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

—oOo—

It is often forgotten that Star Trek: The Role Playing Game, published by FASA in 1982 was not the first Star Trek roleplaying game. It is often forgotten that Call of Cthulhu, published by Chaosium, Inc. in 1981 was not the first licensed roleplaying game. The very first licensed roleplaying game and the very first roleplaying based on Star Trek was Star Trek: Adventure Gaming in the Final Frontier, published by Heritage Models, Inc. by in 1978. If the first roleplaying game based on Star Trek is all but forgotten now, there is a third roleplaying game based on Star Trek which remains almost unknown which in its own way is equally as important as Star Trek: Adventure Gaming in the Final Frontier. For if Star Trek: Adventure Gaming in the Final Frontier is notable as the first licensed roleplaying game, then Enterprise – Role Play Game in Star Trek is notable for being the first domestic roleplaying game to be published in Japan and the first licensed roleplaying game to be published in Japan. Enterprise – Role Play Game in Star Trek was published in 1983 as a boxed set by Tsukuda Hobby, which at that time was better known for its wargames and model kits. In 1983, Enterprise – Role Play Game in Star Trek came as an eye-catching box set that included a twenty-page Rulebook, thirteen-page Adventure Book, fifteen double-sided Character Cards, two twenty-sided ten-sided dice, and one six-sided die. What is being reviewed here is not a copy of the original roleplaying game, as that would be almost impossible to obtain, but rather a translation that has been collated into a slim, fifty-eight-page hardback. The rules though, remain the same, even if the format does not.
A Player Character in Enterprise is defined by his Race, several abilities or traits—Strength, Dexterity, Intellect, Charisma, and Luck, Alignment, and one or more Special Abilities. The roleplaying game’s ‘Alien List’ includes Andorians, Talosians, Romulans, Metrons, Eugenic Superhumans, Organians, Klingons, Medusans, Melkotians, Tellarites, Zetrians, Gorns, M113 Monsters, Horta, and Vuclans. It does not say, though, which of these are suitable for use as Player Characters. All have an Alignment, one or more Special Abilities, and possible ability modifications. All five abilities range on the three to eighteen scale. Strength is both the amount of damage a Player Character can withstand and the chance he has of defeating an opponent in hand-to-hand combat; Dexterity is used to determine Initiative in combat and with the Mechanical Repair Special Ability to disable traps; Intellect determines if the Player Character has the Medical Talent or the Science Talent and can help him gain allies; Charisma to help him gain allies, but from force of personality rather than intellect; and Luck is used to avoid traps. Alignment includes Logical Good, Logical Bad, Neutral, Emotional Good, and Emotional Bad. It is easy to map the characters from Star Trek: The Original Series onto this array. The four Special Abilities are Mechanical Repair, Medical Talent (Treatment), Science Talent, and PSY Talent (ESP). Some aliens automatically have the PSY Talent (ESP), but Humans only have 10% chance of doing so. A Player Character’s chance of having the other three Special Abilities is based on their associated abilities. It is possible to create a Player Character who has multiple Special Abilities or none, depending upon whether the player rolls well or badly.
To create a character, the player selects a Race, rolls four-six-sided dice for each ability and deducts the lowest, and then rolls for each Special Ability. The process is very quick and easy. Alternatively, the player could select a member of the crew of the Enterprise. The roleplaying game comes with a double-sided Character Card for each as well as several opposing characters. Each Character Card lists the various statistics, Special Abilities, and has space for tracking hits, making notes, and so on, whilst on the front is a photograph of the character. There are fifteen Character Cards, three of which are blank for the player’s use, whilst the rest consist of Kirk, Spock, McCoy, Uhura, Scotty, Sulu, Chekov, Chapel, Rand, Commander Kang the Klingon, Stonn the Vulcan, and Subcommander Tal the Romulan.
Name: Rosana GuimarãesRace: HumanAlignment: Emotional GoodSpecial Abilities: Mechanical Repair, Science TalentStrength 10 Dexterity 13 Intellect 12Charisma 15 Luck 16Equipment: Science Tricorder, Type II Hand Phaser, Communicator, knife and three days water and food.
Mechanically, Enterprise – Role Play Game in Star Trek uses percentile dice, but that is about as standard as it gets, and not because the Game Master uses the six-sided die to determine if the Player Character senses something hidden—a door or a trap—and which Player Character an enemy targets in a fight. After that, everything else is a subsystem of its own, each straightforward in itself, but different enough to require referring to a table each time. So to find out if a Player Character discovers a trap or hidden door, the player needs to roll 30% or less, modified by his character’s Luck and to avoid a trap if triggered, is another percentile roll, the number determined by the character’s Luck after consult the ‘Avoid Trap’ table. The chance is equal to 50% if the Luck value is 13, then modified by 5% up or down depending upon the Luck value. However, consulting the ‘Bypass Lock or Trap’ table, the required number is based on Dexterity and the chance is equal to 50% if the Dexterity value is 10. Undertaking tasks such as analysing or repairing a piece of equipment or an artefact requires the Player Character to have the Mechanical Repair Special Ability and his player to roll under the device’s Repair Probability, for example, 20% for a Universal Translator. If a Player Character has the Science Special Ability, he can use a computer or tricorder without any problems. Enemy computers are assigned a percentage, which the Player Character must roll under to be able to use. There are no modifications from the abilities on any of these rolls, so effectively, a Player Character with higher stats has a higher chance of having a Special Ability, but not a better chance of using it.
Encounters with NPCs are either hostile or non-hostile. Hostile NPCs always attack. Encounters with non-hostile NPCs require an Alignment Check. The Game Master compares the Alignments of the Player Character and the NPC. This determines the attitude of the NPC, either Domination, Equality, or Deception, which is kept secret from the player. The player then guesses what the NPC’s attitude is and selects his character’s approach, either Domination, Equality, or Deception. If the player is correct in guessing the NPC’s attitude, he can make an Attitude Option roll, again, either Domination, Equality, or Deception. This is a base percentile roll modified by either the Player Character’s Charisma and Intellect, sometimes both. If successful, the NPC becomes an Ally under the player’s control, joining the party of Player Characters. If the Alignment Check fails, the NPC becomes hostile and attacks, although it is suggested to the Game Master that depending upon the scenario, if the roll is failed, an NPC can still appear to act in a friendly manner towards the Player Characters, only to betray them later or act hostile initially, only to become an Ally later.
The Alignment Check and interaction rules for NPCs are not developed enough to work effectively. There are no bonuses or penalties to determine the effect of the three approaches—Domination, Equality, and Deception—working against each other. Unless the player successfully guesses the NPC’s attitude, the results are binary—failure, if not open hostility and combat. Also, the rules state that, “Regardless of whether or not the Alignment Check is required, the GM should roll the 20‐sided dice. Otherwise, the player may be able to discern whether or not they were right or wrong about the attitude of the NPC.” At this point, it is not clear what the Game Master is rolling for. Only in the accompanying example, does it become clear that the Game Master makes the Attitude Option roll and not the player.
Once surprise and initiative has been sorted, combat begins with dividing the combatants into groups of three on each side and the Game Master the values of a six-sided die to help randomly determine who targets who. Ranged combat is based on range—determined by the weapon’s range bands and distance to the target—and the attacker’s Dexterity. The result is a percentile value that the player or Game Master must roll under. The Game Master also has the option of applying penalties if the target is dodging, lying prone, or behind cover, but there are no standard penalties given. Damage from energy weapons is deadly—a ten-sided die’s worth for a Hand Phaser’s Destruction setting and instant death for the Dematerialise setting. The Stun simply renders the target unconscious.
Hand-to-hand combat involves not so much out and out brawling as attempts by the combatants to knock each other out. The two combatants’ Strength Ability ratings are compared. If they are equal, they have a hand‐to‐hand combat value of 50%, this the chance of knocking each other out. A higher Strength than the opponent will increase the hand‐to‐hand combat value, whilst a lower Strength will decrease the hand‐to‐hand combat value. Being armed with a knife or a stone count towards the hand‐to‐hand combat value. Of the two combat systems, the ranged combat rules are better than the ones for hand-to-hand combat, which really fail to capture the knockabout nature of brawls seen on screen in Star Trek: The Original Series.
The Adventure Book contains a single scenario, ‘The Drifting Ring’. The Enterprise has been assigned to investigate an object called the ‘The Ring’. It is a ten-kilometre diameter toroidal spacecraft and it is currently heading for Klingon space. The origins of The Ring lie at the centre of the galaxy where a race realised that their worlds increasingly in danger from a series of supernovae that would destroy the systems around them. They built a huge generational spaceship, populated it with crew, passengers (mostly in cryogenic sleep), and samples from their worlds, and headed for a safer area in the galaxy. Which to be honest, sounds an awful lot like the plot or at least the set-up, of Larry Niven’s Ringworld. Aboard, the crew will find a society that has regressed due to isolation and lost knowledge, and then rebellion, resulting in the inside of the spaceship being perpetually in the dark. The location where the Player Characters beam aboard has the feel of an agrarian valley, complete with river, mountains, forest, and ruins. The area is home to three different factions which keep apart from each other, some of whom will not be hostile to the Player Characters, some will, and of course, if one of the players is roleplaying Kirk, there is a young girl who will follow unconditionally no matter what the result of the Alignment Check suggests. (That said, given that she is described as a “[B]eautiful 16 year old girl.”, the Game Master would probably want to add a year or two or three…) Much of the adventure is given over to detailing the various locations in the scenario, but the descriptions are lacking, even absent in many cases of describing what something or someone looks like.
‘The Drifting Ring’ does actually feel as if it would fit into a Star Trek setting, given that the series dealt with a number of regressed civilisations, such as in ‘The Omega Glory’ and ‘For the World Is Hollow and I Have Touched the Sky’. Effectively, ‘The Ring’ is a sandcrawl, the Player Characters free to explore where they want to. It is also more scenario than mission, since there is no real mission attached to the adventure. The implied mission is that the Enterprise crew is trying to stop the flight of The Ring. How that is achieved is left up to the players and their characters to decide. Overall, ‘The Ring’ feels a bit too open, a bit too big to be contained within one episode of Star Trek: The Original Series and despite, lacking in easy to use detail.
The Adventure Book concludes with some Design Notes from the author, Tama Yutaka. Notable later as the co-editor of the Japanese version of Warlock – The Fighting Fantasy Magazine, here he states that, “I designed this STAR TREK game as a way to introduce the Role Playing Game ‐‐ currently at dizzying heights in the United States ‐‐ to Japan.” He emphasises the importance of the human, that character should be central, even given the prominence of machines in Science Fiction and Fantasy—especially Star Trek—and this is what differentiates a roleplaying game from a board game. There is tentativeness to the Design Notes, if not the roleplaying game as a whole.
So what is missing from Enterprise – Role Play Game in Star Trek? Fundamentally, two things. First, there is no background on Star Trek at all in the setting. None at all. It assumes that both Game Master and her players are familiar already with the television series to play. Second, the U.S.S. Enterprise. Or, indeed, any starships. They are completely ignored, so very much like the earlier Star Trek: Adventure Gaming in the Final Frontier, published by Heritage Models, Inc., Enterprise – Role Play Game in Star Trek is all about the away missions and what happens on planet or aboard a space station rather than aboard ship. Similar to Star Trek: Adventure Gaming in the Final Frontier, there is no means of character progression either, even though it is possible to create Player Characters. The combination of this lack of character progression with the limited options in terms of the Special Abilities to select from or roll for—Mechanical Repair, Medical Talent (Treatment), Science Talent, and PSY Talent (ESP)—means that characters themselves feel shallow. It does not help that with no ships involved in the roleplaying game, there are no Special Abilities related to their option, but there are no combat or interaction Special Abilities either. Perhaps a second edition might have addressed these issues and been less of a skirmish roleplaying game, something that not even FASA’s Star Trek: The Role Playing Game was able to wholly avoid.
Physically, Enterprise – Role Play Game in Star Trek was presented for 1983. Its combination of a box set containing the two books, the Character Cards, and dice would have looked attractive and caught the eye of any Star Trek fan. The translation is clear and simply presented, the Character Cards of the crew of the Enterprise and their foes and allies are decently done, and the maps are workable.
Enterprise – Role Play Game in Star Trek is very much the Star Trek: The Original Series roleplaying game, really suggesting that the players take the roles of the crew of the U.S.S. Enterprise rather than create their own crewmen. Like the earlier Star Trek: Adventure Gaming in the Final Frontier, it wants to push away from the wargaming origins of the hobby and like Star Trek: Adventure Gaming in the Final Frontier, it does not quite do so because it never really gets away from being a skirmish game played out on maps and floorplans. Yet it has some interesting ideas, such as the emotion-versus-logic Alignment system that is very Kirk-McCoy-Spock and the Alignment Check interaction mechanic, that suggests it does want to be more than this. These remain undeveloped though and with a focus on elements of play such as the need to check for traps and hidden doors, on movement, and the like, Enterprise – Role Play Game in Star Trek remains an unsophisticated design that all too often feels as if it has been written through the lens of Dungeons & Dragons and its play style as much as Star Trek. Ultimately, what makes Enterprise – Role Play Game in Star Trek an interesting roleplaying game is not that it is a Star Trek roleplaying game, but that it is the first Japanese roleplaying game.

