RPGs

Friday Filler: Go Ahead Punk!

Reviews from R'lyeh -

A city under siege. The City by the Bay sits in the crosshairs of a gunsight, the scope of a sniper rifle wandering across the buildings and streets of San Francisco ready for the trigger to be pulled and another victim felled. The sniper has sent city hall demands for money and is holding all of San Francisco to ransom. Fortunately, San Francisco Police Department has assigned its finest police officers to deal with both the demands and track down the psychopathic killer before he strikes again. If that sounds like the plot of the 1971 film, Dirty Harry, starring Clint Eastwood and directed by Don Siegel, it is. However, it is also the set-up for a board game inspired by Dirty Harry and the cop cinema of the seventies. Published by Next Dimension Games, Go Ahead Punk! is a game set in the San Francisco of the seventies in which the sadistic killer known only as ‘Stinger’ stalks the streets and rooftops, looking for his next victim. Instead of the San Francisco Police Department assigning only the one Cop to the case, it has assigned three—Inspectors Katherine Lacey, Eddie Johnson, and Frank Brannigan. Stinger only needs to carry three more hits, which can be from atop a building if he can obtain a Janitor Key to its side entrance or in the city’s parks if he can find a Park Ranger uniform. Then it is a matter of making his escape from one of the city’s four port exits and the man who scared San Francisco will have eluded the law! All the Cops have to do is locate Stinger and bring him to justice, whether that is before he has made all of his planned hits or after, during his escape attempt.

Go Ahead Punk! is a classic hidden movement game of one player versus many, much in the mode of the classic Fury of Dracula or the more recent Jaws. It pitches one player—Stinger, up against one to three Cops, each with their own means of handling sadistic killers like Scorpio. Inspector Frank Brannigan always knows where to put a bullet in a criminal if he has to; Inspector Eddie Johnson’s preferred weapon is a pump action shotgun, so up close, he rarely misses; and Inspector Katherine Lacey’s knowledge of Personnel & Records means she brings police intelligence to the streets in the manhunt for the marauding murderer. When she spends cash on intel to reveal Stinger’s location, his player must reveal Stinger’s exact location, not just the district. They start with their own equipment, but can find more and make themselves deadlier in a fight. Stinger has his sniper rifle, but might find a .38 revolver, a silencer for his sniper rifle to make hits harder to detect, or even a LAW rocket launcher (useful for taking down that pesky police chopper), whereas the Cops can equip themselves with shotguns and rifles, don bulletproof vests, keep track of each other with police radios, and if they have cash, get intel from their connections on where Stinger might be. They can even get the keys to a muscle car and race across the city in pursuit of the unknown sniper.

Go Ahead Punk! is played out on a 17¼ by 28½ inch map of San Francisco, divided into its various districts and parks and crisscrossed with the major roads and freeways as well as Street Car and Cable Car routes. All players can move using the major roads and freeways, but only Stinger can use the Street Car and Cable Car routes and then only when he has a Transit Pass. There are over one-hundred-and-fifty numbered locations on the map which the Cops will move across openly, whilst Stinger will move across them in secret, his player tracking Stinger’s movement and location on the Movement Tracker sheet which he keeps hidden behind a screen. The various districts are also marked with Hit Locations—black for rooftops, green for the parks, and red for locations where a hit cannot be performed for the third and final hit. There are several hospitals, marked with ER, where both the Cops and Stinger can gain first aid, but Stinger must reveal his location if he does so and there are also four Port locations, the Stinger needing to get to one of these to escape and win the game after performing the three hits. Lastly, there is Hunch Tracker, which tracks the San Francisco Police Department’s general progress in hunting for Stinger. The net closes on him every fourth round, forcing his player to reveal Stinger’s current district, which will narrow it down to a handful of locations.

At the beginning of the game, each player receives a board for his character. This has a health Tracker and space for equipment carried—up to eight spaces’ worth of equipment can be carried in this inventory—and for the Cops, space for any vehicle currently in their possession. Each player is also given their character’s starting equipment, a set of combat dice in their character’s colour, and a reference card. Stinger’s player has access to the Stinger Deck and the Stinger Key Deck. During play, these provide Stinger’s player with key cards to particular locations, the Park Ranger uniform, weapons, and so on. In addition, the Stinger’s player also receives the Movement Tracker sheet and a screen to hide it behind. This screen has a great image of Stinger, sniper rifle in hand, looming over the city as a whole, making him a constant presence, despite everyone not knowing where he is.

The Cop players have access to the Cop Deck and the Cop Inventory Deck and together these provide the Cop players with weapons, vehicles, cash for intelligence, and more. There are some fun cards in here too. For example, ‘Complaint’ sends Inspector Brannigan straight to city hall following a claim of police brutality; ‘Donuts!’ ends a player’s turn; when ‘Car’ card is drawn, the Cop not only gets that card, but gets to pop the trunk of the car and draw another card to see what is inside it; and a ‘Hood! Fight Now’ card means that the Cop has busted down the wrong door and the occupant is not taking it lying down!

A turn consists of two phases. In ‘Phase 1: The Hunt’, Stinger acts first. He can either move, play a card from his hand, draw a new card (and play it if he wants), declare a Hit, or get some first aid at an ER. Both declaring a Hit and going to the ER reveals Stinger’s location. Next the Hunch Tracker marker is moved. If on the ‘Reveal’ space, Stinger’s player reveals the district where he currently is. Then the Cop players take it to turn to do one of five actions. This can be to move—three spaces as opposed to the four of Stinger, play a card, draw a new card to play or keep, share inventory items with another Cop if they are in the same location, or get some first aid at an ER. Play progresses through ‘Phase 1: The Hunt’ again and again until Stinger has performed three Hits. This triggers ‘Phase 2: The Escape’. However, play in ‘Phase 2: The Escape’ is pretty much the same as ‘Phase 1: The Hunt’, but without the need to perform any further Hits.

Stinger’s location can be revealed through four means. A Cop moves into the space he is currently on, Stinger’s player draws a ‘Spotted’ card, a ‘Location Intel’ card is drawn—backed up by Lacey’s knowledge of Personnel & Records or extra cash, or Stinger moves into a location with a Cop there. The latter is a possibility if a Cop has already been injured, whether due to a ‘Hood! Fight Now’ card or an earlier encounter with Stinger, and Stinger’s player thinks he can do enough damage to send him to the ER. Performing a Hit also reveals Stinger’s location, but if Stinger has the Silencer for his sniper rifle, Stinger gets another turn to act before revealing the Hit, reflecting how difficult the Hit was to detect.

Combat takes place between Stinger and the Cops when or more of them are in the same location. It involves the players taking it in turns to roll dice as determined by the weapon they are carrying, modified by combat cards, if any, aiming to inflict damage on the other. Combat continues until Stinger is killed and thus the Cops win the game, Stinger sends the Cops to the ER, or one side attempts to escape and move immediately away. In general, this requires the ‘Escape’ symbol to be rolled on a die, and if the ‘Escape’ symbol does not appear, a player can burn cards from his hand. This removes them from the game, which can be serious for Stinger if those cards are a Janitor Key card or a Park Ranger Uniform card as this prevents Stinger from performing Hits at those locations. Notably, Stinger’s play begins the game with an Escape Token. This can be used once instead of a failed Escape roll and ensures that Stinger escapes once in the game.

In addition to the standard game, Go Ahead Punk! includes rules for solo play. This plays much in the same fashion as the standard game, but the player controls Stinger only—who has been blackmailed into performing the Hits—and the Cops are controlled by the game. The token for Stinger remains on the board at all times with the Cop tokens constantly moving towards Stinger. To make an allowance for solo play, Go Ahead Punk! does feel like a more complex game in comparison to the standard rules.

Go Ahead Punk! is a nicely and highly thematically presented game. All of the components are of solid quality, including the tokens, cards, and various boards—even for a preview version of the game. (Actual figures for the Cops are included in a deluxe version of the game.) The rule book is relatively short, but includes examples of play, combat, and card clarifications. The artwork is terrific though, for example, Stinger is shown on one card wearing the same Mexican style cardigan that Paul Michael Glaser wore on Starsky & Hutch. There are lots of little references like this, and players with any knowledge of the genre will enjoy spotting them.

Go Ahead Punk! has a pleasing ebb and flow to its play. Primarily this is due to the Hunch Tracker, which forces Stinger’s player to reveal the current district he is currently in, tightening the noose around Stinger, forcing his player to send him scurrying away if he does not want to be caught or run into a Cop. Then loosening again, if only for a little while... This in addition to clues left behind by any Hits which can build and build as the Cop players try and work out Stinger’s movements and possible intended location as he performs more hits. Consequently, there is never really a moment after the first Hit when Stinger does not feel like he is being hunted. The Cops are always going to feel like they are responding and successfully tracking Stinger will involve deduction based on first the Hit locations and second, the ‘Location Intel’ cards, as well as a bit of luck. That is, when they are not being distracted by claims of police brutality or doughnuts! Then there is the theme. Go Ahead Punk! feels like the film it is inspired by and familiarity with it will have the players wanting to play in the style of the characters from the cop films and television series and roleplay a little as the game progresses.

Overall, Go Ahead Punk! is a solidly designed classic hidden movement game of one player versus many built around a highly appropriate theme. The combination of the two sets up a brooding sense of uncertainty, never quite knowing when the Stinger will strike again as the Cops desperately search for the deranged killer—and all under the sunny skies of San Francisco.

—oOo—
Go Ahead Punk! is currently being funded via Kickstarter and an Unboxing in the Nook video is available on YouTube.

“Things Can’t Get Any Worse, They Got to Get Better”: Paul Schrader’s ‘Light of Day’

We Are the Mutants -

Lisa Fernandes / June 15, 2023

All of the characters in Paul Schrader’s Light of Day (1987) are looking for a way out. They’re stuck in menial nine to five jobs, on the line in factories and behind candy-colored checkout stands in supermarkets. Their families are suffocatingly close-knit, with parents watching punitively over rainbow-colored birthday cakes, wondering silently what they did to deserve such ungrateful spawn. Why won’t their children go to church, buy a car, come to Sunday dinner, and settle down? The Rasnick siblings, fronting their small band The Barbusters, wander the crowded barrooms and smoldering arcades of a Cleveland that no longer exists: they’re in a state of freefall, but they’re looking for a state of grace. Salvation ends up being but a breath away.

The fact that Light of Day exists at all is amazing in its own right. It started life as a Bruce Springsteen vehicle called Born in the USA, and though The Boss liked Schrader’s script, he ultimately passed on the project. He did give Schrader a new title, and wrote the title song, on the way out the door. We all know what happened to Born in the USA—the album and the song—after that. But Springsteen wasn’t the only musician connected to the project. Light of Day marks the big screen debut of another popular MTV star and rock icon—Joan Jett, who still performs the film’s title track at live shows. 

Jett is a powerful revelation in the part of Patti Rasnick, who holds down various day jobs (barely) to keep her kid fed while keeping her eyes on the prizes of leather and neon, full arenas and autograph-hungry fans. Playing Patti allows Jett to soar within the bruised and tightly-wound skin of a down-at-heels woman struggling to get up while refusing to compromise her ideals. Patti doesn’t care about her bad reputation either, and Schrader wisely doesn’t force her to. Patti is wise enough to know how good she is, how much more she deserves, and how different her life might be had her luck gone differently. Part of Schrader’s point is that the world is filled with Pattis, and Jett brilliantly plays the difference between what she knows and what Patti knows.

