the cell, as they have done 1000 times since they died. They are vaguely humanoid. One appears to be a male fighter and the other a female wizard or cleric.

When they spot the PCs they will attack.

There is a small hoard of treasure in Cell #14. Items from previous victims. They used to be adventurers themselves but are now dead. 

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

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

—oOo—
Name: Of FathersPublisher: Chaosium, Inc.
Author: Aleksi Martikainen, Sean Liddle, Jef Wilkins, Jukka Särkijärvi, & Petri Leinonen

Setting: Jazz Age Chicago
Product: ScenarioWhat You Get: Twenty-Six page, 2.09 MB Full Colour PDF
Elevator Pitch: Revenge isn’t something you just dream about. Plot Hook: Your father was murdered and the police say you did it. Plot Support: Staging advice, eight NPCs, one handout, and one Mythos entity.Production Values: Decent.
Pros# Straightforward, detailed plot # Potential introduction to the Mythos# Potential introduction to the Mythos for a cultist!# Easy to adapt to other time periods and settings# Somniphobia# Oneirophobia

Cons# Needs a strong edit and further localisation# Underdeveloped in places# Oddly out of period photographs# Linear plot
# No maps# No pre-generated Investigator included
Conclusion# Linearly plotted murder-mystery which wafts in and out of dreams tempting the protagonist with the power of revenge# Murder-mystery with the potential to create a hero or a villain

Not the art I will use for Lilith, but it is cool.

The work continues on my Basic Bestiaries. I spent some time over the weekend working on various Demon Lords, and working on revisions to my stat block that work well for me and any potential readers.  This has lead me to an issue I need to resolve.

One of the goals for all my Basic Bestaries is to provide players of whatever version of the Great Game they are playing (pre-2000) and their clones a useful and complete stat block for their games.  Another goal was to add what I felt were the best options for new school (post-2000) play. Generally speaking this has worked out well enough with a few extra notes added. But I have come to place where things have gotten messy. That is, how should I denote XP gained.

There are minor differences between all the various clones and even in the versions of D&D itself on how XP should be calculated and/or displayed for defeating a monster.

Let's take an example, the Aglæca from a previous Monstrous Mondays.

Here is the stat block.

Aglæca
Large Humanoid

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

Ok, a few things first. Items in RED are AD&D/OSRIC and some Swords & Wizardry add-ons to what would be a Basic D&D stat block. Items in GREEN are "new school" add-ons like ascending AC and the XP values for OSE and Labyrinth Lord.  I also want to point out one other item I have discussed in the past using different die types for size categories.  This is something from D&D 5 (and in the SRD). Not only does it make sense, it also replicates something I was doing in AD&D 1 anyway (though I only used d6, d8, and d10).  It helps solve a lot of issues with hp spread and size. 

But...there is a consequence of this. 

So my issue recently has been one of XP calculation. I want a book that can be used by players of AD&D and Basic D&D, as well as OSE, Labyrinth Lord, Swords & Wizardry, OSRIC, and Basic Fantasy.  The trouble is they don't all line up with XP point calculations.  And more to the point even something like my Aglæca here is a Large creature, so it's hp, and thus it's XP value, will be greater in AD&D and OSRIC than they would by the book.

What should I do about this?

Solution 1: List Them All

I did this above with just OSE and LL above.  It is comprehensive but unwieldy. 

S&W CL: 10 / XP: 1400
OSE: 1750
LL: 1840
BF: 1015
B/X: 1250
OSRIC: 1150
Advanced: 1150

The OSRIC and Advanced could be collapsed into one (and should).  My d10-based hp calculations do make some of these a little different. 

This works, but like I said, it is unwieldy.

Solution 2: The Point Spread

In truth DMs/GMs always tweak their numbers. So why not a point spread?  Something like this:

Min: 1015
Mean: 1365
Median: 1250
Max: 1840

Smaller. And provides a nice spread without going into details for each system (though the calculations are from all the systems).

Of course, when I publish, the B/X and Advanced numbers have to be removed.

I am also considering a median value or even a weighted mean.  And despite my desire to do so, I doubt I'll add anything like a standard deviation.  (ETA: I added the Median)

Solution 3: The Big Table

I could provide a huge table in the end with all the monster and all their XP calcs.

It wouldn't be that difficult since that is already what I have.

It will likely be some combination of "all the above."

Next task. Reorganize the stat-block for easier reading.