You made it and you survived. In answer to the signal sent from Tau Ceti almost a century ago, you were among those who made the three decade-long first journey by mankind through interstellar space. What humanity found were the arrays, installations ranging in size from a metre across to kilometres across and performing a variety of functions—habitants, defence systems, power stations, communications relays, and many more. What they all do remains yet to be determined, but if humanity is to survive, it needs resources—which can hopefully be found in Tau Ceti’s outer system. Prospectors, known as ‘Rock Hoppers’, have been sent out, one-part miners, one-part salvagers, one-part explorers, to search for the resources mankind’s first colony needs to survive. Hopping from rock to rock, from asteroid to asteroid, every rock hopper hopes to locate that lucky strike which will set them up for life—and if not that, enough to continue operations. That was what you thought when you detected the gravitational anomaly. It could only be xeno-tech, something that help understand the installations of the array which drew humanity to the system. Only for the gravitational anomaly to spike, soaring to nine times what you first detected, collapsing the entrance to the asteroid, trapping you inside. You cannot go back the way you came. The only way to survive is to find a path forward, hopefully a route out if not answers as to what happened…
This is the set-up for Rock Hoppers, a solo journalling game of desperate exploration in the near future in another star. It is a sequel to The Long Goodbye and both are set in the same Dyson Eclipse future. Where The Long Goodbye explored the journey from the Earth to the unknown of Tau Ceti and the fear of the journey and what might be found at Tau Ceti, Rock Hoppers explores what might be found there and what it takes to survive. Where The Long Goodbye was a two-player epistolary roleplaying game, Rock Hoppers is a solo affair, one which takes it desperate tone and urgency from The Wretched, though not its horror. 
Published by LunarShadow Designs and like The Wretched before it, Rock Hoppers is a game about exploration, isolation, fear, and perseverance and potentially, survival in the face of overwhelming odds. The game requires an ordinary deck of playing cards without the Jokers, a six-sided die, a Jenga or similar tower block game, and a set of tokens. In addition, the player will require a means of recording the results of the game. It is suggested that audio or video longs work best, but a traditional journal will also work too. Rock Hoppers is a played out as a series of days, the player, as the titular rock hopper, undertaking a series of tasks each day and responding to prompts before ending the day by recording its events and his thoughts in his personal log. As in The Wretched, the rock hopper is unlikely to survive the experience. The rock hopper’s personal mining rig might become trapped in the tunnels in the asteroid or the tunnels might collapse, crushing the rock hopper—which will happen if the tower block collapses. The only way for the rock hopper to survive is to reach the cause of the gravitation anomaly and hope that it some answers…
 
The four suites correspond to different aspects of the rock hopper’s mining rig and the environment around him. Spades represent the rock hopper’s personal mining rig and the supplies it was carrying when he became trapped; Clubs detail the asteroid itself, previously mined by whomever it who built the arrays; Hearts are signals that the rock hopper will pick up from outside the asteroid; and Diamonds are the secrets to be found buried deep in the asteroid. Unlike in The Wretched, there is no sense of threat from without, no monster or alien lurking, ready to find its way into the asteroid… Instead, there is a sense of isolation and desperation, rather than of being stalked. In that isolation, there is also time for reflection for the situation that the rock hopper finds himself in and likely, if disaster strikes, on his life.
Rock Hoppers does have secrets. These are revealed only under certain circumstances. The likelihood is that the player will take several attempts to play through Rock Hoppers in order to get to them and begin to reveal the secrets of the asteroid and thus the very first secrets of the Dyson Eclipse future. 
Physically, Rock Hoppers is cleanly and tidily presented. It is not illustrated. 
Although Rock Hoppers uses the same mechanics as The Wretched, but is much more constrained and isolated in nature, primarily because there is no external force. It does take a while to play through, in the sense of multiple attempts, to reveal any secrets of the Dyson Eclipse setting, and a player may find himself going over old story prompts.

 This is the last tomb of the minor dwarven lords.  Inside though is a completely unexpected sight.

Inside a gnome necromancer is having a heated conversation with his zombie wife. The gnome, says he has been locked up in here since the Vampire Queen took over. He had been working on a formula to grant eternal life to undead for the Vampire Queen. He stated he was so confident in his work he would try it on anyone first. So the Vampire Queen killed and raised his wife. When it didn't work she entombed them here.

Since the the gnome, he has completely forgotten his own name, has perfected his formula. He tried it on himself and it worked. But he ran out of material to also use it on his wife.

The gnome is more than a little senile and crazy claims all he needs is about 50,000 GPs worth of gems from the party to make the cure work. He is not interested in fighting. His wife is a normal zombie.  He says once he is done, he will present the cure to her most bloody majesty, Queen Darless the First and Only.  He has no idea how much time has really passed.

If the party spares these gnomes have them pop up in the next three levels, each time asking for something stranger and more outlandish.

Their only treasure is his book of spells he calls "The NecroGnomecon." It is not a spell book but a bunch of chaotic scribblings.

It is likely that if he does get all the ingredients he needs he will only succeed in finally killing himself and wife in a glorious explosion.

The exit for this level was in Room 15.

--

I got my Halloween decorations out!

SLA Industries Species Guide 1: Shaktar – Wraithen is a supplement for SLA Industries, the roleplaying game set in a far future dystopia of corporate greed, commodification of ultraviolence, the mediatisation of murder, conspiracy, and urban horror, and serial killer sensationalism. S.L.A. Industries has its headquarters on Mort City, its rain sodden, polluted, and overly populated heart, located on the industrially stripped planet of Mort and surrounded by five Cannibal Sectors, and from here it governs the planet and the World of Progress beyond, encompassing all of known space. It is here the citizens come from far and wide to enlist in Meny to become SLA Operatives and part of the mediatised programme even as they protect SLA Industries and the World of Progress from innumerable threats from without—and some from within. Some of the most loyal of citizens who serve as Operatives are the Shaktar and the Wraithen and have been part of the Operative Programme since the start and it is both of these that the subject of the species guide for SLA Industries.

SLA Industries Species Guide 1: Shaktar – Wraithen is a slim volume that divides its content equally between the two very different species. These are the honourable warriors that are the Shaktar and the hyperactive hunters that are the Wraithen. In both cases it provides details of each species, their history and home world, culture and outlook, and connection to SLA Industries. This is supported with details of some of the species indigenous to their homeworlds, arms and armour particular to their species, and new additions to the rules. These include new skill packages and Traits for use with Player Character or NPC creation as well as Feats for cinematic action, and their outlook and attitude towards the other species who typically sign up as a SLA Operatives. Beyond this, there is extra content as such as details of the Shaktar faith and of ‘The Killbox’ in Mort City, an attraction in Little Polo—the Wraithen focused entertainment district—where a five-kilometre square area underground has been turned into a killzone watched by a live audience that only one team has so survived. Plus, there are two BPN—BluePrint News files—tasks tied to the Wraithen Liberation Front, a political movement dedicated to Wraithen life to what it once was on Polo before SLA Industries arrived, and a Hunter Sheet for ‘The Copycat Killer’, which directs the Operatives to track down a serial killer who is murdering the bird-like Nephrons in the style of a Wraithen presently arrested as the perpetrators of the crimes.