Michael J. Fox splits screen time with Jett as Joe Rasnick, Patti’s more settled brother. While Joe clearly has a love of rock music and an artistic temperament, it’s clear that his dreams are simpler. Patti won’t rest until her pain is consecrated and made worthwhile by a major career breakthrough; all Joe seems to want is a regular gig, a nice girlfriend, and for his family to get along for once. While they’re both talented, the level of commitment they bring to the band is very different. Patti is meant for bigger successes, destined to end up a viral sensation twenty years after the movie’s conclusion. Joe is destined to inherit his parent’s nice suburban house, work a good union job, raise a family, and play in bars on the weekends. He’s a nice guy who’s easily pushed around by the stronger personalities surrounding him. Because Patti is the flashier character, Fox’s performance has been somewhat underrated. But he absolutely aces Joe’s smallness, his inability to make bold moves; only when he acts in defense of his vulnerable nephew and tries to please his mother does he finally break out from under his big sister’s spell. Fox stands out in the film’s smaller dramatic moments, as when Joe is seen alone outside of his dying mother’s hospital room, as hunched and withered as the woman in the bed. He makes Joe likable, sympathetic.  

Joe’s everyman dreams anchor a life with no fixed stars. He dates a nice, upstanding-seeming blonde girl from a richer background, but she fades out of his life when she realizes how messy things are between him and the rest of his family, and how poorly she fits into his working class world. Patti herself has no steady significant other, mainly dedicating her life to music, even at the expense of her young son Benji (Billy L. Sullivan). She commits petty burglary to get the band a new sound board and shoplifts steaks with her son’s unwitting help to reward the band after a brief, anemic wintertime tour leads them nowhere. It’s not Patti but Joe who suffers in both incidents—Patti burglarizes a cousin of a co-worker, who knows exactly who took his tools and demands she pay up, forcing Joe to lean on their angelic mom. And Joe witnesses her shoplift and chews her out over it, leading to an explosive fight and the band’s temporary breakup.

Patti is never clever enough in her schemes to avoid detection, necessitating Joe’s apologies, his bowing and scraping to those who Patti has wronged. This is, we know, how it is between the two. His embarrassed apologies to their parents, who stand back and sigh and tisk at their daughter’s misfortunes, are accepted and received with almost presidential superiority. They all know they can’t really help her. The truth is that Patti sold her soul to rock ‘n’ roll years ago. It’s the only thing that saved her life when the family priest raped and impregnated her as a teenager, a fact she can’t bring herself to confess to her uber-religious mother Jeanette (Gena Rowlands), who still looks to the preacher as a spiritual advisor and looks down on Patti as a fallen Christian.

In turn, Patti has rejected her suburban childhood, the manicured lawns, the safety of the snowbound lanes surrounding their split-level house and the bromides of Jeanette and their cipher-like father, who loves his kids but stays out of Jeanette’s way. Even worse, Patti has rejected God and churchgoing itself. Joe still needs and loves all of these things; he’s never seen to pray, but their parents aren’t worried for his immortal soul. As a duo, Patti and Joe’s united dreams are beginning to untangle. The older Joe gets, the more he begins to yearn for the safety that his parents offer with every home-cooked meal and trip to the mall. The conflict that wears upon them all is a doozy—Joe, Benjamin Senior (Jason Miller), and Jeanette don’t know who Benji’s father is, and Patti simply wants to forget his name and that of the God he claims to serve. 

Interestingly, Patti does not reject or blame her son for what has happened to her. She is shown to be strict but loving, and parents with a sense of humor; she also would rather die than allow Jeanette to raise her child even for a couple of weeks. While Patti tries to prove she’s a good mom by trying to do right by Benji, she also pulls him out of school abruptly in the name of rock ‘n’ roll righteousness. She’s not interested in looking like a good mom to anyone. Ultimately, her choices are another act of defiance against Jeannette.

Joe is a conventionally good uncle, and becomes something of a surrogate father to Benji as Patti joins a different band and spends most of her nights performing. He wants Benji to have an ordinary life instead of whatever haphazard world Patti can offer him. Little Benji, seen strumming a plastic guitar in several scenes, clearly plans on taking after them both—and Joe will do anything to prevent that. He inserts himself nonstop into the boy’s life to offer him a sense of regularity and shouts down Patti for turning Benji into a pawn in her war of attrition with their mother. Joe’s the one who’s stuck making most of the decisions when Jeanette suddenly begins to decline in a way that seems to portend Alzheimer’s Disease but instead presages a quick, devastating cancer death. Only Gena Rowlands’s haunting, gentle performance helps make that part of the story work. Really, Jeanette’s death only exists as an object lesson for Patti (less of one for Joe, whose mourning seems secondary to the situation). 

And die she must, for Jeanette is just one in a long line of suffering, imperfect, Christlike figures who haunt Schrader’s writing. She’s the most human among them, the most easy to relate to, and the easiest to sympathize with. She’s no radical like Travis Bickle, but she causes a storm and a revolution in her own limited way. In Jeanette, forever forgiving, forever faithful, forever motherly—even when she’s trying not to be—Schrader finds maybe the most holy and sacrificing of all the female characters in his entire canon.  

Martyrdom may rule the entire Rasnick household, but it’s Patti who refuses to kneel. It takes Jeanette’s death to change anything, to bring about reconciliation. Patti promises that she’ll do what she must to join Jeanette in heaven, but one cannot picture her in church every Sunday. One can’t imagine her accepting communion, or subjecting Benji to the rituals she has rejected for so long, doled out by the man who abused her. Nor should she. If she spends more time in an arcade than at Sunday services, Jeanette will never know. The important thing is that they come to understand one another before Jeannette dies.

All of the Rasnicks are failed, in one way or another, by the great Gods in their lives. Jeanette‘s prayers draw Patti back to the fold of both home and religion, but don’t provide much succor as she lays dying, much of her recent recall obliterated by the strain of the illness. Joe quits his job to take The Barbusters beyond their regional roots, but returns to pressing out TV trays and taking care of his mother. Benji is let down by his mom’s choices and his family’s infighting. Benjamin Senior, who has spent his adult life worshiping his wife, now has no one in his bed. Patti is betrayed by the gods of rock; she ends up the lead singer of a Vixen-like pop metal band called the Hunzz, precipitating The Barbusters’ breakup and ever-so-slightly selling out to the mainstream in the process. What keeps them all going is their love for one another in the face of their imploding dreams, tied together like lifeboats on a sinking ship. 

The grimy and arid depictions of life in Cleveland in the mid-to-late 1980s shows a town slowly calcifying into a mini desert—the vanishing dream of Reagan’s Morning in America. Schrader’s visual palette snakes between the muted pastels of a shopping mall (stuffed with luxuries the Rasnicks can barely afford) to vermillion neon signs and concrete-colored urban landscapes filled with foreboding looking factories, which look rusted out and precarious, as if they’re about to chug to a stop at any moment. Schrader has derided his work on the film as visually uninteresting, claiming that his landscapes are flat. And yet he plays with the colors of the night and the late-day sunshine in a way that feels natural and unique. The scrubby parks and roadside motels and gloomy supermarkets are compelling precisely because of their glorious ordinariness. And the beautifully framed shots of the band rehearsing together as light streams into an otherwise silent and dark bar are as striking as a Renaissance painting. 

Decades later, the landscape the Rasnick siblings inhabited is long gone. The MarshAlan Industries building where Joe and bandmate Bu (Michael McKean) plied their trade was abandoned in 2000 and razed in 2006; the Euclid Tavern, where The Barbusters play their triumphant film-ending gig, shuttered in the late teens. Light of Day memorializes the Rasnicks’ America, a world frozen forever on a tightrope between what could be and what has died. 

To quote Dennis Potter, the song has ended, but the melody lingers on.

Lisa Fernandes has been writing since she could talk. Her bylines include Newsweek; Women Write About Comics; Smart Bitches, Trashy Books; and All About Romance.

Deities & Demigods II: Part 1, Hecate

The Other Side -

Let's kick off this inaugural Deities & Demigods II post by trying to figure out what should be in the standard stat block for these gods. Let me begin with some assumptions.

The Triple Hecate, 1795. William BlakeThe Triple Hecate, 1795. William Blake

  1. I will favor AD&D 1st Edition. This is the system I have used the most. This is also the system that was the genesis of my original One Man's God feature. So I would like as much overlap as I can.
  2. I will pull in material from any other edition or variation of D&D as I see fit. In particular, some of the Avatar details from AD&D2 and D&D3 as well as any other material that might fit the bill.
  3. I am working under the assumption that these stat blocks ARE NOT designed as super-powerful monsters to kill. In already borrowing from AD&D2, and a house rule we used in the 80s, these stat blocks represent their avatars or mortal manifestations on/in the Prime Material. Their true forms on their own plane are at least 10x more powerful. Likely more.

Now these assumptions are working under a much larger assumption of how my Deities & Demigods II posts will be like moving forward.

Today I want to focus on the stat block. I am not detailing anything about this god, yet nor am I even defining things like standard divine abilities or power levels. Let's go with AD&D 1st Ed standard until I have reason to do otherwise and see where this goes.

I am going to start with the example of Hecate from Greek Mythology. After this, I will use her and this example to develop a new pantheon of gods. I spent a lot of time with her yesterday in preparation for this post. 

Let's look at how Hecate is presented in the various D&D books.

Hecate across the Editions

Deities & Demigods: AD&D 1st Edition

For this I want to break down the AD&D 1st Ed Deities stat block.

Roslof Hecate sketchHECATE (goddess of magic)
Lesser goddess

ARMOR CLASS: -2
MOVE: 12"
HIT POINTS: 289
NO. OF ATTACKS: 1
DAMAGE/ATTACK: See below
SPECIAL ATTACKS: See below
SPECIAL DEFENSES: See below
MAGIC RESISTANCE: 89%

SIZE: M (51⁄4')
ALIGNMENT: Lawful evil
WORSHIPER'S ALIGN: Any being working with magic
SYMBOL: Setting moon
PLANE: Nine Hells

CLERIC/DRUID: 14th level druid
FIGHTER: Nil
MAGIC-USER/ILLUSIONIST: Special
THIEF/ASSASSIN: Nil
MONK/BARD: Nil
PSIONIC ABILITY: I
S: 12 1:25 W: 9 D: 20 C: 22 CH:25

I separated the sections with hard returns. I would use color, but that gives some screen readers for the visually impaired issues. So instead, I will go with the sections.

The first section starting with AC is very combat-focused. The number of attacks, damage per attack, special attacks, and more.

The second section starting with size is personal information and worshiper's information. This one is great for expansion.

The last section starting with classes is somewhat combat-focused and somewhat personal. For Hecate here, we expect she has some spellcasting ability but maybe not a lot of fighting.  Though as a personal note, I disagree with her Wisdom being so low.

After this follows her description. 

Ok. One of the most common complaints about the presentation in the D&DG is that this is too much like a monster. I high-level monster, but a monster all the same. It has AC and HP, so it must be able to be attacked and killed.  This is not what we want or need. We have nothing here about her Clerics (save for those that use magic), holy days, or anything a worshiper might need/want.

There is a table in back that is actually much more useful than anything in the stat-block above.

Deities & Demigods Tables

This includes their name, Sphere of Control, Clerics [M,F,N-H], Rainment [head, body], Colors, Holy Days, Sacrifice [Frequency, Form], and Place of Worship.

For Hecate, these are: Magic, Hell Hound, yes, yes, no, bare head, tunic, blue-white, fall equinox, monthly on the full moon, ox, and mountain glen. 

This is good material. 

Legends & Lore: AD&D 2nd Edition

I don't need to go into as much detail here since the entries for all gods are typically shorter. But let's have a look at what we have anyway.

Here we get into the concept that the stats are not the God, but their avatars on the Mortal plane.

Hecate's Avatar

Ok, so you can't fight the god, but their avatar instead. A little better I guess.

There is mention here of the duties of the priesthood, what spell domains they gain, what Weapon and Non-Weapon prophecies they have access to, and so on. Though nothing about holy days, animals, colors or the like. Each pantheon/mythos does have some new spells and artifacts listed so that is also nice. 

So the avatar and details on the priest characters are a good takeaways from this one.

Deities & Demigods: D&D 3rd Edition

Lastly, let's look at 3rd Edition, even if it is very different than the first two.

Ok I did pick this for a reason. There is a lot of information here for the players of the Clerics of these gods, which also gives us a Rosetta Stone of how to talk about the gods of other editions. That Rosetta Stone is the D&D Patheon, which at this time was primarily the Greyhawk one. Other editions use a similar set of gods and talk about what their priests can, can't, and could do.  BUT that is all for another time. Let's get back to Hecate.

Hecate 3e

We get Domains, Divine Rank, her Alignment, favored weapons (which can be used by her priests) and Portfolio.  All good information.

Unfortunately, 3.x goes on to embrace the worse parts of the 1st and 2nd Ed's books and then makes a bunch of their own. 

Hecate 3e

I mean yeah, there is lot of information here, but is any of it needed by her clergy? Ok the sections on Dogma and Clergy and Temples is good. But do I *really* need to know or care how many Feats she has. No. Not unless she is going into combat. Which she shouldn't do.

There is an "Avatar of Hecate" on the next page that is reminiscent of the AD&D 2nd Ed one, but still, not exactly something we need.

What, if anything, can I get from all of this?

Well. Sadly the default presentation for the first 25 years of D&D appears to be "God as High-level Monster," which is not at all helpful.

I broke down these stat-blocks WAY back in 2010 when I was detailing a new cult, the Church of Lolth Ascendant, for the Drow Goddess Araushnee. There I captured the stats that seemed most valuable to the clerics (and players of the clerics) of that particular Goddess.

This has me wondering.

What should the format of a "Deities & Demigods II" be? What is the purpose of a book of gods for a D&D-like game?

Given what I have worked through here and in previous posts, I can see two different but related projects.

First, I can see a need/desire/want for a continuation of the format of the 1st Ed AD&D Deities & Demigods, monster-like stats, and all. 

Secondly, I also see a need for a book of gods, demi-gods, and heroes, along with all the above-identified positive things like duties of the priesthood, holy days, and more. I would add new divine spells that are only available to those priesthoods. That's a much larger and more exciting project to be sure.

Deities & Demigods II is something I can do here, with some work.  The other project, the so far unnamed one, that will be something that will take longer. 

I think for the next post, I should first figure out what would be needed for a D&D-game god write-up.

#Dungeon23 Tomb of the Vampire Queen, Level 6, Room 15

The Other Side -

Moving through the city the sounds of animals fighting can be heard. In a small depression, what looks like three panthers are attacking a large lizard.

Room 15
 These creatures are not panthers of course, but Displacer/Warp Beasts

There are three, but sometimes it can be difficult to tell. They ignore the lizard and move towards tastier prey, the party.

They have treasure type D.

Wasted Lands Playtest: The Three Faces of Hecate

The Other Side -

//www.britannica.com/topic/HecateHecate. Encyclopedia Britannica.Trying out a few things today.

First, I wanted to play-test a Sorcerer character, which is the Wasted Lands equivalent of the Witch from NIGHT SHIFT.  In particular, I wanted to try out Hecate since I had already done Ereshkigal, even though I knew they shared certain similarities. 

Secondly, I wanted to do Hecate because she is the first focal point of my new series on the Deities & Demigods II project/feature here.

Thirdly, and related to both points above I wanted to work out how my Heka (the Hecate of my Grecco-Egyptian myths) and Helga (the Hecate of my Roman-Norse myths) would work out.

And lastly, I wanted to try out the Divine Touchstones feature of this game. As it turns out, this feature makes all the difference in the world. 

The Character: Hecate

For my second (and third and fourth) character, I am choosing Hecate, the goddess of witches, magic, the crossroads, and ghosts. She has been a favorite for a long time.  She will also be the first Goddess I cover for my D&DGII project.

Hecate is a Sorceress in the Wasted Lands, no doubt. Well...some doubt. While her main deal is magic, she also has that aspect of Ghosts. In the end, I stuck with Sorceress and found a nice way to add the spooky stuff I wanted.

HecateHecate

Class: Sorceress (Persona Aspect)
Level: 7
Species: Human

Alignment: Dark Neutral

Abilities
Strength: 12 (0)
Agility: 14 (+1)
Toughness: 16 (+2) N +1
Intelligence: 15 (+1) N +1
Wits: 13 (+1)
Persona: 17 (+2) A +2

Fate Points: 10
Defense Value: 8
Vitality: 5 (d6)
Degeneracy:
Corruption:

Check Bonus (A/N/D): +4/+2/+1
Melee Bonus: +0
Ranged Bonus: +1
Saves: +4 to Magic based

Special Abilities
Arcana, Arcane Powers

Corruption
- Unnatural Parlor

Divine Touchstones
1st: Sense Ghosts
2nd: First Level Spell: Nightvision
3rd: Summon Hellhound
4th: Class level: Necromancer (1 level)

Necromancer (Divine Touchstone 4th)
Channel the Dead 22%
See Dead People
Summon the Dead 15%
Command (Spirits)
Protection from Undead
Turn Undead 20%

Spells
1st: Mystical Senses, Create/Extinguish Light, Sense Death
2nd: Animal Summoning, Eternal Flame
3rd: Fly

Arcane Powers
1st: Beguile
4th: Shadow Walking
7th: Exorcist

Divine Notes: Magic, Witchcraft, Crossroads, Ghosts
Background: Priestess

Gear
Dagger: 1d4

This version of Hecate is the Greek Goddess of magic, witches, ghosts and the crossroads. I leaned into the last two to give her powers over spirits and undead. She gains her Divine Touchstones as part of significant aspects in her adventuring career. Sense Ghosts would be something that came to her naturally along with Nightvision, she is also the Goddess of the Night. Giving her a level for her 4th Divine touchstone was really what sold me on the touchstones. If she wants another level then she will need a higher-level touchstone to get it.

This is really what sets Wasted Lands apart from other gritty Swords & Sorcery games. 

It is also what helps set one character apart from another.

Heka and Helga are by definition just other versions of Hecate with something a little different. What is that something? Well here it is the arcane powers they get, but mostly it is the Divine Touchstones they earn.

For these next two characters I am keeping the base stats all the same. Human, 7th level Sorceress. But the differences now come from the spells, Arcane powers, the Divine Touchstones. One note since Sorcerers can choose their Aspect between Intelligence, Wits, and Persona, I picked different ones for each. 

The Character: Heka

Heka is the Hecate of the Greeco-Egyptian mythology.  While she is not a goddess that research into the Ptolemaic dynasty existed and would have worshiped (like Serapis or even later Hermes Trismegistus), she could have been in a D&D-like world. 

In this mythology, Heka is more focused on the learning aspect of magic and is the goddess of Dark Secrets. Her relationship with Isis is the same as that of Ishtar with Ereshkigal.  Dark and Light sisters. So for this, I switched her Aspect to Intelligence.

Like Hecate, Isis is connected to the underworld, so Heka would also be an underworld guardian and more of a protector of occult secrets.  While this could lead to "Wisdom" and "Wits" I felt intelligence was the better choice. I have also always felt that Isis was one of the more intelligent gods in any myth.

HekaHeka

Class: Sorceress (Intelligence Aspect)
Level: 7
Species: Human

Alignment: Neutral

Abilities
Strength: 12 (0)
Agility: 14 (+1)
Toughness: 16 (+2) N +1
Intelligence: 17 (+2) A +2
Wits: 13 (+1)
Persona: 15 (+1) N +1

Fate Points: 10
Defense Value: 8
Vitality: 5 (d6)
Degeneracy:
Corruption:

Check Bonus (A/N/D): +4/+2/+1
Melee Bonus: +0
Ranged Bonus: +1
Saves: +4 to Magic based

Special Abilities
Arcana, Arcane Powers

Corruption
- Uncomfortable Aura

Divine Touchstones
1st: First Level Spell: Read Languages
2nd: Enhanced Senses
3rd: Class level: Sage (1 level)
4th: 1 level of Necromancer

Sage (Divine Touchstone 3rd)
Lore: 27%
Mesmerize Others: 10%
Spells: 1st Level: Prestidigitation

Spells
1st: Beast Speech, Command, Protection from Undead
2nd: Beguile Person, Extra Sensory Perception
3rd: Clairvoyance

Arcane Powers
1st: Detect Thoughts
4th: Telepathic Transmission 
7th: Polymath

Divine Notes: Magic, Witchcraft, the Dead, Occultism
Background: Priestess

Gear
Dagger: 1d4

This version of Hecate combines part of the concept of Isis. So her connections to magic and the underworld are the same. As I said I consider Isis one of the most intelligent gods, so Heka reflects this. By combining that with magic, witchcraft, and the underworld she becomes a figure of Occult knowledge. Much like her fellow syncretized god, Hermes Trismegistus. Indeed, if Hermes Trismegistus is the "patron" of the various Hermtic Orders, then Heka would be the patroness of various Occult orders. Maybe even laying claim to secrets from that great temple of learning from the Ptolemaic Kingdom of Egypt, the Library of Alexandria. It certainly ties into the lesser-known Roman Goddess Cardea, the Goddess of Doors, and access to knowledge that has been conflated with Hecate before. 

I deal with the Roman Hecate below.

The Character: Helga

Helga is the Hecate of my Roman-Norse mythology. She combines aspects of Hecate, Hel, Hades, and Frau Holt. She also has connections to Frigga and Freya and would be the patroness of seers and seiðr. For this reason and the Frau Holt connection, I see her as more of a Crone-like figure. 

I also gave her the Wits Aspect for her connection to wisdom. 

HelgaHelga

Class: Sorceress (Wits Aspect)
Level: 7
Species: Human

Alignment: Dark Neutral

Abilities
Strength: 12 (0)
Agility: 14 (+1)
Toughness: 16 (+2) N +1
Intelligence: 15 (+1)
Wits: 17 (+2) A +2
Persona: 13 (+1)  N +1

Fate Points: 10
Defense Value: 8
Vitality: 5 (d6)
Degeneracy:
Corruption:

Check Bonus (A/N/D): +4/+2/+1
Melee Bonus: +0
Ranged Bonus: +1
Saves: +4 to Magic based

Special Abilities
Arcana, Arcane Powers

Corruption
- Unnatural Parlor

Divine Touchstones

1st: Empathy
2nd: First Level Spell: Sense Death
3rd: Class level: Psychic (1 level)
4th: Spirit Guide: Hound

Psychic (Divine Touchstone 3rd)
Psychic Power: Temporal Sense
Supernatural Attack
Sixth Sense
Supernatural Power: Precognition

Spells
1st: Command, Glamour, Predict Weather
2nd: Invisibility, Invoke Fear
3rd: Fly

Arcane Powers
1st: Enhanced Senses
4th: Beguile
7th: Wild Form

Divine Notes: Magic, Witchcraft, Seer
Background: Priestess

Gear
Dagger: 1d4

This version of Hecate leans more into the dark side as befitting a Goddess of Magic, Ghosts, and Witchcraft that was syncretized with the Goddess of the Underworld and Goddess of Magic and Witches. 