There is a sense of duality which rules throughout the supplement. Most obviously in the two very species presented in its pages. The Shaktar, stoic, valorous, honourable, and always at war with something—themselves, the pitiless nature of society, or an enemy of SLA Industries, versus the Wraithen, ultra-competitive, win-at-all-costs, casually sadistic, impulsive hunters with low attention spans. Yet even within the Shaktar, there is a duality, between the ideologies of those who follow the Shining Moons and those who follow the Shadow Moons. The Shining Moon Tribes have long been allied with SLA Industries, whereas the Shadow Moon Tribes worship the White Earth. The Shaktar embrace war and conflict, but feel the need to counter this violence by paying a debt to society, by doing good works, helping others and so on. They call this ‘The Sword and the Bowl’. When a Shaktar has no purpose, such as undertaking an ordeal, pursuing an injustice, going after the Ion Pirates—Shaktar who follow the Dark Moons, he is unbalanced and tip into its counterpart, Emptiness. This is the absence of joy, faith, and compassion and the Shaktar is in danger of slipping onto the path under the Dark Moons. Dualism plays out again and again with the Shaktar, adding depth and detail, but not so with the Wraithen. They are much more straightforward and direct, having no sense of reflection like the Shaktar do, regarding the need for faith and honour as a waste of time when one could instead be winning and being the best. The focus for them and on them is on the immediacy of what they want.
In the first half of SLA Industries Species Guide 1: Shaktar – Wraithen, the focus is on the Shaktar, reptilian humanoids of The Shining Moon Tribes and the balance in the Shaktar species. The descriptions are full of details that the Game Master can use to bring their culture to life. For example, the ‘sword’ aspect of ‘The Sword and the Bowl’ is easy to fulfil with combat and violent deeds, but the ‘bowl’ requires charitable, unselfish deeds, which need to be resolved and accepted by a Shaktarian Confessor or Priest. Here then is a roleplaying opportunity that can only be made the more interesting if the Shaktar’s squadmates have to get involved too. Ordeals—grand, self-appointed quests—drive a Shaktar’s actions too, so every Player Character Shaktar should be on one or thinking about one. The Game Master can flesh out the Player Character Shaktar’s relation with the Confessor or Priest using the accompanying description of Shaktar religion, whilst the Tribal Education packages are good for Shaktar who are native to the worlds of the Shaktar Nation, though all Shaktar trace their lineage back to the eight tribes or castes. The supplement adds Language: Shaktarian and Lore: Shaktarian, though only the Progressive dialect of the Shaktarian language can be spoken outsiders, the Dawn language bing incomprehensible and unpronounceable. New equipment includes the HonourBound armour, which can only be given as a gift to those Shaktar on an ordeal and must be worn until the ordeal is complete, Ion weapons that fire positively-charged ions, S’k’-r’n blades made from the bones of personally vanquished foes, and legendary weapons—weapons, armour, and artefacts that have lost since the Conflict Era and Green and Yellow BPNs are used to recover. Shaktar starting skill packages include Gallant, Stalwart, K’th Priest, and R’tha Champion—the latter from a religious sect of warriors dedicated to the destruction of anything connected to the White Earth. Feats include Battle Lust for Body to act before Initiative is rolled for and Shadow Blood for Bravado and a Shaktar who has family members who have fallen into Emptiness or aligned with the Shadow Moon Tribes. Can he be trusted? Rules are included for Shaktar honour codes, Lineage, Acclaim, and Blessings, enabling the Game Master to bring out more Shaktar culture in play.
By comparison, the Wraithen are shallow. What the highly competitive fast-moving apex predators are not—as the supplement makes clear is ‘comedy cat people’, ‘attractive to other species’ because they are too alien with their movement and big jaws full of teeth, or indeed, savages, honourable, stupid, or actually evil. It is a warning upfront to the Game Master and player alike on how to roleplay given how alien they are. There plenty of details also what does keep their attention span, such as the ‘Hlicks’ or ‘Hunting Flicks’ which show fast-moving prey animals hunting and culminate in a bloody kill (there is the suggestion of underground Hlicks where the target is a humanoid being hunted by skilled SLA Operatives), Wraithen focused adverts, and Little Polo, the district specifically designed to cater to Wraithen. There is some background on the Wraithen homeworld of Polo, extremely cold such that Wraiten need a bio-implant to encounter the effects of the heat on Mort, but in someways the means of getting off it and into SLA Operatives training at Meny is more interesting, SLA Industry having turned the application process for young Wraithen into a game! New skill packages include the Media Darling, the Big Game Hunter, the Saboteur, the Sneak Thief, and many more. Wraithen specific hardware includes the WWD ‘Heart Stopper’ Blade, originally designed as a filleting and flensing knife, but now used as a finesse weapon, WWD ‘Monofangs’, and FEN 313 ‘Goodnight Sweetheart’ Tranq Rifle, which can fire a range of drug-delivering darts. Some tranquilise the target—with or without leaving an aftertaste, and some like Kickoff, causes uncontrollable and indiscriminate aggression, so can be used to make a hunt all the more challenging. There is the comment that bored Wraithen are known to fire a dose of this into their squadmates because they simply bored… Besides a wide range of arms and armour—WWD ‘Ishmael’ Harpoon Launcher from hunting Ice Whales on Polo anyone?—there are a lot of new Feats, such as ‘Nine Lives’ for Body, with which they avoid a killing blow, but are knocked prone and stunned and ‘Me?’ for Bravado which enables a Wraithen to feign innocence by blaming someone else. New Traits include Double Jointed, Perfect Balance, and (really, really) Short attention Span. 

Physically, SLA Industries Species Guide 1: Shaktar – Wraithen is very well-presented, The artwork is as good as to be expected for a SLA Industries supplement, the writing is decent, and it gets away with not needing an index with its relatively short page length.
SLA Industries Species Guide 1: Shaktar – Wraithen is a good resource for the player and Game Master of SLA Industries alike. The player has extra background about his character and plenty of new character options to help him bring them into play, whilst the Game Master has content she can use to showcase both the Shaktar and the Wraithen and their culture and outlook in her campaign and provide species specific content for Shaktar and Wraithen Player Characters, both on their homeworlds and off.

With war looming – at least in Europe, the future of the world may depend upon who gets possession of a startling piece of equipment which could push the future of aviation technology—a rocket pack! Stolen to order from Howard Hughes by gangsters, they were forced to hide it in their getaway and both the one working model and the plans have ended up in possession of Cliff Secord, a stunt pilot. As he learns to fly the rocket pack, he comes to the attention of Eddie Valentine, the mobster hired to carry out the theft in the first place, and the man who hired Eddie, the matinee idol, Neville Sinclair, who also happens to be a secret Nazi! If Eddie Valentine cannot get the plans, then Sinclair’s henchman, the glowering Lothar certainly, if Lothar fails, Sinclair has a secret army of soldiers at his command. Cliff Secord must stop the plans from falling into Nazi hands—and if they do, get them back before Sinclair can travel to Germany. He has the help of his trusty mechanic, Peevy, and his girlfriend, both of whom can get places he cannot. Will Cliff keep hold of the rocket plans or will he fail and advance Nazi science in readiness for the coming conflict?

So this essentially, is the plot to the 1991 Disney film, The Rocketeer, which of course, was adapted from the brilliant comic book series by the late Dave Stevens. Both combined arty deco stylings, pulp action, and a serving of modest cheesecake with the inclusion of the Betty Page-like Jenny with the inspiration of Republic Pictures serials of the early nineteen fifties, most notably Radar Men from the Moon and Commando Cody: Sky Marshal of the Universe. (If you have not seen the film, why not? It is genuinely good fun. Actually, go watch the film instead of reading this review. I honestly do not mind. Really. I promise you will not be disappointed. In fact, I am watching it right now as I type this, so what is your excuse?) This it also turns out is the set-up for The Rocketeer – Fate of the Future. Designed by the same team behind Indiana Jones: Sands of Adventure and Jaws, The Rocketeer – Fate of the Future is a two-player, asymmetric boardgame which was published by Funko Games in 2021—the thirtieth anniversary of the film. Designed for ages twelve and up, each player in The Rocketeer – Fate of the Future controls a team of three characters who will race back and forth across Los Angeles, trade punches as much as pithy putdowns, all the while trying to ensure that by the time the zeppelin, the LZ Luxembourg, is in town, they have possession of the rocket pack plans. The game plays in forty-five minutes, but faster once you get to it is rules—though it is not that complex.

The first thing that can be said about The Rocketeer – Fate of the Future is that this is a great looking game. You know that the moment you open the box and the Rocketeer’s helmet stares at you from the back of the board. This is a lovely detail—as is the map of Los Angeles on the inside of the lid of the box. Neither add a single thing to the game except love for the source material. The game is full of such details, such as the Current Event cards being designed to look like newspaper front pages and the art deco style throughout. The artwork is excellent, fully painted rather than drawn from Dave Stevens’ own artwork or stills from the film. It is all inspired by the film and is all very, very good. If there is a downside to the components, it is the miniature figures for each of the six characters. It is easy to tell which one is which, but they are more representative than effectively depicting the characters. The other aspect of the game’s look is the lack of reference to, or iconography of, the Nazis. Although we know Sinclair to be one, that is enough to play the game and it need not be made obvious and so spoil the look of the game.

At the heart of The Rocketeer – Fate of the Future are the plans to the rocket pack. These are represented by three cards. One is the Rocket Blueprint, the other two are dummy plans. The Heroes start play with these hidden and face down. The Villains will Tussle with the Heroes to determine which of them has the Rocket Blueprints and having taken possession of them, will keep them hidden and face down. It is the Heroes turn to Tussle with the Villains Heroes to determine which of them has the Rocket Blueprints and having taken possession of them again, will keep them hidden and face down. Play will continue like this over the course of five or six rounds, the aim being not just to keep hold of the Rocket Blueprint, but acquire Finale cards. Finale cards can be earned from playing the Abilities on cards and from having the Plans at the end of each round. Finale cards reward points and the player with the most points at the end of the game—indicated by the arrival of the LZ Luxembourg in Los Angeles—wins the game.