In many ways Helga feels like a better fit to me. Maybe because my whole idea of a Roman-Norse pantheon stretches back to a time when I was first reading myths and had a book that had both of them (along with Beowulf), which was the same time I was learning to play D&D.

Helga is the darker side of Witchcraft. while she has "good" figures in her mix like Freya, Frigga, and Frau Holt, she has Hel as well. 

Taking the base "Hecate" stats wand moving forward I emphasized her connection to the psychic world and her Seer powers. This gives her the Divine Touchstone of Psychic to gain some of those powers and a few more spells and powers.

Three Faces of Hecate

--

I am EXTREMELY pleased with these characters. Not just as characters but as a means to work out my ideas on who these Gods should be.  The Divine Touchstones are a great way to help build what later could be called divine abilities. I also see all three of these goddesses as being active as goddesses in a NIGHT SHIFT game. 

This game, the WASTED LANDS, is going to be really great and I am looking forward to seeing the final versions in print.  Please sign up for Kickstarter if you can

This also gives me a LOT of ideas for my new Deities & Demigods II feature. 

#Dungeon23 Tomb of the Vampire Queen, Level 6, Room 14

The Other Side -

 Leaving the Necropolis, there are rows of what could be homes. There are plenty of over-run mushroom farms.  None of these mushrooms look like the edible ones from earlier in this cave.

Room 14

These homes are not just abandoned; they are overrun with mushrooms. There are even dead bodies, or the remains of them, covered in mushrooms.

The surfaces are also covered with Yellow Mould

Additionally, there is a type of Zombie found in a few of these homes (1 in 1d6) that have 1d4+1 Yellow Mould Zombies.

These are treated as normal zombies but are not undead. They are covered with the same yellow mould and any character killed by the zombies or the mould will rise up in 1d4+6 hours as yellow mould zombie.  Once this happens they can not be raised.

Note: If the party has any of the healing wands from the level above they cause damage to the mould and zombies at 1d4+2 per charge used. Likewise, any healing magic will cause damage instead of healing.


One Man's God Special: Syncretism Part 5, Chariots of the Gods and Alien Gods

The Other Side -

One of the great bits of synchronicity of my education back in the late 70s early 80s was my discovery of two very different authors.  The first was Erich von Däniken who had a lot of ideas that appealed to my young self, a self that was fed a steady diet of mythology, astronomy, UFOs, and new-age ideas.  For me, at age 9 to 10, this seemed like great stuff.  It all seemed to fit so well.  Then I discovered the second author, Carl Sagan.  I had seen the various episodes of "In Search Of..." and all the episodes of "Cosmos." So at age 10 there seemed to be a worldview that *could* include both.  I mean, the fringes of science were the fringes, after all. Sagan told me that in black holes, the laws of physics break down.  Maybe there were other places/things/times like this?

Chariots of the Gods"Chariot of the Gods"

It is no stretch of the imagination that Carl Sagan and Cosmos utterly changed my life.  I always had wanted to be an astronomer, and Sagan was the model I wanted to follow.  Too bad I get to a point in Calculus where I stop understanding it.  Thankfully it was enough to help me out in statistics.

And I read, with abject horror and then absolute delight, Sagan's masterful takedown of von Däniken (and Velikovsky). He so utterly destroyed everything von Däniken had said and claimed.  The evidence and case were overwhelming for me; Erich von Däniken was a fraud, and Sagan was the true visionary.  At the age of 10, I tossed out, mentally speaking, all the things that were spiritual or pseudoscientific.  I relegated all my "magical thought" to my new obsession, D&D. 

But I never really let the ideas go away. Even Sagan himself entertained the possibility of ancient aliens, but as always, he met it with his famous standard, "extraordinary claims require extraordinary evidence."

One of those ideas was about ancient aliens visiting Earth and being interpreted as gods or angels. 

Von Däniken was not the only one to have these ideas. There was Zecharia Sitchin, who gave us, among other things, the 12th Planet and Nibiru.  But the biggest one was Immanuel Velikovsky.  There are more, but this is not a post on pseudohistory or pseudoscience.  This is a post about gods.  I'll try to recover from my self-inflicted irony wound here later. 

The Aliens

I would like to reconstruct the "Ancient Alien" idea with some major changes.  First, since this is a One Man's God post, these are not aliens but actual gods. I am going to present them as such. They can be "Alien Gods" to be sure, but these are Gods in the D&D/FRPG sense of the word.

I will do it, though in such a way as to leave enough doubt in the readers' minds. That "doubt" is really just my wiggle room so I can use them as "gods" in my various D&D campaigns or as aliens in my various modern games like NIGHT SHIFT.

I want to build something that feels like it came right out of the occult-infused 70s.  

Given all of this, it should not be a huge surprise that I will be drawing on many of the same research and literature reviews I did for my April A to Z of Conspiracy Theories.  I am going to include and draw on the following posts (many of which were originally written for an earlier version of this very post):

I would take a lot of this material and put them together as a group of gods. I have PLENTY of examples. 

Case in point: The Norse Gods and the Nordics.  Take the "alien race," the Nordics, for example. Called such because, well, they are tall and blond. In my take here, the aliens become the Norse Pantheon, essentially what you see in the Marvel Movies with the Asgardians.  

Case in point 2: The entire plot behind the Stargate movie and TV series.

Mine will not be so neat and certainly not so benevolent as those. 

Also, I want to avoid some well-documented racist tropes inherent in the Ancient Aliens as Gods theories. This can best be summarized as "white people couldn't figure it out, so therefore Aliens!" Even in the 70s, I saw this. 

Union of the Snake

The academic work on this is known as the Ophiolatreia: Rites and Mysteries of Serpent Worship. This covers many religions and practices. But it also plays a little loose with the definition of "Serpent." 

Let's try something simpler. There are 1000s of Gods, and there is no way I am going through all of them to find "interloper" gods or ones that don't quite fit with the rest. But I can start with the same resource I have been using this whole time, the Deities & Demigods.

I will work it this way. I'll take all the Gods in D&DG and find the ones that don't fit, and for the most part, I will focus on the reptilian or snake-like gods. I will add a couple more because they fit well with my ideas. 

The Flock

Given the fixation on snakes and reptiles, there needs to be a good representation of those sorts of gods in this new pantheon.  Also, many of these gods will be "sky" gods. While there are archetypes all gods fall into, I am not going to necessarily follow that here like I did in the Roman-Norse Pantheon.   

While the people here are reasonably "Good" aligned, I can't say the same for the gods.  In fact, I am going to have this pantheon of gods be primarily evil.  Their design here is to enslave humans and make them build these giant temples for whatever reason. Conquest? Food? I'll see as I build them.  The humans here are doing what they can to appease these powerful beings in the only ways they know how given their times and tools at hand. This is what makes the process more "Stargate" and less "Marvel's Thor."

So who are these people? This has to be Bronze Age or long before; the Neolithic sounds better. 5,000 BCE feels right.  This also allows me to use some Proto-Indo-European notions of gods.  Indeed I might even reconstruct my own versions of the PIE Gods, not unlike what I did with the Roman-Norse Pantheon.  OR, and here is an idea, the PIE Gods existed, and these "Alien Gods" were the ones they warred with.  This tracks with the common element in many PIE myths of the Hero/God slaying the Dragon/Serpent.  Could the Dragon/Serpent be these Alien Gods?  This is the Chaoskampf of many myths.

Remember, I am not putting together a Master's Thesis or Ph.D. Dissertation here. I am building something for the D&D, NIGHT SHIFT, and WASTED LANDS RPGs. I get to bend the rules of proper academic research as much as I like.

I will use these ideas to expand my monsters, Ophidians, and Saurians.

The Gods

Here are some gods that look like they fit my criteria of a snake/reptile/non-human god in a pantheon of human gods. Eastern religions, or, more to the point, non-European ones, have far more variety in their gods. Note: I am also going to get into the subject of Good vs. Evil here. Some, like Queztequotal (Aztec) and Shāhmārān (Turkey) are objectively good figures. Others are not.

While I will focus mostly on the myths as presented in the DDG, there are far, far more. I am going to avoid monsters for the most part, but some will sneak in.  Though I will add more gods that I know as appropriate.

American Indian Mythos

  • Snake-Man

Babylonian, Sumerian, and Akkadian Mythos

  • Apsu
  • Aži Dahāka / Dahak
  • Inshushinak
  • Ištaran
  • Nirah
  • Tiamat
  • Tishpak

Celtic Mythos

  • Caoránach
  • Oilliphéist

Central American Mythos

  • Kukulkan / Queztequotal
  • Huhueteotl
  • Tlaloc

Chinese Mythos

  • Ma Yuan

I talk a lot about Ma Yuan and Ma Yüan-shuai in my discussion of the Chinese myths, I think I might keep him "as is" for this.

Egyptian Mythos

  • Apep
  • Flame Snake (monster and enemy of the Gods)
  • Mehen
  • Nehebkau
  • Set (to a degree)
Finnish Mythos
  • Syöjätär (a monster, but that is the closest thing they have)

Greek Mythos

  • Enceladus
  • Gorgons
  • Hydra
  • Ophion
  • Ophiuchus

Indian Mythos

  • Bhenswara
  • Nagas
  • And dozens more

Japanese Mythos

  • Ugajin
  • Yamata no Orochi

Norse Mythos

  • Jormungandr

This could be a pantheon all on its own. Several of these have their own "portfolios."  And there are so many more.

While I am considering this as something to use with NIGHT SHIFT as "Ancient Aliens." In the WASTED LANDS, they could be heroes (still aliens of a sort) that become gods. Though in at least one case, Jormungandr is another name for Yig.

I could revisit these as part of my Deities & Demigods II since this might be my last Syncretism post for a bit while I spend some more time on my Deities & Demigods II ones.

One Man's God Special: Syncretism

#Dungeon23 Tomb of the Vampire Queen, Level 6, Room 13

The Other Side -

 While within the Necropolis, the party moves near an open temple. As the party approaches, they are surrounded by Shadows moving in. Though before they can attack, a haunting music can be heard. The Shadows move back and surround two elves, a male and a female. The woman is playing a long double flute that looks like it is made of bone.  The man is holding a skull with eyes of balefire.  

The shadows move back into the ground.

Runu and Urnu

When the last of the Shadows have gone, the woman stops playing.

They are dressed similarly and even look the same, obviously related.  They look like the shadow elves you have seen, but their skin is darker, and their hair is lighter.  The woman greets you first.

"Greetings. I am Runu, and this is my younger brother Urnu," she says.

There is a snort from the male, and a "younger by mere seconds." escapes his lips just loud enough to be heard by all.

Runu points to a rune on the ground that one of your shoes has kicked dirt onto. 

"The Rune of Ake keeps the shadows confined to the temple. When you walked over it broke the magic. But no matter." She brushes the dirt away, and the great circle of runes glows briefly and then fades.

They tell you they are Shadow Elves, but they are also Drow/Dark Elves and therefore despised by all elves. More importantly, they tell you they are not under the sway of the Vampire Queen.  

They mention they need a particular jewel from an idol in the central temple.  The idol is that of the Demon Lord Orcus and the temple is his.They causally mention they know they are searching for the tomb of the Vampire Queen. ("Why else are you here? It's not the scenery!")  They also add that the large temple is the access to the lower levels. There is a secret door under the idol.

If asked why they are helping, they will say that the Shadow Elves will kill them on the spot, but the adventurers are a curiosity to them and they have a chance to reach the temple.

If asked why they need it, they will claim it was stolen by the Vampire Queen, and they want to return to their home temple. 

If the party tries to attack them, they use their Rings of Invisibility and sneak away. They do want the adventurers alive to face the monsters in the Temple.

The double flute are "Pipes of the Susurrus" and they require training to use.

There is nothing of note in this local temple.

--

Note: Runu is a Profane Necromancer, Urnu is a Gothic Witch. Most of what they tell you is true. Save for a few details.

- The Shadow Elves will kill Runu and Urnu true, but they will also kill the adventurers. Runu is playing up how many Shadow Elves are here.

- Runu summoned the shadows herself to scare the adventurers. 

- They do need the gem, the Eye of Orcus, but it is far more dangerous than they let on.

- They want the adventures to face the monsters of the main temple. 

- They have no love for the Vampire Queen

Monstrous Mondays: Shadow Elves for Old-School Essentials

The Other Side -

I have a couple of things going on this month. First off I am still doing the #Dungeon23 challenge. The level for June is the dead city of the Shadow Elves. Also,  I am waiting for the print proof of Monster Mash II to arrive. So I figure I can do a little for both today and detail the Shadow Elf from Monster Mash I as an OSE Monster listing. 

Old School Essentials Monster Mash

I have done Shadow Elves before, but not as a proper Old-School Essentials monster. 

shadow elfShadow Elf

Tall, thin elves with pale gray to dark gray skin. They have jet-black hair and long, pointed ears. Also known as Umbral Elves. They live in dark cave systems and places where shadows are the strongest.

Armour Class: 6 [13]
Hit Dice: 1* (4hp)
Attacks: 1 × weapon (1d6 or by weapon)
THAC0: 18 [+1]
Movement: 120’ (40’)
Saving Throws: D12 W13 P13 B15 S15 (Elf 1)
Morale: 8 (10 with leader)
Alignment: Neutral (Chaotic Neutral)
XP: 19
Number Appearing: 1d4 (2d12)
Treasure Type: C

  • Infravision 90'
  • Immune to the touch of Ghouls and Ghasts
  • Necromancer spells. A Shadow Elf can cast one 1st level Necromancer spell.
  • Leader: Groups of 15+ are led by an elf of level 1d6 + 1. The leader may have magical items: 5% chance per level for each magic item table.

Shadow Elves are often confused with Dark Elves. 

Most Shadow Elves follow the Faerie Lord Scáthaithe, The Umbral Lord.  Others have fallen under the sway of Darlessa the Vampire Queen.

Shadow Elves as an OSE-Advanced Race

Shadow elves have the following requirements and can take the following classes.

Requirements: 15 or greater on DEX
Ability Modifiers: +1 to DEX

  • Acrobat: 10th
  • Assassin: 10th
  • Barbarian: NA
  • Bard: 10th
  • Cleric: 5th
  • Druid: 5th
  • Fighter: 10th
  • Illusionist: 9th
  • Knight: 10th
  • Magic-User: 8th
  • Paladin: NA
  • Ranger: NA
  • Thief: 10th
  • Gothic Witch: 10th
  • Profane Necromancer: 10th

I need to update my twins, Runu and Urnu, to these rules. With Runu as a Profane Necromancer and Urnu as a Gothic Witch. 

Jonstown Jottings #78: Veins of Discord

Reviews from R'lyeh -

Much like the Miskatonic Repository for Call of Cthulhu, Seventh Edition, the Jonstown Compendium is a curated platform for user-made content, but for material set in Greg Stafford’s mythic universe of Glorantha. It enables creators to sell their own original content for RuneQuest: Roleplaying in Glorantha, 13th Age Glorantha, and HeroQuest Glorantha (Questworlds). This can include original scenarios, background material, cults, mythology, details of NPCs and monsters, and so on, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Glorantha Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Glorantha-set campaigns.

—oOo—
What is it?
Veins of Discord is a scenario for use with RuneQuest: Roleplaying in Glorantha.

It is a thirty-four page, full colour, 38.59 MB PDF.

The layout is clean and tidy, but needs a slight edit in places. The artwork is decent. However, there are no maps, so the Game Master will need to refer to the maps included in the RuneQuest Gamemaster Screen Pack.

Where is it set?
Veins of Discord is set in Sartar, specifically in and around the village of Apple Lane.

Who do you play?Any type of Player Character can play Veins of Discord, but ideally they should be invested in the future of Apple Lane and they should be capable working in the surrounding wilderness. The scenario presents an interesting situation if a Player Character is the thane of Apple Lane or an Ernalda worshipper.
What do you need?
Veins of Discord requires RuneQuest: Roleplaying in Glorantha, the Glorantha Bestiary, and especially, the RuneQuest Gamemaster Screen Pack for its information about Apple Lane and its surrounds. The Red Book of Magic may also be useful.
What do you get?
Veins of Discord begins with a strange visitor to Apple Lane. Accius Yuthuppa wants wilderness guides to help him investigate the nearby Thunder Hills for reasons that nobody can quite fathom, though, it turns out, the pay is pretty good. It quickly becomes clear that he ill-suited to the wilderness, even the relatively tame wilderness around Apple Lane, but after collecting numerous sods and clods and rocks, he disappears from the lives of the Player Characters, only to be remembered as an odd encounter.

Not long after Accius Yuthuppa has left, several Dwarves arrival in the Apple Lane, their leader wanting to negotiate for the mining rights to the nearby hills. The Dwarves will compensate the village (and its thane) for these rights, but if the thane or the people of Apple Lane decline, the dwarves will move on and find someone else to negotiate with. Either way, the Dwarves will begin mining in the hills. Naturally—because after all, what the Dwarves are doing could be seen as unnatural—this has consequences.

Veins of Discord confronts the Player Characters with a dilemma as the actions of the Dwarves bring them into conflict with the Elves of the nearby Tarndisi’s Grove. Do they side with those that they made agreement with or do they side with the Elves who want to undo what they regard as the damage that the Dwarves have inflicted on the earth? Whether they gave permission for the Dwarves to mine in the hills, in which case, the Elves will be unhappy with the Player Characters, or the dwarves successfully sought permission from someone else, the Elves will still make a plea for assistance. Whichever side the Player Characters decide to support, the Elves will assault the mine, and there will be long term consequences for supporting one side and not the other. Ultimately, there no easy answer to the situation presented in the scenario.
Veins of Discord is a straightforward scenario, though the Game Master will need to prepare the final showdown in the mine as it involves a lot of combat. Full stats and descriptions are provided for both the Elves and Dwarves involved in the scenario as well as various other creatures. One thing missing from the scenario is a map of the mine. The Game Master can run the scenario without it, but its inclusion would have been useful.

Another aspect of the scenario is that although the plot and central idea behind Veins of Discord—modernity and industrialisation versus traditionalism and the natural world—is not necessarily new to roleplaying, it is not necessarily a familiar plot in RuneQuest. The players will need to both roleplay their characters’ reactions to what is to them a very alien concept and the fact that their characters will not at all be familiar with the consequences of what the Dwarves want. Not so much a challenge, but rather something that they should keep in mind.

The format and plot to Veins of Discord means that it actually plays out over the course of several weeks. The Game Master could easily run another scenario as the events of Veins of Discord play out offscreen.
Is it worth your time?YesVeins of Discord is a straightforward and enjoyable scenario which presents the Player Characters with a surprisingly modern dilemma that ultimately cannot be solved to everyone’s satisfaction and feels all the more satisfying because of this.NoVeins of Discord is too location specific, being set in Apple Lane, and involves both Elves and Dwarves, and an industrial theme which may not suit a Game Master’s campaign.MaybeVeins of Discord is flexible in that it can set elsewhere, but its industrial versus the ecological theme may not not suit every Game Master’s campaign.

Miskatonic Monday #197: Horror at El Dorado Royale

Reviews from R'lyeh -

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

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

—oOo—
Name: Horror at El Dorado RoyalePublisher: Chaosium, Inc.
Author: Ben Burns

Setting: Modern Day MexicoProduct: Scenario
What You Get: Thirty-four page, 38.40 MB Full Colour PDF
Elevator Pitch: Some bridezillas never forget, never forgive.Plot Hook: Wedding of a friend at a five star resort. What can go wrong? Then the dreams and the deaths begin...
Plot Support: Six pre-generated Investigators, seven handouts, no NPCs, one map and two floor plans, one non-Mythos monster.Production Values: Decent.
Pros# One-two session one-shot# Encourages the use of mobile phones and Wikipedia by the Investigators
# Non-Mythos horror scenario
# Non-Mythos monster not new to Call of Cthulhu# Nicely detailed ritual# Good mix of interaction and investigation# Solid staging advice# Easy to replace the pre-generated Investigators# Decent artwork# Thalassophobia# Aquaphobia# Gamophobia# Heortophobia
Cons# Needs a slight edit. No, it really does.# Tightly plotted# Handouts a little bland# Monster timeline unclear# Monster stats could be better placed separately# No NPC stats or portraits
Conclusion# Despite the lack of NPC stats, a solidly serviceable movie style one-shot which combines holiday horror and wedding woes.# The best scenario by Ben Burns for Call of Cthulhu to date

Decyphering the Cypher System

Reviews from R'lyeh -

First seen in Numenera, a Science-Fantasy RPG set a billion years into the future published a decade ago and then in the multi-realm hopping The Strange, the mechanics of what would become the Cypher System have since been seen in multiple settings and genres and roleplaying games and gained a generic rulebook of their own so that the Game Master can use them to create and run settings of her with dynamic Player Characters. They are designed to be flexible and adaptable and enable players to create characters that do things. The rules enable the use of various powers and abilities by focusing on their effects and how they are perceived in a setting or genre. For example, a fire bolt in a fantasy campaign could only be cast by a wizard, but in Science Fiction setting, it can only be pyrokinesis! Published by Monte Cook Games, The Cypher System Rulebook includes not just a full explanation of the rules and the means to create a wide range of characters and archetypes, plus a bestiary and extensive equipment lists—including the all-important near magical cyphers and artefacts, but also an overview of nine different genres and advice on how to do them using the Cypher System.

The Cypher System Rulebook begins with a quick explanation of the system’s mechanics before focusing upon the Player Character. A Player Character in the Cypher System has three stats or Pools. These are Might, Speed, and Intellect, and represent a combination of effort and health for a character. Typically, they range between eight and twenty in value. Might covers physical activity, strength, and melee combat; Speed, any activity involving agility, movement, stealth, or ranged combat; and Intellect, intelligence, charisma, and magical capacity. In game, points from these pools will be spent to lower the difficulty of a task, but they can also be lost through damage, whether physical or mental. A Player Character has an Edge score, tied to one of the three pools. This reduces the cost of points spent from the associated pool to lower the difficulty of a task, possibly even to zero depending upon the Edge rating. A Player Character will also have a Type, which can either be an Adept, which uses powers akin to magic or psionics or superpowers—depending on the genre; Warrior, a soldier or a police officer or warrior; Speaker, conman, diplomat, or gambler; or an Explorer, an archaeologist, investigative journalist, or treasure hunter. Essentially, these are archetypes which a player can modify as a game progresses over the course of several sessions.