The Rocketeer – Fate of the Future is played out a board depicting different locations from the film across Los Angeles. These include The Observatory, the setting for the film’s climax, the South Seas Club where Sinclair takes Jenny to dinner, Sinclair Mansion, 1935 Palm Terrace—home to Peevy and Cliff, Bulldog Café where Cliff takes Jenny to dinner, and Chapel Airfield, scene of much of the film’s action. These locations are marked with Icons indicating the benefits a player can gain from visiting, knocking out opponents, and being in control at the end of a round. Each Player controls the three heroes—Cliff, Jenny, and Peevy, or the three villains—Neville Sinclair, Eddie Valentine, and Lothar. As the Rocketeer, Cliff has the advantage of the rocket suit and has greater movement—which can be increased, whilst as a Nazi agent, Neville Sinclair can recruit and build a secret army of soldiers. When he ambushes any of the heroes, Eddie Valentine realises who Sinclair is working for and scarpers, but Sinclair has his army, nonetheless. It is best for the Villain player to recruit as many as he can before unleashing them. Sadly, unlike in the film, Eddy Valentine does not then fight on the Heroes’ side.
Control of each player’s three characters is done via a deck of cards. Every card has icons to indicate which character or characters the card applies to, an action or an ability that the player character choose between, and the cost of using the ability as well as a good illustration. For example, ‘Put It In Neutral’ can be used by either Cliff or Peevy. If used as an Action card, it grants a Move and a Tussle Icon and their associated actions. However, if used as an Ability, there is no cost, but the character can move to any Location and take the associated action there. The illustration shows Cliff as the Rocketeer in the back of Peevy’s pickup truck, using the power of the rocket pack to make a getaway. This illustrates one of the scenes from the film and all the cards are like this, depicting a scene from the film and so combining the film’s story and the rules in such a way that helps bring the game to life. It is really quite subtle, but if you know the film, it is just one more way in which the designers reward the players. Other rewards from the Ability options on the cards include gaining Grit or Clout, drawing a card, drawing a Finale card, revealing or hiding Plans. The Hero player can also increases Cliff’s skill and range with the rocket pack and the Villain player can recruit soldiers to his secret army and stage ambushes. Grit is possessed individually by each character and is used in Tussles and Clout is a shared resource used to activate the Abilities on many of the cards.

The game consists of several rounds. At the beginning of each round, a Current Event card will be draw, which adds a random event and determines how far the Luxembourg travels this round. Then, using a hand of seven cards, each player will take it in turn to active his three characters, have them move, Tussle with the enemy. A player can use as many cards as he wants or he can for each character. Once a character has been activated and moved, he cannot do so again that turn. At the end of the round, rewards are earned for having the Plans and from each location controlled. Tussles are simple. The Action part of a card has a Tussle icon on it. This represents the character’s strength in the Tussle and it can be increased by adding the character’s Grit tokens. The defending player can block the attack by discarding cards which have the Shield icon on them and card’s which have the defending character’s Icon on them. This also costs Grit. The character with the higher Tussle Strength will win the Tussle. Only the defending character can be knocked out in a Tussle, which if his side has the Plans, will also reveal if he has the Rocket Blueprint or the dummy plans. A Tussle can—and will often—end with a standoff, with blows exchanged, Grit expended, and no knockout. This though does make a defending character weak if the acting player still have characters to move. Once both players have moved all three of their characters, the round is over, rewards are awarded, and a new round is set-up. Once the Luxembourg arrives in Los Angeles, a final round is played and the game ends. Players total their points from the Finale cards—typically two or three points per card, though some have zero points and others have conditional rewards such as a bonus for Grit in play or controlling a location—and the player with highest total wins.

The Rocketeer – Fate of the Future does feel a little long in its game play and though designed to be asymmetrical, does favour the Heroes more than the Villains. The Heroes have more chances to gain Finale cards and their mechanics are simpler, whereas the Villains have the Secret Army, which is a bit fiddlier and a different sub-mechanic for the Villain player to have to contend with. Plus, when the Secret Army does come into play, it cannot possess the Rocket Blueprint, meaning that if in the Villains’ hands, either Neville Sinclair or Lothar has it, making it easier to track down and get back. The aspect of winning via the Finale cards means that neither player quite knows who is winning until the very end unless one player has managed to get many more than the other. So, it can be difficult to work out how you are progressing in the game.

The Rocketeer – Fate of the Future is a clever design which really takes advantage of its source material to turn it into a good game. The game play is fairly simple, tactical rather than strategic—a player needing to get the best out of his hand of cards in a round rather than long term planning, and thematic. In fact, highly thematic! If you are a fan of The Rocketeer, then The Rocketeer – Fate of the Future is definitely the game for you. The Rocketeer – Fate of the Future definitely looks the part—or the film, and who wouldn’t want to sock Neville Sinclair where it counts?

 This room is also the tomb of a minor lord.

This room has been broken into and looted.

There is a hazard here (not a trap) but some of the mason-work is loose. There is 1 in 6 chance of it being spotted (2 in 6 for elves and dwarves). Anyone near the coffin has a chance of being hit. Roll randomly for all within 5' of the coffin area. Save vs. Petrification or be hit with falling stone for 4d6 hp of damage.

Dwarves will point out that had not the minions of the Vampire Queen not messed with the stone work it would have stayed in place until the end of time. 

 Time delve into the box under my desk and pull out an old, musty Dragon Magazine. Today we go all the way back to January 1982. Chevy Chase's "Modern Problems" is in the movie theatres, which is notable for the real acting debut of Broadway actor/singer Nell Carter. Olivia Newton-John is still dominating the airwaves with "Physical," and on the shelves in Waldenbooks and FLGS across the land is This Old Dragon #57.

Our cover comes from Dean Morrissey. I don't know much about it really. My copy doesn't even have it. 

Jake Jaquet's editorial mentions the first time he heard "Dungeons & Dragons" mentioned on TV; during an episode of "Simon & Simon," no less. 

Kim Mohan's Cover to Cover overview covers what we will see in this issue. 

Out on a Limb covers letters about previous issues' content. Typically, things the readers didn't like.

Classic Dragon MVP Ed Greenwood is up first with Modern Monsters. He gives us some AD&D (though I think it could all work for D&D too; this was the time when a distinction had to be made) stats for various modern objects like cars and modern weapons. Also, how *D&D characters can deal with with them with and without the magic they are used to.  This is a rather great article and one that should be referenced for "City Beyond the Gate" when it appears in Dragon #100. 

Nice ad for FGU's Space Opera. Well...the ad itself in nothing special, but the listing of game stores that carry it is. I find it interesting that my home state (Illinois) had more game stores than the others. This could have been because FGU was located in Chicago. Also, there was a game store in the town I now live in that is no longer there. It's now a Pizza place. 

Len Lakofka's Leomund's Tiny Hut is up with detailed information on shield and weapons skills in AD&D and what you can expect any particular group of humanoids to have. Very detailed, and while I appreciate this, I am (and was) of the mind to say "given them all swords and call it 1d6 of damage each."  Not as realistic I am sure, but certainly will get the job done. Len took this stuff a lot more seriously than I do. 

Not to be outshined, Gary is up with one his From the Sorcerer's Scroll with "Developments from Stonefist to South Province" for his World of Greyhawk setting. One day I need to do a retrospective all of his writings. I feel that something like this would have been done already.  In any case, it is a fun little look into the "current events" of Greyhawk. Something I think I appreciate more now than I did then. 

Moving from AD&D to Top Secret we have In Search of A James Bond by Mark Mulkins.  Or how the famous 007 would fit into the Top Secret game. Something I am sure EVERYONE playing Top Secret tried at one point or another.  A lot of this is particular to the game mechanics of Top Secret including how move Bond between agencies. 

Merle M. Rasmussen, as expected, follows up with his Spy's Advice column for Top Secret.  Top Secret always looked like a fun game but one I never got into. I am a little surprised we have not seen an OSR version of this game yet.

Pete Mohney has a quick on with Random Magic Items. A set of tables meant to aid the DM and supplement the DMG.

For DragonQuest fans, there is The Versatile Magician by Jon Mattson. This covers new skills for the Magician. It looks good and I'll add it to my big DragonQuest set of notes for if or when I ever get to play it again. 

Up next is one of my favorite series from the Classic Dragon days, Giants in the Earth. I know a lot of ink was spilled to tell us how D&D/AD&D was not a novel and visa-versa, but I did love seeing these literary characters get represented as D&D characters. In this issue we have C. J. Cherryh's Morgaine and Vanye from her "Morgaine Series" including the rather notorious (for its cover) "Fires of Azeroth." These books were a staple of the old Science Fiction and Fantasy book club. They were on my TBR pile forever. I really should give them a go. I have enjoyed C. J. Cherryh's other works. We also get Lynn Abbey’s Rifkin from "Daughter of the Bright Moon." This was also years before she would come to work at TSR.  And finally two from Robert E. Howard; Belit and Dark Agnes. 

Ok. The entire middle section of my Dragon is gone. Typical really, since it was an adventure, "The Wandering Trees."  I checked my Dragon CD-ROM and sure enough, that is what it is. BUT by the rules I have established for myself here I really can't go over it. I will say this though, it was the second-place winner, IDDC II (International Dungeon Design Contest II) the OSR Grimoire has more on that. It also looks like a fun adventure. I am kind of sad I don't have it.

Up on a Soapbox is next. We get a rare Brian Blume editorial about playing evil characters. He concludes that no serious gamer will ever want to. Meanwhile, a good amount of the 5.2 Million Baldur's Gate 3 players (according to Steam) are going to at least try the "Dark Urge" option at least once. BUT in principle, I do agree. All things being equal I would rather play a Good character than and Evil one.  Roger E. Moore is next with "Dungeons Aren't Supposed To Be 'For Men Only,'" an interesting bit of a slice in time. I am not 100% certain what the motive here is. Why? Well, it could be two equally valid things. Moore, or others, looked out at the vast demographic of D&D players and found the lack of women concerning. OR. They could have been responding to criticism. While I am NOT going to get into the personal views of the various creators of the game from nearly 40 to 50 years ago, I am going to take Moore at face value and say he is here (on his soapbox as it were) saying, yes women do, should, and can play D&D.  Thankfully, this is also not an issue these days and the years since this time have made great strides for more and more inclusion. 

You know the saying, "Getting off on the wrong foot?" I feel like that is where I am with the Minaria series. This month is The Chronology of Minaria by Glenn Rahman. I mean I know it is for Divine Right, but I never got into that game so I have no context for any of this. Here is what I get from it now. The 80s were a fun time. To think that TSR would spend valuable page resources (four full pages) on this is either amazing or amazingly short-sighted. I can't tell which, but I can say it was a very, very different time and a different mindset. If I posted my HUGE timeline of my Mystoerth world I would not expect anyone to be that interested. Maybe some, but enough?  This was the last of the Minaria articles too. Since it would be two more years before I would buy a copy of Dragon at this point I am not surprised this series never contacted with me. 

D&D's War Game roots are showing here in this next article from Michael Kluever on The History of the Shield. It's a neat article that goes into some historical detail about the focused development of the shield. It covers 9 pages (with some half-page ads here and there). It is interesting but more than I need for a typical D&D game. Granted, that is me. I would get excited about a 9-page on the history of scrolls or something magical. So every time I get a "Politics of Hell" there is one of these. It is a good article, but no where near my personal interests. 