However, what defines a Player Character is a simple statement—“I am an adjective noun who verbs.” The noun is the Player Character’s Type, whereas the adjective is a Descriptor which describes the character and verb is the Focus, or what the character does. For example, “I am a Cruel Adept who Was Foretold”, “I am Brash Warrior who Brandishes an Exotic Shield”, “I am a Charming Speaker who Entertains”, and “I am a Rugged Explorer who Explores Dark Spaces”. This encapsulates the Player Character in the case of the Descriptor, Type, and Focus, provides points to assign to his three Pools, special abilities, skills, and a point in an Edge. To this is added a connection to world and through this to the other Player Characters, plus a Character Arc, which provides a story that the character and player can invest themselves in as well as providing a means of earning Experience Points. Although there are only four character Types, there are some fifty Descriptors and over ninety Foci for a player to choose from, providing for a wide range of Player Characters in a simple, familiar format. To create a character, a player selects a Descriptor, Type, and Focus ,and chooses from the options given under each.

The two sample Player Characters include a standard scholar type character who has seen military service and who would rather spend time with his books and a darker character more suitable for an arcane style of game. Not only does the Cypher System Rulebook include a wide array of options in terms of its characters, it includes guidelines to help the Game Master create further Descriptors and Foci for her own setting, plus adding ‘Flavour’ to colour a character that a player wants.

Henry Brinded
“I am an Intelligent Explorer who Would Rather Be Reading.”
Tier 1 Explorer
Might 10 [Edge 1] Speed 11 Intellect 15
Effort 1
Abilities: Light and medium weapons, Danger Sense, Decipher, Knowledge Skills, Practiced with all weapons, Knowledge is Power
Skills: Archaeology, History, Occult, Memorisation, Persuasion, Sailing
Arc: Enterprise

Kossos
“I am a Cruel Adept who Was Foretold.”
Tier 1 Adept
Might 7 Speed 12 Intellect 17 [Edge 1]
Effort 1
Abilities: Expert Cypher Use, Light Weapons, Far Step, Magic Training, Scan, Ward, Cruel attacks
Skills: Deception, Intimidation, Persuasion (All related to pain), See through deception, public speaking
Inability: Hindered with motives or emotions
Arc: Mysterious Background

Mechanically, the Cypher System is player facing—and arguably was one of the first systems to be player facing. Thus, in combat, a player not only rolls for his character to make an attack, but also rolls to avoid any attacks made against his character. Essentially this shifts the game’s mechanical elements from the Game Master to the player, leaving the Game Master to focus on the story, on roleplaying NPCs, and so on. When it comes to tasks, the character is attempting to overcome a Task Difficulty, ranging from one and Simple to ten and Impossible. The target number is actually three times the Task Difficulty. So, a Task Difficulty of four or Difficult, means that the target number is twelve, whilst a Task Difficulty of seven or Formidable, means that the target number is twenty-one. The aim of the player is lower this Task Difficulty. This can be done in a number of ways.

Modifiers, whether from favourable circumstances, skills, or good equipment, can decrease the Difficulty, whilst skills give bonuses to the roll. Trained skills—skills can either be Practised or Trained—can reduce the Difficulty, but the primary method is for a player to spend points from his relevant Stat pools. This is called applying Effort. Applying the first level of Effort, which will reduce the target number by one, is three points from the relevant Stat pool. Additional applications of Effort beyond this cost two points. The cost of spending points from a Stat pool is reduced by its associated Edge, which if the Edge is high enough, can reduce the Effort to zero, which means that the Player Character gets to do the action for free—or effortlessly!

Rolls of one enable a free GM Intrusion—essentially a complication to the current situation that does reward the Player Character with any Experience Points, whereas rolls of seventeen and eighteen in combat grant damage bonuses. Rolls of nineteen and twenty in combat can also grant damage bonuses, but alternatively, can grant minor and major effects. For example, distracting an opponent or striking a specific body part. Rolls of nineteen and twenty in non-combat situations grant minor and major effects, which the player and Game Master can decide on in play. In combat, light weapons always inflict two points of damage, medium weapons four points, and heavy weapons six points, and damage is reduced by armour. NPCs simply possess a Level, which like the Task Difficulty ranges between one and ten and is multiplied by three to get a target number to successfully attack them.

Experience Points under the Cypher System are earned in several ways, primarily through achieving objectives, making interesting discoveries, and so on. However, they are not awarded for simply killing monsters or finding treasure. There are two significant means of a Player Character gaining Experience Points. The first is ‘GM Intrusion’. These are designed to make a situation and the Player Character’s life more interesting or more complicated. For example, the Player Character might automatically set off a trap or an NPC important to the Player Character is imperilled. Suggested Intrusions are given for the four character Types and also for all of the ninety or more Foci. When this occurs, the Game Master makes an Intrusion and offers the player and his character two Experience Points. The player does not have to accept this ‘GM Intrusion’, but this costs an Experience Point. If he does accept the Intrusion, the player receives the two Experience Points, keeps one and then gives the other to another player, explaining why he and his character deserves the other Experience Point. The ‘GM Intrusion’ mechanic encourages a player to accept story and situational complications and place their character in danger, making the story much more exciting.

There is the reverse of the ‘GM Intrusion’, which is ‘Player Intrusion’. With this, a player spends an Experience Point to present a solution to a problem or complication. These make relatively small, quite immediate changes to a situation. For example, a Cypher or Artifact is expended, but it might be that the situation really demands the device’s use again, so the player decides to make a ‘Player Intrusion’ and at the cost of single Experience Point, give it one more use of charge.

The other means of gaining Experience Points—a new addition to the Cypher System since Numenera—is the Character Arc. A Player Character begins play with one Character Arc for free, but extra can be purchased at the cost of Experience Points to reflect a Player Character’s dedication to the arc’s aim. Each Character Arc consists of several steps—Opening, two or three development steps, followed by a Climax and a Resolution. Suggested Character Arcs include Avenge, Birth, Develop a Bond, Mysterious Background, and more. For example, Kossos has the Character Arc of ‘Mysterious Background’. This begins with an Opening in which Kossos starts her search, the next steps being Research and Investigation, the first step looking into her family background, the second asking people who might know more, followed by the Climax in which Kossos will make a discovery. In the Resolution, Kossos will reflect upon what she has discovered and how it changes her. The selection of the Character Arc during character creation signals to the Game Master what sort of story a player wants to explore with his character.

Although the rules and the various elements—Descriptor, Type, and Foci—which go to make up a Player Character take up over half of Cypher System Rulebook, a lengthy section is dedicated to discussing the various genres which the Cypher System can encompass and handle. Nine genres are discussed—Fantasy, Modern, Science Fiction, Horror, Romance, Superheroes, Post-Apocalyptic, Fairy Tale, and Historical. Many of these have their sourcebooks and settings for the Cypher System. For example, Godforsaken for the Fantasy genre or Stay Alive! for the Horror genre. In each case, the Cypher System Rulebook provides an overview of the genre, advice on how to create and play a game in the genre, along with suggested roles and associated Types, Foci, creatures and NPCs, equipment, and more. For example, for the Fantasy genre, it suggests how to create a Wizard using the Adept Type, a Druid using the Explorer with a magic flavour, a Thief using the Explorer with a stealth flavour, and so on. There are options for Species—Dwarf, Elf, and so on—as a Descriptor, and for spellcasting. In many cases, it also suggests subgenres, such as childhood adventures for the Modern genre or hard Science Fiction for that genre, and also discusses the mixing of genres, such as Superheroes and Science Fiction and time travel and Historical. Where necessary, extra rules are added, for example, adding shock and madness for the Horror genre. In each case, these chapters are primers for the nine genres, some longer than others—for example, the Romance genre chapter is just three pages long, but the Post-Apocalyptic genre chapter is seven pages long.

In addition to the discussion of the various genres, the Game Master is given solid advice on running the Cypher System, which pays particular attention to handling ‘GM Intrusions’, judging difficulty, encouraging player creativity, handling NPCs, and perhaps notably, teaching the Cypher System. Despite the simplicity of the Cypher System, there being a slight disconnect between the Task Difficulty and the Target Number and how a player is aiming to reduce the Target Number before rolling against it rather than the Task Difficulty. The advice is really to take a step-by-step approach and ease the players into the rules and mechanics. It is thoroughly good advice and a great inclusion in the book. As well, as the advice, the Game Master is also supported with a lengthy bestiary of creatures and monsters and NPCs from a range of genres, which of course, support the various discussions dedicated to those genres earlier in the book.

Of course, the Cypher System Rulebook examines its namesake—Cyphers. Again, first seen in Numenera, Cyphers are typically one-use things which help a Player Character. A Cypher might heal a Player Character, inflict damage on an opponent or hinder him, aid an attack, turn him invisible or reveal something that is invisible, increase or decrease gravity, and so on. They can be physical or Manifest, so could be a potion, a spray, a piece of software, a scroll, amongst other items, or they can be intangible or Subtle, which could be good fortune, inspiration, an alien concept, a blessing, an ear worm, or the like. In a fantastical game, Cyphers are likely to be Manifest, whereas in a modern setting they are likely to be Subtle and so do not break the feel of the setting and its genre by having lots of outré objects lying around which nobody has ever heard of before. Cyphers are, for the most part, genre neutral in terms of their mechanics. Their form though, is not, so a Cypher can be the same mechanically in two different genres, but their appearance and how they are seen to work differs between the two genres. For example, a Disguise Kit in the Historical genre would consist of a wig and make-up and perhaps a pair of spectacles and clothing, but in the Science Fiction genre, it could be a holo-projector which works only on the user. Obviously, Manifest Cyphers are easier to use because they have an obvious physicality both as objects and their effects, whereas Subtle Cyphers require more careful handling in order to remain faithful to a setting and its genre.

Physically, the Cypher System Rulebook is very well presented and everything is clearly explained. In addition, the sidebars are used to add extensive commentary and advice throughout the book and everything is individually page referenced to make the book itself easy to use. There are plenty of examples as well, including sample Player Characters for each of the four Types in the roleplaying game. The artwork is also decent. One oddity is that the example of play is presented at the end of the book, but it is a good example of play.

The introduction of the Cypher System with Numenera and The Strange was ground-breaking with its inclusion of player-facing mechanics, the ‘GM Intrusion’ rule, and a setting where the Player Characters had ready access to amazing abilities and amazing devices, or Cyphers. The Cypher System Rulebook brings those mechanics together in very well designed, accessible rulebook and shows the players how they can make interesting, pro-active characters and the Game Master how she can take the rules to not just run a game, but run a game in numerous different genres. The Cypher System Rulebook presents an excellent, flexible set of rules and advice for the Game Master who wants a game where her players and their characters shine and exciting, dynamic stories are told.

#Dungeon23 Tomb of the Vampire Queen, Level 6, Room 11

The Other Side -

 There are many, many empty buildings here. Most are empty and look like they have not been occupied in centuries or more. There are no monsters or traps, and only small lizards and rodents.

Room 11

Empty homes (marked as "11") do have the following:

Roll 2d6

2: Small pouch, 2d6 x10 GP
3-4: Small pouch, 1d4 x6 SP
5-6: Small pouch, 1d4 x2 CP
7: Nothing
8-9: 1 Gem, 1d6 x4 GP
10-11: 1d4 Gems 1d4 x5 SP
12: 1 Gem 50 GP

--

There are at least 20-40 dwellings that are empty like this. 

Further Beyond Failure

Reviews from R'lyeh -

Further Beyond Core Rules Preview is the introduction to Further Beyond: The Roleplaying Game of Galactic Exploration & Adventure. Published by Blue Donut Games, it takes its inspiration from the artwork of Peter Elson, whose work graced the covers of numerous fantasy and Science Fiction novels during the seventies, eighties, and nineties. It has a distinctly seventies feel to its look and its style, depicting a future of strange worlds, aliens, rocketships and other giant spaceships, and of heroic men and women. Its nearest antecedent is Traveller, one which the authors admit to having had run in the past. The Further Beyond Core Rules Preview provides an introduction to the core ideas behind Further Beyond: The Roleplaying Game of Galactic Exploration & Adventure, its key rules, combat rules, how to run the game, and a short bestiary. However, what the Further Beyond Core Rules Preview lacks are details of what a Player Character or NPC looks like or anything specific that they could play. This limits the scope of the preview, unfortunately.
In Further Beyond: The Roleplaying Game of Galactic Exploration & Adventure, the players make all of the rolls. Thus, it is a player-facing roleplaying game. It uses a twenty-sided die for its core mechanic. A Player Character has four stats—Physique, Dexterity, Intellect, and Affinity—and these serve as bonuses to Saves, or saving throws. The core mechanic consists of rolling the die and attempting to equal or exceed a Difficulty Target Number, which ranges from four for Routine and eight for Basic to thirty-six for Legendary and forty for Impossible. It is possible to roll a partial success as well as success. A success is equal to or greater than the Difficulty Target Number, whereas a partial success is a roll between the Difficulty Target Number and four lower than the Difficulty Target Number. It indicates a successful action, but carried out with some consequence. A failure is thus a roll between five less than the Difficulty Target Number and a result of two. A roll of one is a critical failure, whilst a roll of twenty is a critical success. There are consequences to rolling a failure, which will be worse if a critical failure or not so bad if a partial success. The Custodian—the term for the Game Master in Further Beyond—suggests what these consequences might be. The system uses the standard rules for advantage and disadvantage, but a player never rolls more than two twenty-sided dice, whether he has advantage or disadvantage.

Combat in Further Beyond uses the same mechanics bar a tweak or two. Of course, a player will be rolling for his character to make an attack, but also rolling to avoid an attack against his character, since the mechanics to Further Beyond are player-facing. The first tweak is that there are not necessarily any consequences to failing an attack roll, which a critical success will typically inflict double damage. Damage reduces a Player Character’s Hit Points and when they are reduced to zero, they are reset to their maximum minus any excess damage which carried over the zero, and the Player Character suffers a wound. A Player Character who three or more wounds left suffers no ill effects, but saving throws against his stats are required if the number of wounds is lower, and at zero wounds, the Player Character is dying. The guide to combat covers the typical range of actions a Player Character can do, including reactions such as Opportunity Attack or Brace.

Further Beyond Core Rules Preview also covers vehicles, but not spaceships, and then only briefly. Advanced vehicles are semi-autonomous, so in combat, a vehicle can follow instructions given to its by its pilot, who can also act as well. There is also some discussion of the types of environments that the Player Characters might face before a discussion of the structure of play in Further Beyond. This divides play into missions and downtime, with options for the latter including studying a specific skill, gathering information, or making or using a contact. This is followed by advice for the Custodian, first on running the game and then on combat. Rounding out the Further Beyond Core Rules Preview is a selection of ‘Creatures of the Vast’, such as the Chameleon Broodmother which hunts in caves and is intelligent enough to cultivate environments for the herbivores it feeds on or the ‘Night Eagle’, a predator which shocks its prey with its fire breath before swopping down and grabbing them. Over the course of the next ten pages, some sixteen or so ‘Creatures of the Vast’, including mundane Earth creatures such as the wolf and the elephant. Lastly, there is a player character sheet for Further Beyond: The Roleplaying Game of Galactic Exploration & Adventure.

The Further Beyond Core Rules Preview is the first part of Further Beyond: The Roleplaying Game of Galactic Exploration & Adventure, which is designed to do two things. One is to serve as the first part of an ongoing subscription for Further Beyond: The Roleplaying Game of Galactic Exploration & Adventure, and the other is provide a test bed for the rules in the lead up to a full version of the roleplaying game. Unfortunately, the Further Beyond Core Rules Preview does not succeed at either. Although the Further Beyond Core Rules Preview provides a decent preview of the rules and combat, how the game is intended to be played, and the types of ‘Creatures of the Vast’ that the Player Characters might encounter, it completely lacks any kind of preview of what a Player Character looks like, what the Vast is like as a setting, and what sort of spaceships might be found in the Vast and how they work. Then as a potential test bed for the rules, the Further Beyond Core Rules Preview does not give for the Custodian or her players anything to do. There is no mission or encounter to play out and thus no scope for feedback to the designers.

Instead of all that, there are sixteen ‘Creatures of the Vast’ over ten pages—one fifth of the Further Beyond Core Rules Preview. It is simply too many and they do not provide the reader, let alone the potential Custodian, with any useful information. In their place, there should have been four pre-generated Player Characters, ready to play, a simple scenario, such as investigating the caves on Aventis II which are home to the Chameleon Broodmother, perhaps where a previous exploration team has been reported on a previous mission. This would have at least left room for descriptions of the Vast and possibly spaceships, but above all, provided something that the Custodian and her players could have done with the Further Beyond Core Rules Preview and potentially enjoyed, and thus given constructive feedback to the designers. Of course, this would have pushed the Further Beyond Core Rules Preview towards being a quick-start, but a quick-start that would have done everything that the designers wanted for the Further Beyond Core Rules Preview.

Physically, the Further Beyond Core Rules Preview is a lovely looking magazine-style booklet. It is well written and of course, Peter Elson’s artwork is excellent.

The Further Beyond Core Rules Preview simply does not preview enough, or at least the key points, of Further Beyond: The Roleplaying Game of Galactic Exploration & Adventure. There are snapshots of a sold Science Fiction roleplaying game in its pages, but its focus on the ‘Creatures of the Vast’ to the detriment of any sense of setting or anything playable or useable makes the Further Beyond Core Rules Preview of little use to either the publisher or the purchaser.

Solitaire: The Gloom Dragon

Reviews from R'lyeh -

You are a brave adventurer, a Swordsman. After a long apprenticeship with Swordmaster Krago and now armed with your magical sword Rilgist and a shield, you travel the land, righting wrongs, and making the occasional bag of coin for your services. Such is the stuff of legend and such is the stuff of solo adventure books of which there have been many over the past four decades. However, this is the set-up for The Gloom Dragon, which although being a solo fantasy adventure, is somewhat different to others of its type. Published by Peasoup ApS—a Danish publisher—The Gloom Dragon is what is known as a ‘Smart Book’. In a traditional solo adventure book, the reader and player will create a character and explore the world detailed in the pages and random paragraphs of the adventure book, rolling dice to see whether his character avoids traps or successfully attacks a goblin, for example. The Gloom Dragon does not do this. Instead, encounters and combats and other situations are handled via an app specific to the book. What the player does is read through the book, skipping from paragraph to paragraph and from page to page as determined by the story and the choices he makes in play. Then, when prompted, typically indicated by a ‘TASK’ instruction, he uses the camera on his mobile phone or tablet to scan the image alongside the page in the app. This will typically initiate combat with a foe.

Combat in The Gloom Dragon is simple and completely handled by the app. The player rolls three six-sided dice. These will either display a sword or shield symbol, or be blank. A sword symbol will inflict one point of damage, whereas a shield will protect the wielder from one point of damage. A blank symbol does nothing and a player can lock the symbols he wants to use as he roll rolls them in the app. A player can choose to roll or keep as many of these as he likes. The fight continues until either the player or the enemy is defeated. At which point, the player will often receive a reward, but will definitely be directed to another entry or chapter in the book. Not all of the challenges involve combat. Others include finding the right bottle, which might contain a useful potion, from amongst a pile of bottles of beet juice; picking some coins up, or interacting with a combination lock.

The setting for The Gloom Dragon is in and near the village of Randomia in the Pea Soup universe. The village is being regularly visited by Worm Deathtail, the Gloom Dragon, each time threatening to eat the villagers unless they give him all of his gold. Of course, our steps up to the task, and promises to stop the Gloom Dragon, and very early in the adventure, on its next visit to the village, confronts the great beast. However, this proves too much of a challenge for the hero, who is quickly swatted away with a swing of the Gloom Dragon’s great tail. So forewarned of the strength and capabilities of the great beast, much of the adventure concerns itself with finding the means to defeat and making the hero more powerful. This includes finding more gold to spend and finding magical items that enhance the hero’s health and increases the number of dice he rolls in combat.
The interaction between the app and the book is fairly smooth, and combat is quick and easy. In general, the puzzles are easy to operate, although moving the mobile phone around to view particular rooms for clues felt somewhat clumsy. Nevertheless, the package as a whole is easy to navigate and the player will find himself switching back and forth between book and app with relative ease.

The Gloom Dragon is not designed for the veteran player of solo adventure games who started out forty years ago with The Warlock of Firetop Mountain or Buffalo Castle for Tunnels & Trolls. This is not to say that they will not enjoy playing through The Gloom Dragon, though the entries in the book are relatively limited at just one-hundred-and-forty-seven and the sense of peril is fairly low. Instead, the target audience for The Gloom Dragon is the young reader, aged nine and up, who to date has been challenged by reading. The aim of the series—and The Gloom Dragon is the third to be released—is to encourage such readers to have a greater desire to read. To that end, both the series and The Gloom Dragon encourages this through its big, bold cartoon style artwork, clear instructions, and more immediate degree of interaction in the story via the app.

Physically, The Gloom Dragon is well presented. The book is clear and simple to read, the artwork is big and bold, and crucially, the format of the book is designed to facilitate the use of the app. To that end, it has a Euro binding which means that the inside of the cover is not glued to the spine. This means that it looks like the spine is broken, but it is by design and clearly says so inside the front cover.

The Gloom Dragon is a likeable and engaging affair, a classic fantasy tale of a lone hero facing a dragon. Veteran players of solo adventure books will be doubtless be intrigued by the combination of format, but for the intended audience, The Gloom Dragon will keep the player involved through both the text and the app from start to finish, and thus both reading and playing.

#Dungeon23 Tomb of the Vampire Queen, Level 6, Room 10

The Other Side -

 The passageway opens into a huge open cavern extending for thousands of feet.

Room 10

There are plenty of what appear to be empty dwellings.  There is a globe floating near top of this cavern that glows with an eerie, eldritch light. It appears to be a large moon. 

Small animals and large insects run here and there, but they avoid the party.

--

This is the former city of the Shadow Elves.

Friday Fantasy: Roll & Play

Reviews from R'lyeh -

There are plenty of books of tables containing random content for the roleplaying genre of your choice. Peruse the pages of DriveThruRPG or the Dungeon Masters Guild and the Game Master will find no end of books of tables of random content. Encounters down a dungeon or in any terrain the Game Master cares to name. Treasures big and small to be found in dungeons or the possession of various monsters. Treasure magical and non-magical. Potions. Jewellery. More encounters. Swords. NPCs. Other weapons. Critical hits and fumbles. Plot hooks. Encounters again. You name it and there is probably a table for it. In most cases, the entries on all of these tables provide the barest of details. Some entries can be quite detailed, but in the main, two or three lines at the very most. This is because those entries are setting out to do two things. These are to provide the maximum amount of information possible in the quickest amount of time possible and to provide the amount of inspiration possible in the quickest amount of time possible. For example, a description of a magical sword would describe its magical effects and bonuses and might describe a little of its background or previous owners or even what the sword wants. Whereas the inspiration might be as simple as a name and occupation and appearance plus a quirk and more. Roll & Play: The Game Master’s Fantasy Toolkit does a bit of both.