Reviews are up next. Tony Watson covers Star Viking a game I only sort of remember.  It is a sci-fi mini-game for two players, a Viking and a Federate. Where the Viking player tries to raid bases and other ships and the Federate tries to stop them. Watson enjoyed the game and played around with variant ideas. I could see this game being reskinned as Star Trek, Orions vs the Federation style game easily. Might be fun.  In what could be called an understated review, the brand-new superhero RPG Champions gets less than a half page (compared to the two given to Star Viking).  Though Scott Bennie does say that the game does a very good job of emulating it's genre and he gives it a "hearty recommendation" despite it's flaws. Also the game was only 56 pages back then. 

Simulation Corner by John Prados covers The Art of Illustration in games. I am not sure if I am missing something here but his thesis is "good art sells games and makes games better." Yes. But I think back to some of the art that was common prior to 1982 and maybe this was something that needed to be said. 

The Electric Eye from Mark Herro goes over the recent survey about computer use among Dragon readers. Here are some interesting insights. 

Age
Under 19: 63%
19-22: 9%
22-44: 25%
45+: 0%

Education Level
Students: 71%
Professional: 29%

This tracks and was expected for the time. 

Access to Computers

None: 6%
Apple-l I: 17%
Apple-l I+: 29%
Apple-l I I: 0%
PET: 0%
CBM: 9%
VIC: 3%
TRS-80 (Mod. 1): 20%
TRS-80 (Mod. 2): 3%
TRS-80 (Mod. 3): 9%
TRS-80 (Color): 6%
TRS-80 (pocket): 0%
North Star: 3%
Atari (800): 11%
Atari (400): 9%
APF: 0%
OSI: 0%
ZX80: 0%
Exidy: 0%
Heath/Zenith: 0%
S-100: 6%
Other: 20%

Again, this feels right to me given the demographics above. Apple dominated the education market followed by TSR-80s.  Atari was a popular home model and was in competition with the Vic-20/CBM and the TRS-80 Color Computer. This also makes me wish I had tried out the Atari 800/400 line more.

Only one reader had access too more than two different kinds of computers.

Most readers want more programs in the pages of Dragon, and all want articles on gaming-related topics. Readers were more or less equally divided on whether they buy, copy, or write their own programs. 

The Convention Schedule tells what is hot in the Winter of 1982. February 5-7 were the dates for Gen Con South. Something I think Gen Con could do again. 

Dragon Mirth has our comics. And we end with Wormy and What's New with Phil and Dixie! 

So a very interesting snapshot in time of what was happening in the world of Dragon magazine. Not a lot of insight into the world of RPGs, unless you count the Electric Eye article.

I am curious to know what people's thoughts were on the included adventure.

 Moving to the next room, the party finds the tomb of a dwarven duchess. 

The name on the lid has been worn away with age. The dwarven runes, though, at least the occupant is a duchess in her final rest.

Underneath the sarcophagus, there is Treasure Type L.

 The first of the smaller tombs appears to be for some sort of duke or lord (the lettering is wearing off) who was an uncle to one of the kings.

This (and all the ones here) tomb is smaller than those on the main tomb entrances. It also appears to be less disturbed than the others.

It's occupant still rests, undisturbed. It's treasure is gone, but a close inspection (roll of 1 on a d6; 1-2 for elves and dwarves) will find a secret door under the sarcophagus.

Inside there is a an Axe +2. In the hands of a dwarf it is an Axe +3 and a Dwarven Throwing Axe. It can be thrown for ranges 20/40/80 and return to the dwarf that threw it.

I have been kinda quiet lately because I have a few projects I am working on. One will be ready for next month.

In addition to all the other stuff I do, I will have my Horror Movie Challenge as normal, this year hosted by the Halls of the Nephilim.  I am also hosting the RPG Blog Carnival. 

My theme for this year is Horrors, Gods, and Monsters.  

I am going to post my usual batch of horror related topics, but I am also going to present my take on the Deities & Demigods II concept I have been working on.

While I have been doing a bit of work, I think the one I am ready to share is my Roman-Norse Pantheon.  

I have gods, and yes, monsters to share for this project, and hoping that October will be my month to bring it all to light.

If you want to participate in the RPG Blog Carnival on this topic, just post what you want (that concerns this topic) and share your link below. Or share it on social media with the #RPGBlogCarnival hashtag, and feel free to tag me.  I'll do a round-up of all the posts in November.

To bring all my topics together, I am looking to do monsters on Mondays. Currently thinking about new versions of the Alp, Earth Troll, and Trow. Need two more. I am also looking for good horror movies that could have taken place in the Black Forest during 7th Century Europe, or conform to those basic themes. I can think of a few that fit right now, but they are ones I have already seen.

In any case I hope to have some great material for you next month!

 This last opening leads down to a chamber with four other exits to other smaller chambers.

There is nothing in this main chamber. The smaller chambers appear to be the tombs of lesser members of the dwarven royal family.  The rooms are detailed this week.

 It is the first Monday of Autumn. I spent my weekend buying Halloween decorations and playing Baldur's Gate 3. My monster today was almost the physical manifestation of Error Code 516, but this might be better.  I wanted a shadowy, liminal undead figure.

Dúlachán

Armor Class: 3 [16]
Hit Dice: 7+7** (39 hp)    
Move: 240' (80')
   Fly: 240' (80')
Attacks: 1 chill touch (1d8+1d6 chill, Constitution Drain) or 1 trample (1d6 x2)
Special: Constitution drain, undead, Magic +1 or better weapons to hit.
To Hit AC 0: 12 [+7]
No. Appearing: 1
Save As: Fighter 7
Morale: 12
Treasure Type: Nil
Alignment: Chaotic (Chaotic Evil)
XP: 1,250 (OSE), 1,300 (LL), 9/1,110 (S&W), 800 (BF)
Turn As: Spectre

Dullahan, the headless horseman. From Thomas Crofton Croker, Fairy Legends and Traditions of the South of Ireland (3rd ed., 1834)

The Dúlachán can appear as a ghostly Headless Horseman or as a headless man or woman driving a funeral carriage.  The rider/driver is headless and will carry their own severed head under their arm or in a bag tied to their saddle or belt.  The horses are always of the darkest black, though their eyes burn with baelfire. In both cases, the rider/driver and horse(s) are all part of the same creature and can't be separated. The Dúlachán seeks out the death of one person but will also attack and kill anyone in their way. Behind them follows an army of wailing ghosts. 

These creatures are only found riding in "liminal" or in between times. So sunset or sunrise, the equinoxes and solstices, or on Samhain, the new year. They are most commonly encountered at sunset on the Autumnal Equinox and Samhain (Halloween).

They attack with either a trample (used against victims who are not their direct targets) or a chill touch that does 1d8 hp of damage on hit and an additional 1d6 due to their bone-numbing cold. Their touch drains 1 point of constitution per hit. This is treated the same as other undead draining. Anyone drained to 0 Con dies. If they are the called-out victim, they are whisked away. If they are someone that gets in the dúlachán's way, then they join the army of ghosts that follow along behind it, doomed to wail for eternity.

Their tactic is to ride up just as the sun is setting, call out a victim's name, and then ride the others down to claim their chosen. They will only name one victim per group. There is never more than one dúlachán at a time. 

Dúlachán can be turned as Spectres, but they will return the next night at sundown to make their claim again. They are incorporeal and can only be hit with magic weapons. If they are "killed" they will return on the next change of season. The only way to truly be rid of one is to Turn it or kill it and cast a Remove Curse on the character called out.

If the called-out victim gets into the coach version of the dúlachán, it is instantly killed, but the dúlachán will not attack anyone else and ride off into the nighttime sky.

Game Master's Note: These creatures should never be used as random monster encounters.

--

Happy Fall!

 Continuing on to the next room, this is the tomb of another dwarven prince. There is a sarcophagus and an interned body but no treasure save for a single bottle.

Inside the bottle is a Djinn. 

The djinn will offer the party 3 wishes total if they don't attack it.

The djinn knows nothing about the Vampire Queen. This is because before imprisoning the djinn she wished for him to forget everything about her.

The party could choose to attack. The Djinn will turn invisible and hide. He will come back around to see if he can get the party to consent to the wishes since this is the only way he can get back to the Plane of Air.

The djinn returning to the Plane of Air will also return his memories. At this point, the djinn will return to the party and offer them any weapons they need to help them defeat the Vampire Queen. The djinn is barred from directly dealing with the Queen herself.

 Moving on from the King's Chamber (where the dragon was), we get to the Queen's Chamber. 

This tomb has been desecrated and robbed of all treasures. The Vampire Queen is jealous of any other queen other than herself.

The gaming magazine is dead. After all, when was the last time that you were able to purchase a gaming magazine at your nearest newsagent? Games Workshop’s White Dwarf is of course the exception, but it has been over a decade since Dragon appeared in print. However, in more recent times, the hobby has found other means to bring the magazine format to the market. Digitally, of course, but publishers have also created their own in-house titles and sold them direct or through distribution. Another vehicle has been Kickststarter.com, which has allowed amateurs to write, create, fund, and publish titles of their own, much like the fanzines of Kickstarter’s ZineQuest. The resulting titles are not fanzines though, being longer, tackling broader subject matters, and more professional in terms of their layout and design.