The Roll & Play: The Game Master’s Fantasy Toolkit won the Silver Ennie for Best Aid/Accessory – Non – Digital for 2021. Published by Roll & Play Press following a successful Kickstarter campaign is designed to be used with any fantasy roleplaying game, but especially those inspired by Dungeons & Dragons. So obviously Dungeons & Dragons, Fifth Edition, and then Pathfinder, but also any fantasy retroclone of the Game Master’s choice. No matter what the choice of fantasy roleplaying game, the Roll & Play: The Game Master’s Fantasy Toolkit is completely systemless and contains not a single stat. All the Game Master will need is a standard set of polyhedral dice and a notebook to record any details as necessary.

Notably, the is designed to be used at the table and probably behind a Game Master’s shield. To do this, it is digest sized, the layout is clean and tidy, it colourful—but not too colourful, and overall, is easy to read. In addition, it is also spiral bound. Consequently, it sit open and flat on the table or be folded over so that one page is visible and the book still lie flat. In the case of the latter, it means that the book does not take up a lot of space behind the screen. The Roll & Play: The Game Master’s Fantasy Toolkit is also produced on a glossy paper stock, which together with its relatively small size means that the book is readily portable and will withstand the travails of being carried from one gaming session to the next.

So, what of the content? The Roll & Play: The Game Master’s Fantasy Toolkit is divided into five chapters—‘People and Quests’, ‘World Building’, ‘Journeys and Events’, ‘Combat and Injuries’, and ‘Items and Rewards’. All of the tables are easy to use. Turn to the right chapter, select the right table, and starting rolling. It is as simple as that and very quickly, the Game Master can adding details to and building the world around her Player Characters. So, if they enter a town and approach a random NPC, the Game Master rolls on the ‘Common Names’ table in the ‘People and Quests’ chapter. His name is Boris. A roll on the ‘Behaviour and Traits’ table indicates Boris ‘Barks orders at people they see as less import than themselves’ and ‘Their nose has clearly been broken multiple times’ from the ‘Appearance Features’ table. Already we are getting a picture of the man. Boris is a common villager and a roll on the ‘Common Villager Work’ table indicates that he ‘Washes carts and caravans’. So, in addition to Boris not being the most pleasant of characters, the Game Master knows that he lives in a town where there are lots of carts and caravans moving through, and that since they need cleaning, the region is prone to either dust or mud or even that there is a local ordinance about keeping such vehicles clean! Having established this, the Game Master could then switch to ‘World Building’ and begin rolling for details about the town and its economy, government, local attractions or features, rumours and gossip, and so on. Now of course, this can be done at the table during play with a quick roll of the dice or the rolls could be made beforehand should the Game Master want to have some elements either prepared or simply want to peruse the various tables for inspiration.

Of course, the Roll & Play: The Game Master’s Fantasy Toolkit also contains tables that are specific to particular points during play. Mostly obviously, the ‘Combat and Injuries’ chapter. There are ‘Critical hit, with overwhelming force!’ and ‘Critical miss, with overwhelming stupidity!’ tables, and then similar tables for both ranged combat and magic, plus tables of lasting injuries, side effects upon revival (if reduced to zero Hit Points or even rendered dead), and much more. Following that in ‘Items & Rewards’ chapter there are ideas for various items both magical and mundane, including ‘Moderately magical things’ like a ‘Small wooden sphere that tastes like delicious caramel ice cream’* or a Notebook with an unlimited number of pages, but always turns to the page the writer wants to see’. There are tables for magical flaws and a wide range of alchemical components, but alongside these is table of ‘Bargain Spell Scrolls’ which should inspire the Game Master to create more, plus table for books and novels, loot of all kinds—including the mandatory, ‘I loot the body, what do I find?’ table, and other items and objects that an adventuring party might find in a dungeon or lair.

* No, I am not thinking about who has been sucking it previously.

The Roll & Play: The Game Master’s Fantasy Toolkit contains just a little more than the tables. There are notes on how to use the tables and their content. For example, combining the ‘Bounty Posters’ table with the various name tables earlier in the book. There are notes too on the various environments that the Player Characters might explore, such as the heat and cold of the desert day and night under the ‘Desert encounters’ table. These though are very light and kept to a minimum.

Of course, not every entry in the multiple tables found throughout the pages of the Roll & Play: The Game Master’s Fantasy Toolkit is going to be wholly original, especially if the Game Master has been playing for a while. After all, creating hundreds of entries for all of the tables in the book took a lot of effort and even if an interesting is familiar, what the Game Master does with it and how her Player Characters interact with it, is what will make it interesting. Plus, there is plenty that is interesting and thus plenty that is going to inspire the Game Master with a dice roll or two. Overall, the Roll & Play: The Game Master’s Fantasy Toolkit is a very handy book of inspiration and ideas, whether before a game or during, whose format makes it unobtrusive and easy to use.


Kickstart Your Weekend: The Wasted Lands

The Other Side -

This one has not launched yet, but the sign-up page is ready. 

Wasted Lands: The Dreaming Age Role Playing Game

A tabletop RPG of cosmic horror, swords, and sorcery in a savage lost epoch, 1000 years after the Old Ones fell to their eternal sleep.

 The Dreaming Age Core Rules The Dreaming Age Campaign Guide

I am very, very excited about this one. Although I am not really part of the development, I get the joy of seeing it in development and enjoy it as a fan. Plus this has been Jason's baby for years, my typical nonsense can be added at my table. 

From the Kickstarter:

The Old Ones are gone...

Stories tell of the day when the skies fell in showers of fiery rock, when the world groaned and shifted, the great beasts of the Old Ones died in an instant, and the stars themselves changed, sending the Old Ones into a deep, eternal slumber. Humankind, now free from the cruel grasp of our former masters, now rules the world from the shining kingdoms the Other Gods left behind.

We now strive against the remaining minions of the Other Gods, their remaining cults, and a world ravaged by the energies of the Deeper Dark. Some with names like Isis, Odin, Quetzalcouatl, Bel, Hecate, Minerva, Marduk, and others will forge legends that remain through the ages.

This is the birth of gods.

Wasted Lands: The Dreaming Age is a game of swords and sorcery in a savage lost epoch, set millions of years ago. You play the all-too-human origins of the gods of classic mythology, whose stories will form our own ancestral memories and civilizations. As you engage with mythology, you gain special powers that will lead you on the path of apotheosis. 

The game is offered as a two-volume set: the Wasted Lands: The Dreaming Age Role Playing Game, which contains all the rules of play, and The Gazetteer of the Dreaming Age and Campaign Guide, which contains the setting, bestiary, and game master information. Grab one or both!

How can you not be excited about this? 

I hope to post more about this game all month long. I still have some characters I want to make and some adventures to talk about.

This game uses the same RPG system as does NIGHT SHIFT (The O.G.R.E.S.) but it will include conversion guides for Spellcraft & Swordplay (O.R.C.S.) AND Castles & Crusades (SIEGE Engine).

This could also be the non-OGL D&D replacement you have been looking for. 

More to come!

Friday Filler: Something Wild!

Reviews from R'lyeh -

Something Wild! The Card Game of Character Combos! is actually a whole family of card games published by Funko Games, all of which share the same simple mechanics, but each of which involves a different Intellect property. So, there are versions of Something Wild! devoted to Disney’s Aladdin, Tim Burton’s The Nightmare before Christmas, Dr. Seuss, Marvel Spiderman, Star Wars’ Boba Fett, Disney’s Steamboat Willy. Thus there is a version of Something Wild! for just about everyone and in each case, the version of the game, it includes a miniature Funko Pop figure. So, for example, in the Indiana Jones version—a new addition in 2023—the game includes a figure of that character. The fun thing is, that the various versions of Something Wild! are compatible with each other, and two or more sets can be combined for both more players and variation in theme. Something Wild! The Card Game of Character Combos! is designed for two to four players, aged six and above, and can be played in fifteen minutes or so.

Something Wild! consists of forty-five Character Cards, ten Power Cards, a Funko Pop! mini-figure, and the rules sheet. For the Indiana Jones version of Something Wild! The Card Game of Character Combos! the mini-Funko Pop figure is of Indiana Jones and all of the characters on the Character Cards come from the Indiana Jones franchise—in particular from Raiders of the Lost Ark, The Temple of Doom, and The Last Crusade, but not from Crystal Skull. The characters on the numbered cards include Marcus Brody, Marion Ravenwood, Indiana Jones, Short Round, Major Toht, Sallah El-Kahir, Captain Katanga, Elsa Schneider, and Henry Jones, Sr. The Character Cards are divided into five colour suits, numbered between one and nine, and the characters are the same on each number across the five suits. The ten Power Cards are also divided into five colours. Power Cards give a player an advantage or ability in play. For example, a Power Card might allow six cards to be played as any colour or swap a card a player in play with a card in play belonging to another player.

The aim in Something Wild! is to score or win three Power Cards. The first player to do wins the game. To win a Power Card, a player must create a set or run of cards. A set is three cards of any colour with the same number. A run is three cards of the same colour with numbers in order. This is done one card at a time and when a set or run is formed, the player takes the Power Card and discards the cards played.

Play of Something Wild! is simple. At the start of the game, each player receives a hand of three Character Cards and a single Power Card is played face up in the centre of the table. On his turn, a player draws a Character Card and adds it to his hand, then places a Character Card down in front of him on the table. If the colour of the Character Card played matches the colour of the Power Card currently, the player gets to take the Funko Pop! mini-figure. When a player has the Funko Pop! mini-figure in front of him, he can use the ability of a Power Card he has already in front of him or the ability of the Power Card face up on the table in the centre of the table. If a player has either a set or run of cards in front of him, then he can take the Power Card on the table.

Physically, Something Wild! The Card Game of Character Combos! is a solidly presented card game. Both the Character Cards and Power Cards are done in bright, solid colours and the rules sheet is easy to read. The Character Cards and Power Cards are language independent, whereas the rules are not. The rules are easy to read and understand, but younger players will need a hand. Of course, the Funko Pop! mini-figure is cute.

Something Wild! The Card Game of Character Combos! is not a difficult game to play and being aimed at players aged six and up, it is not a difficult game to teach. The latter is likely necessary because the rules are likely to be too difficult to read and understand for the six-year-old player. Another issue is that the game’s cards are language independent and so reference needs to be made to the rules to understand how each Power Card works. That is, until either the players have remembered or been successfully taught what each does. With younger players then, Something Wild! will require some supervision by older or adult players—at least initially.

In addition, whilst Something Wild! is a decent family game—especially if the edition they are playing has a Funko Pop! mini-figure that everyone likes—it actually gets better with the addition of a second set. This gives the players the chance to take control of two—or more—Funko Pop! mini-figures, as well as giving them a wider range of Power Cards, though this of course, means learning what the extra Power Cards do.

Something Wild! The Card Game of Character Combos! is simple, clean, and fast-playing. There is a little bit of ‘take that’ as players vie to take or keep control of the Funko Pop! mini-figure, but it is by no means a vicious game and with a fifteen-minute playing time, it never outstays its welcome. Overall, Something Wild! The Card Game of Character Combos! is a solid family card, easy to teach and easy to play, with some nice variations in its Power Cards to keep it interesting, but still light.

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