—oOo—
The first thing you notice about Dungeons & Dragons Adventurer Issue 1 is the dice. Of course, you are meant to. A set of black polyhedral dice with red lettering in a silver tin on a red cardboard background. It stands out. After all, what gamer does not like a set of dice? And they are nice dice. They sit on the front of the first issue of Dungeons & Dragons Adventurer, a partwork from Hachette Partworks Ltd. A partwork is an ongoing series of magazine-like issues that together form a completed set of a collection or a reference work. In the case of Dungeons & Dragons Adventurer, it is designed to introduce the reader to the world and the play of Dungeons & Dragons, specifically, Dungeons & Dragons, Fifth Edition. With the tag line, ‘Learn – Play – Explore’, over the course of multiple issues the reader will learn about Dungeons & Dragons, how it is played and what options it offers, the worlds it opens up to explore, and support this with content that can be brought to the table and played. Over the course of eighty issues, it will create a complete reference work for Dungeons & Dragons, Fifth Edition, provide scenarios and adventures that can be played, and support it with dice, miniatures, and more.
Dungeons & Dragons Adventurer Issue 1 does not come with the dice. There the first issue of the magazine, there is the ‘Introduction to Combat’, there are four ready-to-play character sheets, and there is advertising. The main item is Dungeons & Dragons Adventurer Issue 1. Future issues of the partwork will include secretions dedicated to the seven gameplay elements—‘Sage Advice’, ‘Character Creation’, ‘The Dungeon Master’, ‘Spellcasting’, ‘Combat’, ‘Encounters’, and ‘Lore’—of Dungeons & Dragons, Fifth Edition, but Dungeons & Dragons Adventurer Issue 1 concentrates on ‘Sage Advice’, ‘Character Creation’, and ‘Lore’. This starts with the basics of play, ‘The World of D&D’, ‘The Structure of Play’, and more… Notably, in ‘The World of D&D’ it mentions several worlds, including Dark Sun and Ravenloft, but notes that the Forgotten Realms is where all of the adventures to come in Dungeons & Dragons Adventurer will be set. It mentions the origins of the roleplaying game too and its creators, alongside a photograph of the original Dungeons & Dragons. Then it explains the ‘Structure of Play’, how the dice work and the concept of Difficulty Classes, the role of the Dungeon Master, and then it breaks down the elements of a Player Character, including Species and Class, equipment, and more. This includes the backgrounds for the four pre-generated Player Characters included in Dungeons & Dragons Adventurer Issue 1. There is advice too, throughout. Some of this is done in ‘Top Tip’ boxes, split between those for the Dungeon Master and those for the player. For example, a ‘DM Tip Top’ gives advice on how to present an NPC using a one sentence description and motivation, whilst a player ‘Top Tip’ suggests that he think about not just his character’s best qualities and abilities, but also his worst, in particular, as a means to aid in roleplaying the character. Elsewhere the advice is more general, covering aspects such as the Session Zero, the lack of necessity to know all of the rules to play and run the game, and rolling the dice behind the screen. The latter is perhaps the most controversial piece in Dungeons & Dragons Adventurer Issue 1 suggesting as it does that the Dungeon Master use a screen to anonymise her dice results in order to prevent an unnecessary party death if she is rolling particularly well.
Is this good advice? Well, yes and no. Yes, because you do not want the players to necessarily fail on their first encounter or exposure to Dungeons & Dragons, Fifth Edition and because if they do, there is no real advice as to what to do next in the pages of Dungeons & Dragons Adventurer Issue 1 in the event of Player Character death. Yes, because the publisher wants the Dungeon Master and her players to remain interested in Dungeons & Dragons, Fifth edition, and thus, Dungeons & Dragons Adventurer. Yet no because it is not entirely fair on the game itself which relies on the randomness of the dice rolls and the possibility of death is part of the game itself. It will be interesting to see how this issue is addressed in future issues.
The ’Lore’ section in Dungeons & Dragons Adventurer Issue 1 describes the town of Phandalin, the location for the scenario from the original Dungeons & Dragons Starter Set and also the more recent release from Wizards of the Coast, Phandelver and Below – The Shattered Obelisk. It gives a one-page introduction to the town in readiness for the ‘New & Exclusive Adventure’ in Dungeons & Dragons Adventurer Issue 1, which is more of a detailed Encounter rather than a full adventure. It is, nevertheless, described as ‘Adventure 1 – 1 King of the Hill’, so that suggested that there is more of the adventure to come. ‘King under the Hill’ is set in the Stonehill Inn in Phandalin. It is intended to be played in one or two hours and involves a mix of combat and exploration with a little roleplaying thrown in. It is clearly explained, involves just the two linked monsters, and as with the rest of the magazine, there are DM Top Tips throughout such as describing particular feature of one of the monsters and reminding the Dungeon Master should describing the scene for her players and asking them what they want to do next. It is all clearly presented and easy to read from the page. In addition, the events of ‘King under the Hill’ are tied into Phandelver and Below – The Shattered Obelisk so that a Dungeon Master could add this encounter to that campaign if she wanted.
In comparison to the rest of Dungeons & Dragons Adventurer Issue 1, the included bonus ‘Introduction to Combat’ booklet is digest sized and has wire hoops to help it sit in the binders designed for the partwork. In eight pages, the booklet takes the reader through ‘The Rules of Engagement’, covering surprise, establishing positions, initiative, actions such as attacking, casting spells, helping, hiding, and more, before explaining Hit Points and damage and its effects. Then, in the ‘Combat Example’ it gives an example of combat using the pre-generated Player Characters included with Dungeons & Dragons Adventurer Issue 1 and the scenario, ‘King under the Hill’. It is designed to show how a round or two of combat could play out rather than should.
The four Player Characters in Dungeons & Dragons Adventurer Issue 1 have their own sheet each. They include a Human Rogue with the Charlatan background, a Hill Dwarf Cleric with the Acolyte background, a Wood Elf with Outlander background, and a Halfling Wizard with the Sage background. They are done on standard Dungeons & Dragons character sheets and are completely filled with all of the details needed to play, including a range of spells for both the Cleric and Wizard. They lack background on the sheets though, but otherwise they are fine.
Then, of course, there is the advertising, all pushing the reader to subscribe to future issues of Dungeons & Dragons Adventurer. The simplest of this is a request to the reader’s nearest newsagent to reserve forthcoming copies, but the more complex highlights the Special Subscription Offer and the free gifts that the reader will receive if he decides to subscribe. These include more dice, a dice tray, binders for issues of Dungeons & Dragons Adventurer, and so. Perhaps the most ridiculous of these the ‘Dice Jail’, a wooden mini-dice jail into which a player can temporarily imprison dice because they have been rolling badly. The six-page flyer is a mixture of the informative and the advertising, providing a good overview of Dungeons & Dragons at the actual table with a photograph also used in the first issue of Dungeons & Dragons Adventurer. It includes a quick and dirty overview of the seven gameplay elements— ‘Sage Advice’, ‘Character Creation’, ‘The Dungeon Master’, ‘Spellcasting’, ‘Combat’, ‘Encounters’, and ‘Lore’—and just some of the extras that will accompany future issues. It all feels unrelenting and over the top, but its inclusion is understandable.
Penultimately, consider this. Bar the Dungeons & Dragons Annual, it is difficult to identify anything to have been published for the current edition of Dungeons & Dragons, let alone prior editions, in the United Kingdom since the days of TSR (UK) and the mid-eighties. Dungeons & Dragons Adventurer Issue 1 might very well be the first in several decades, and unlike the Dungeons & Dragons Annual, what Dungeons & Dragons Adventurer Issue 1 does is show the reader what the roleplaying game is like and how it is played, rather than simply telling him.
Ultimately, there is the cost to consider with Dungeons & Dragons Adventurer. There is no denying that Dungeons & Dragons Adventurer Issue 1 is inexpensive, but that is how the partwork concept works. The first issue or two is inexpensive to draw the purchaser in, its contents designed to entice him to buy further issues or even subscribe. However, as the subject of a partwork, Dungeons & Dragons Adventurer is going to be different to other partworks, which traditionally collect a series of figurines or the parts of a big model. Dungeons & Dragons already exists as a complete game in its own right and a gamer need not collect any of Dungeons & Dragons Adventurer to start playing. He can just buy the core rules or purchase a starter set. What Dungeons & Dragons Adventurer offers as an alternative is a gentler introduction to the roleplaying game, released in easily digestible and playable issue. Plus of course, the gifts that come with the issues. It is eighty issues though and that though does come to a grand total of £770. It is as they say a definite investment in Dungeons & Dragons.
Physically, Dungeons & Dragons Adventurer Issue 1 is very well presented, in full colour using the Dungeons & Dragons, Fifth Edition trade dress and lots and lots of Dungeons & Dragons, Fifth Edition artwork. So, the production values are high, colourful, and the writing is supported with lots of ‘Top Tip’ sections. The result is that Dungeons & Dragons Adventurer Issue 1 is physically engaging. The core of it though, differs from a traditional magazine. Dungeons & Dragons Adventurer Issue 1 and the pre-generated Player Characters are glued together and designed to split and store in the partwork’s binders.
There is no denying that Dungeons & Dragons Adventurer Issue 1 is great value for money. The set of Dungeons & Dragons dice with the tin is worth the price alone, and that may well be the only reason that some purchasers buy it. But if you have never played Dungeons & Dragons then not only do you get your own set of dice, but you also get something that is easy to sit down and digest, prepare, and then explain and run in the space of an evening. By the end of session, both Dungeon Master and her players should have a good idea of how the roleplaying game is played and know whether they want to continue with Dungeons & Dragons Adventurer Issue 2—or even leap to the full Dungeons & Dragons experience. Dungeons & Dragons Adventurer Issue 1 is quite possibly the most cost-effective introduction to Dungeons & Dragons to have been released to the general public.

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

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

—oOo—

What is it?The Gaia Complex – Quick Start is the quick-start for The Gaia Complex – A Game of Flesh and Wires, the Science Fiction, Cyberpunk roleplaying game published by Hansor Publishing.

It includes an extensive explanation of the setting, rules for actions and combat, details of the arms, armour, and equipment fielded by the Player Characters, two ‘Data Seeds’ (or scenario outlines and hooks), and five ready-to-play, Player Characters, or Agents.

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

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

How long will it take to play?
The Gaia Complex – Quick Start and its two ‘Data Seeds’ are designed to be played through in two or so sessions.

What else do you need to play?
The Gaia Complex – Quick Start requires two twelve-sided dice and three three-sided (or six-sided) dice per player.

Who do you play?
The five Player Characters a Human Operator, an ex-cop, made redundant, turned mercenary, a Human technician and drone operator, Human Operator, an ex-gang member and corporate enforcer, a Feral with his partner dog, and a Human Hacker.

How is a Player Character defined?
An Agent has seven stats—Brawn, Reflexes, Guts, Brains, Allure, Perception, and Grit. Stats are rated between one and ten. There are multiple skills. These do not have a value. A Player Character either has them or does not have them and his proficiency in them is determined by their associated stat. Endurance represents his physical health and Pressure his mental health.

How do the mechanics work?
Mechanically, The Gaia Complex uses two twelve-sided dice to determine the outcome of a skill attempt. A roll equal to or below the skill’s associated stat, after any modifiers for complexity, counts as a success, on either die. If both succeed, the Player Character will succeed at the skill attempt, whether he has the skill or not. If both roll higher than the modified stat value, the attempt is a failure, and if both are equal to twelve, it is a critical failure. If the stat value is below the difficulty rating of the skill test, the player has to roll the dice, but if higher, his character automatically succeeds. A specialisation in a skill allows the reroll of a single die if the result was not a twelve. Grit can be spent by the player to modify the die result.

How does combat work?
Combat in The Gaia Complex uses the same mechanics. It includes support actions such as ‘Jack Into a Hacking Rig’, ‘Perform a Hacking Action’, ‘Perform a Drone Action’, and ‘Meld – Feral Only’ which fit the setting. The range of other options are what you would expect for a modern modern game with firearms, included aimed shot, snapshot, and burst fire. Burst fire enables the attacker to reroll a single damage die. Combat is deadly, with Endurance reduced to zero indicating death, whilst Pressure reduced to zero, either from a Vampire special ability or the effects of a program in the Core.

In addition to the rules for combat, there are rules for drone use and access and hacking The Core, a virtual space akin to Cyberspace. Hacking usually targets secret data stores and other locations below the extensive data archives of The Core. It requires a hacking Rig and Jacking in and in combat, a hacking Player Character can only do one action per round. Out of combat, hacking is handled in narrative fashion rather than rolling for every encounter. Several dangerous countermeasures are detailed to ward off any hacking attempt.

How do Vampire and Feral abilities work?
A Feral can Meld with a ‘partnered’ animal, which requires the use of the Meld skill. This enables him to imprint his consciousness into the animal and see through its eyes and act as if he is the animal. Damage suffered by the animal is suffered as Pressure damage by the Feral.

Vampires are not included in The Gaia Complex – Quick Start.

What do you play?
The setting for The Gaia Complex – Quick Start is the year 2119. Following the Resource War of 2039 and the damage done to the environment, humanity was forced to retreat into sealed metropolises. New Europe, which covers most of the European continent is the largest. in addition to the development of atmospheric processing and other meteorological protective technology, cyberware was developed and spread, true A.I.s came online, including in new Europe, Gaia. Her technological developments would revolutionise society, including heavy surveillance and increasingly, robotic law enforcement. The streets exploded into guerilla warfare as a resistance, augmented by cyberware, arose against the surveillance and law enforcement as hackers attempted to stop the influence of the A.I.s. In between horrors out myth have swept onto the streets—vampires! Eventually, a synthetic blood source was developed as food for the vampires, but that does not stop vampire gangs in search of real from being a problem. Another species are the Feral, which are capable of melding with the consciousness of an animal, which are mostly biogenetic closes in 2119.

The Gaia Complex – Quick Start includes two of what it calls a ‘Data Seed’. This is not a scenario as such, but rather an expanded hook that includes an idea, one or more suggested scenes, and more. In ‘The Raid’, the Player Characters are hires to infiltrate and steal a file called ‘Hivemind’ from a research facility in Bruss (old Brussels). The three suggested scenes describe the research facility and what might be found inside and below it, followed by a difficult escape. The second ‘Data Seed’, ‘The Hack’, the Player Characters are hired to kill a mercenary hacker. Its suggested scenes involve the Player Characters hunting down the hacker and confronting him in his base.

Is there anything missing?
The Gaia Complex – Quick Start is complete.

Is it easy to prepare?
The core rules presented in The Gaia Complex – Quick Start are relatively easy to prepare. However, the Game Master will need to do some extra preparation in order to have either ‘Data Seed’ ready to play.
Is it worth it?
Yes and no. Anyone wanting something that can be run with relatively little preparation, including a read-to-play scenario is advised to look elsewhere as each ‘Data Seed’ in The Gaia Complex – Quick Start requires more preparation than a standard scenario would. So, no. However, a Game Master happy to undertake that preparation or run either ‘Data Seed’ from the given information will have no issue with The Gaia Complex – Quick Start. So, yes.
Where can you get it?
The Gaia Complex – Quick Start is available to download here.

 This room is directly in line with the corridor the party used to enter the room. The passageway slopes down considerably and goes for nearly 100 feet.  The room it opens up into is large.

Inside this room is a large dragon.

This dragon has been down here for centuries and it has grown too large to leave or even fly. It is a Necrotic Dragon. It had been a Red Dragon (and uses those stats) but its exposure to the necromantic magics of this tomb has changed it. Its breath weapon is a gout of black fire that burn cold, but burns all the same.

The local living goblins pay it tribute and the Shadow Elves from above believe it is some sort of dark avatar of long dead gods.

It has maximum HP for a red dragon and three times (x3) the amount of treasure.

It can be harmed with holy water (1d8 per vial) and a light or continual light spell will cause it to hit and save at a -1 penalty.

As well as contributing to Free RPG Day every year Goodman Games also has its own ‘Dungeon Crawl Classics Day’, which sadly, can be a very North American event. The day is notable not only for the events and the range of adventures being played for Goodman Games’ roleplaying games, but also for the scenarios it releases specifically to be played on the day. For ‘Dungeon Crawl Classics Day 2020’—the very first, which took place on Saturday, May 16th, 2020, the publisher released two items. The first was DCC Day #1: Shadow of the Beakmen, a single scenario for the Dungeon Crawl Classics Role Playing Game. The second was the DCC Day 2020 Adventure Pack, which not only provided support for the Dungeon Crawl Classics Role Playing Game and Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, but also for the Dungeon Crawl Classics Lankhmar Boxed Set, with a scenario for each. This format has been has been followed for each subsequent DCC Day, that is, a single scenario and an anthology containing two or three scenarios, all of them short, relatively easy to run and add to an ongoing campaign, or even use as a one-shot of convention game.
DCC Day 2020 Adventure Pack is actually longer than most scenario releases for either Dungeon Crawl Classics Role Playing Game, Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, or the Dungeon Crawl Classics Lankhmar Boxed Set! The trilogy opens with ‘Expedition to Algol’, a scenario for First Level Player Characters for Dungeon Crawl Classics. The Player Characters are engaged by the wizard Bartakus-Thrum to participate in an experiment which will see them transported to another planet. Fortunately, the experiment is a complete success and the Player Characters find themselves under the intense heat and light and humidity of an alien world and its three suns—two yellow and one green—in a city of several thousand lizard-men being besieged by another several thousand cat-men. Unfortunately, the Player Characters have no way of getting back home, so as it turns out, the experiment is not actually a complete success. Their situation though, is not quite as dire as it sounds. Their arrival has been foretold and the Hall of Tests awaits them…
The Hall of Tests consists of a hollow tower which descends deeper into the ground and is dominated by a giant statute of a humanoid with three eyes. It has a number of rooms leading off the main tower that the Player Characters will work their way down, exploring and examining its techno-magical features. In the long-abandoned complex, the Player Characters will discover the source of the animal-men outside the tower and of course, in doing so, will transform themselves, some of the secrets of the thoroughly Lawful Evil Space Wasps which once ruled this world and their technology, a very helpful purple arm, and even a way home! The most fun part of this, at least for the Judge, is going to be portraying the arm. Ultimately, the Player Characters can find a way home, but if they are in any way transformed, will they want to? If they decide to stay, the Judge will find further information about the world of Algol in Dungeon Crawl Classics #84: Peril on the Purple Planet and of course, ‘Expedition to Algol’ can be used as an introduction to that campaign setting. ‘Expedition to Algol’ is an excellent scenario, whether used as a one-shot or introduction.
‘The Heist’ is the second adventure in the DCC Day 2020 Adventure Pack. This is for Third Level Player Characters and is written for use with the Dungeon Crawl Classics Lankhmar Boxed Set. As small-time crooks—thieves, burglars, and cutpurses—the Player Characters all know that the treasure hoard of the merchant-lord Duke Oraso is only bettered by the Overlord of Lankhmar himself. The most famous of his fabulous treasures are the Stars of Lankhmar, three enormous jewels that the duke has pledged to the Gods of Lankhmar, though not yet delivered. Whilst many a thief has sworn an oath into his cups to steal such treasures, none have succeeded, but when news comes that Duke Oraso will throw open the gates of his city manse and host a grand fête for all the nobles of the city, the opportunity to burgle one of the richest men in the city and do it under his very nose, is not to be missed. With this set-up, ‘The Heist’ is one-part grand soirée, one-part mystery play, and one-part dungeon, and all together, a grand affair.
The Player Characters will need to procure disguises and decide how they want to get into the duke’s manse and then begin their search of it—above and below ground—for the duke’s treasure vault. There are lots of opportunities for sneaking around, roleplaying (especially with dissolute members of the nobility), and larceny, all under the watchful gaze of the duke’s guards and his assistant, the Vizier. For the most part, the Player Characters are free to move around as they want, though their disguises will work better in some areas of the Manse than other, and there are a number of timed events throughout the evening. The Player Characters only really have to be present for grand finale to the duke’s mystery play. The scenario includes a full map of the Manse, both above and below ground, a table of rumours and gossip, timeline, a big table of nobles in attendance whom the Player Characters can mingle and hobnob with, a smaller table of treasures to purloin, and a quick-sheet of rules from the Dungeon Crawl Classics Lankhmar Boxed Set for easy reference or if the Judge is running the scenario using just Dungeon Crawl Classics. The only thing missing perhaps is a table of possible relationships between the nobles attending the fête and more item descriptions of the things that the Player Characters can steal to add flavour and verisimilitude rather than just monetary value.
‘The Heist’ is a grand affair and at twenty-four pages in length, not just the longest scenario in the DCC Day 2020 Adventure Pack, but its highlight. This is a great scenario, very well supported, with plenty of options in terms of how the Player Characters approach what could be a very Oceans 11-style heist. However, it is far too big and far too detailed to be really run as a one-shot or convention scenario as suggested, and given how good the scenario is, what is it still doing hidden away in the pages of the DCC Day 2020 Adventure Pack and not being more readily available for the Dungeon Crawl Classics Lankhmar Judge? Hopefully, if there is an anthology of scenarios for the Dungeon Crawl Classics Lankhmar Boxed Set, this one will be included. It deserves a reprint and to be better known to Dungeon Crawl Classics Lankhmar Judges.
The third and final scenario is ‘Ruins of Future Past’. Designed for Player Characters of First Level, this is for use with Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic. It begins with the Player Characters stumbling into a temporal rift and being sent swirling back in time to find themselves in a stone complex inhabited by an annoyed out of time ‘ghost’, and full of weirdness such as edible mushrooms seeking human comfort that sprout from the walls, a puppet show performed by skeletons, a library arranged as a perpetual spiral of book piles, and a thing of wax stretched so membranously thin it covers a whole room. This is the partially abandoned workshop of Ram’Gan, a wizard who specialises in the magic of time and considers himself to be a ‘chronoartist’ and much of the contents of the workshop consists of incomplete or failed experiments from his ‘art’. Located in a former temple to a minor pharaoh, ‘Ruins of Future Past’ concludes with a confrontation with one or more temporal echoes of Ram’Gan, such as ‘Primordial Ram’Gan the Vicious’ or ‘Black Powder Ram’Gan the Leadslinger’ and the discovery of a ‘time tunnel’. This can be used to get the Player Characters home or alternatively, thrown through time to their next adventure.
Although there are some technological treasures to be found at the end of the adventure, ‘Ruins of Future Past’ is only nominally a scenario for Mutant Crawl Classics. Of course, it pulls the Player Characters from Terra A.D. and out of time, but what they end up in feels like and is written as a dungeon more suitable for Dungeon Crawl Classics than Mutant Crawl Classics. The fact that the scenario is not written from the point of view of the Mutant Player Character and that the author suggests that it is “equally suitable for equivalent-level Dungeon Crawl Classics characters” lends itself to the suggestion that this was a Dungeon Crawl Classics adventure quickly repurposed to Mutant Crawl Classics with mentions of Terra A.D. at the beginning and end of the scenario. That said, as a Dungeon Crawl Classics adventure, ‘Ruins of Future Past’ delivers all of the Swords & Sorcery weirdness you would expect of a Dungeon Crawl Classics adventure and as a Mutant Crawl Classics adventure it works as a ‘fish out of water’—or ‘mutants out of time’—scenario. In either, its ‘thrown out of time’ start makes it easy to drop into a campaign and if the Judge wanted to start a time travel campaign using either Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic or the Dungeon Crawl Classics Role Playing Game, this would be a good jumping off point.
Physically, the DCC Day 2020 Adventure Pack is as decently presented as you would expect from Goodman Games. The adventures are well-written, the artwork decent, and the cartography excellent.
Of course, the DCC Day 2020 Adventure Pack was a bargain when it was released for DCC Day back in 2020. After all, it was free! Plus, all three scenarios are playable, with one scenario—‘Expedition to Algol’—being good and one scenario—‘The Heist’—being really good. In fact, ‘The Heist’ is a must have scenario for the Dungeon Crawl Classics Lankhmar Judge, making the DCC Day 2020 Adventure Pack a worthwhile purchase for that alone. In which case, the other two adventures are a bonus.

The very latest entry in the Ticket to Ride franchise is Ticket to Ride: Berlin. Like those other Ticket to Ride games, it is another card-drawing, route-claiming board game based around transport links and like those other Ticket to Ride games, it uses the same mechanics. Thus the players will draw Transportation cards and then use them to claim Routes and by claiming Routes, link the two locations marked on Destination Tickets, the aim being to gain as many points as possible by claiming Routes and completing Destination Tickets, whilst avoiding losing by failing to complete Destination Tickets. Yet rather than being another big box game like the original Ticket to Ride, Ticket to Ride: Europe, or Ticket to Ride: Nordic Countries, it takes its cue from Ticket to Ride: New York, Ticket to Ride: London, Ticket to Ride: Amsterdam, and Ticket to Ride: San Francisco. Part of the ‘City’ series for Ticket to Ride, it is thus a smaller game designed for fewer players with a shorter playing time, a game based around a city rather than a country or a continent. The entries in the series are also notably different in terms of theme and period.
Published by Days of Wonder and designed for play by two to four players, aged eight and up, Ticket to Ride: Berlin is easy to learn, can be played out of the box in five minutes, and played through in less than twenty minutes. As with the other entries in the Ticket to Ride ‘City’ series, Ticket to Ride: Berlin sees the players race across the city attempting to connect its various tourist hotspots. All of entries in the ‘City’ series are both set in their respective and have a them representative of their city. Thus, Ticket to Ride: New York had the players racing across Manhattan in the nineteen fifties via taxis; Ticket to Ride: London had the players racing across London in the nineteen sixties aboard the classic double-decker buses; Ticket to Ride: Amsterdam took the series back to the seventeenth century and had the players fulfilling Contracts by delivering goods across the Dutch port by horse and cart and claiming Merchandise Bonus if they take the right route; and Ticket to Ride: San Francisco continued the lack of trains in the series by having the players travel around ‘The City by the Bay’ aboard its icon form of transportation—the cable car! In Ticket to Ride: Berlin, the players can travel from the Teirgarten to Check-Point Charlie, from Charlottenburger Tor to Alexander-Platzfrom, from the Reichstag to the Zoo, either by the trams that crisscross the city or the underground which encircles it—or both!
Inside the small box can be found a small rectangular board which depicts the centre of Berlin, from Moabit, Charlottenburger Tor, and Kurfüstendamm in the west to Alexander-platz, Humbodt Forum, and Morotz-Platz in the east. The board has a scoring track at its eastern end, running from one to fifty, instead of being placed around the edge. There are Streetcar and Subway Car pieces in four colours (as opposed to the trains of standard Ticket to Ride), the Transportation cards drawn and used to claim routes between destinations, and the Destination Tickets indicating which two Destinations need to be connected to be completed. Both the Streetcar and the Subway Car pieces are nicely sculpted, the Streetcar pieces having a more rounded feel, as opposed to the square, more train-like Subway Car pieces. Each player begins play with eleven Streetcar pieces and five Subway Car pieces. The Transportation cards come in the standard colours for Ticket to Ride, but are illustrated with a different form of transport for each colour. So black is illustrated with a river cruise boat, blue with a taxi, green with a streetcar, purple with a bus, red with a train, orange with a subway car, and the wild card with a bicycle. This really makes the cards stand out and easier to view for anyone who suffers from colour blindness and the range of transport options give the game a greener feel. Similarly, the Destination Tickets are bright, colourful, and easy to read. As expected, the rules leaflet is clearly written, easy to understand, and the opening pages show how to set up the game. It can be read through in mere minutes and play started all but immediately.
In comparison to the boards in the other entries in the ‘City’ series, the one Ticket to Ride: Berlin is more functional than attractive. The various routes are laid out in strong coloours over a light tan streetmap of the city. It is not an unattractive board, but there is an austerity to it. Most routes are one, two, or three spaces in length, though there are three routes four spaces long, all of them grey in colour meaning that any colour can be used to claim them. The major difference with the board is that is that it is ringed by an underground system. Each only has space for one Subway Car piece, but the number of dots alongside the single space indicate the number of Transportation cards which have to be played to claim that route. These are either one, two or three Transportation cards. The board has two Route Scoring Tables, one for claiming the Streetcar routes and one for the Subway routes. In general, a player will score more points for claiming a Subway route than a Streetcar route. However, a player only has five Subway Car pieces to place as opposed to eleven Streetcar pieces.
Play in Ticket to Ride: Berlin is the same as standard Ticket to Ride. Each player starts the game with some Destination Tickets and some Transportation cards. On his turn, a player can take one of three actions. Either draw two Transportation cards; draw two Destination Tickets and either keep one or two, but must keep one; or claim a route between two connected Locations. To claim a route, a player must expend a number of cards equal to its length, either matching the colour of the route or a mix of matching colour cards and the multi-coloured cards, which essentially act as wild cards. Some routes are marked in grey and so can use any set of colours or multi-coloured cards. If the route is a Streetcar route, the player places a number of Streetcar pieces on it equal to its length. If it is subway route, he places just the single Subway Car piece on it, though he still has to expend the indicated number of Transportation cards.

In fact, Ticket to Ride: Berlin feels so much like standard Ticket to Ride that it is not immediately obvious what makes it different from either standard Ticket to Ride or the other entries in the ‘City’ series, each of which has a strong theme and an extra mechanic. For example, in Ticket to Ride: San Francisco, the players also collect Tourist Tokens. In Ticket to Ride: Berlin, the difference is the subway network which rings the city. A player only has five Subway car pieces to place, so they are a limited resource, but when played, they tend to score more points and they tend to connect routes that are harder to connect via the Streetcar pieces. Most Destinations in the centre of the board lie just a single route’s length from the beginning and end of a Subway route. Thus, for the longer Destination Tickets, a player will likely be wanting to claim the Subway routes to get around the board, whilst claiming routes into the city using the Streetcar pieces. It is an underplayed difference in comparison to titles in the ‘City’ series and to Ticket to Ride in general.

What Ticket to Ride: Berlin is reminiscent of is the Ticket to Ride Map Collection Vol. 7: Japan + Italy and its Japan map. This introduced the ‘Bullet Train’ route, which when claimed using the indicated number of Transportation cards, only used a single Bullet Train piece to indicate that it had been claimed. The Subway routes in Ticket to Ride: Berlin work in a similar fashion, although unlike on the Japan map, they are not shared by all of the players and nobody is penalised for not building any Subway routes.

Physically, Ticket to Ride: Berlin is very nicely produced. Everything is produced to the high standard you would expect for a Ticket to Ride game.

Like Ticket to Ride: New York, Ticket to Ride: London, Ticket to Ride: Amsterdam, and Ticket to Ride: San Francisco, what Ticket to Ride: Berlin offers is all of the play of Ticket to Ride in a smaller, faster playing version, that is easy to learn and easy to transport. The balance in the game lies between claiming two different types of route, one that feels faster and goes further, as well as scoring more when claimed, but the player is limited to claiming five of this type in total, the other shorter, more flexible, with more pieces to put down and claim routes, but not scoring quite as much. This is more demanding than the other ‘City’ series titles and in combination with the fact that Ticket to Ride: Berlin is not as strongly thematic as the rest of the ‘City’ series, the result is that Ticket to Ride: Berlin feels austere in comparison. Of course, Ticket to Ride: Berlin still offers the same quick, competitive play of Ticket to Ride, but loses theme in favour of slightly more thoughtful play.

Cover by Dean Morrisey, who also did #16 – it’s ok but he definitely improves with later covers

Articles

• Editorial gives recap of Origins ’78, mentions how huge it was. One mention of the tourney which will be reported on in Dragon 19 and that the 3 modules (ie the G modules) are commercially available
• Article by James Ward about how to crossover D&D characters to Metamorphosis Alpha and vice versa

Design Forum

• Article about magic laws – this is actually quite a cogent description of various laws that govern the multitude of magic systems throughout literature – which you could choose to use to add flavour to your campaign

Variants

• Insanity – saving throw chart based on intelligence and wisdom and an effects table and descriptions
• New spells – bunch of new magic user spells to use as you see fit
• The chamber of the Godgame – uh, this is some sort of puzzle chamber thingy – not to my taste
• Monkish weapons and monk vs monk combat – one of those very detailed things, kind of like the jousting matrix – I guess some people like that
• Poisons – very short article which splits poisons into 3 different types and their effects
• NPC stats – random roll tables for pride, greed, and quality of work

Reviews

• Not D&D related but of note – the new SF game, Traveller, gets a thorough review and description

Comics

• McLean has 3 pieces – all quite funny. He manages to make something funny with just one panel. And they’re nice drawings too. Tom Wham on the other hand is an excellent artist but I really don’t find Wormy funny in the slightest

Ads of note

• Same ad for Players Handbook as last issue