Mutant Crawl Classics #12: When Manimals Attack is the eleventh release for Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, the spiritual successor to Gamma World published by Goodman Games. Designed for Second Level player characters, what this means is that Mutant Crawl Classics 12: When Manimals Attack is not a Character Funnel, one of the signature features of both the Mutant Crawl Classics Roleplaying Game and the Dungeon Crawl Classics Role Playing Game it is mechanically based upon—in which initially, a player is expected to roll up three or four Level Zero characters and have them play through a generally nasty, deadly adventure, which surviving will prove a challenge. Those that do survive receive enough Experience Points to advance to First Level and gain all of the advantages of their Class. In terms of the setting, known as Terra A.D., or ‘Terra After Disaster’, this is a ‘Rite of Passage’ and in Mutants, Manimals, and Plantients, the stress of it will trigger ‘Metagenesis’, their DNA expressing itself and their mutations blossoming forth. By the time the Player Characters in Mutant Crawl Classics #12: When Manimals Attack have reached Second Level, they will have had numerous adventures, should have understanding as to how their mutant powers and how at least some of the various weapons, devices, and artefacts of the Ancients they have found work and can use on their future adventures.
Mutant Crawl Classics #12: When Manimals Attack begins with the Player Characters coming to the rescue of a young Manimal, who has been chased up a tree by some ravenous preyor beasts. They will learn that although she cannot talk very much, her name is ‘Anji’. She is friendly, seems fascinated by the village’s sole pure Strain Human, and despite her Mustelid appearance, claims she comes she is ‘ooman’ and that she comes from the fabled lands of ‘tsoo’. She seems to settle into the Player Characters’ village, but in the middle of the night attackers loom out of the darkness, setting hut after hut alight. In the morning, the tracks are easy to find—with signs of something apelike, something feline, and something unknown—and lead out into the jungle. Barring an encounter or two, the Player Characters are able to follow the tracks back to a large domed structure. On the side can be seen the word, ‘ZUU’.
The scenario assumes that the most likely approach the Player Characters will take is stealth, following Anji’s escape route out of the ‘tsoo’ back to within its confines. There they find themselves not in a building as such but a stretch of open grasslands, the sky a different colour… Once they have dealt with the robots informing visitors that park is a closed and they are trespassing and that any Manimals are in the wrong zone, interacting with the Manimals will reveal the situation. They are trapped in a habitant, ruled over by the Savage One and his brutal guards, but it was the Savage One who made them stronger and better than they were. Finding out further information means breaking out of this one habitant and into the others, and there is some fun to be had seeing the Player Characters exploring some radically different climes than the ones they are used to. It is interesting to see the Player Characters challenged in this. Ultimately, they will be able to determine what is going on at the ‘ZUU’, and either rescue or free the numerous Manimals in its various habitats.
Mutant Crawl Classics #12: When Manimals Attack is a short scenario, emphasising stealth and investigation in preparation for a confrontation with the Savage One and his brutal guards. The strangely bestial creature has plans for more than just the ‘ZUU’, wanting to convert Terrans of all types into the Manimals they were meant to be. He certainly has the means to do so. The scenario is reminiscent of H.G. Wells’ The Island of Doctor Moreau as well as two Cryptic Alliances from Gamma World—the ‘Zoopremisists’ and ‘The Ranks of the Fit’. They are not the same of course, but there are similarities. The scenario is, though, about confronting and fighting the supremacy of one species type over another in the world of Terra A.D. It should be no surprise that the Savage One is portrayed as a supremacist monster and certainly as a monster by the artist, Kelly Jones, on the front cover of the module.
Physically, Mutant Crawl Classics #12: When Manimals Attack is cleanly and tidily laid out. As you would expect for a book from Goodman Games, the scenario—especially its locations—is highly detailed and is given a decent piece of cartography. However, the Savage One is illustrated not once, but three times if the cover is included, and it is too much. Ideally, an illustration and even a map—after all, it would have had a visitors’ map before the Great Disaster—of the ‘ZUU’ could have been included as handouts, both of them helping to enhance and improve game play.
Mutant Crawl Classics #12: When Manimals Attack is decent scenario which should provide two good sessions worth of play or so. Full of detail, it which presents an interesting confrontation for Manimal Player Characters in particular.

For the most part, my 100 Days of Halloween has been about all the witch or spooky stuff I need to get some reviews done or just stuff I like. Typically everything has been languishing on my hard drive for years.  But not tonight's entry.  I bought it just for this because it looked fun.

Limited Edition Pumpkin Spice Wampus Country

PDF. 30 pages 

From the product page,

A Halloween-and-Harvest compilation of articles from the Wampus Country blog, suitable for use with classic fantasy games and related nonsense. Within, you'll learn the dark arts of sucromancy, punch ghosts, explore death masks, and more.

Yeah sounds like something I would like really.  

These are all articles collected from the Wampus Country Blog which has been out there doing its thing for 11 years.  So they are quite upfront with what to expect, but the new format and layout of this PDF is worth the price really.

The articles are a mixed (Halloween) bag, including Candy Magic and Bone Magic. There is a great section on creating random witches, which I really liked. A Ghost Hunter monk subclass. 

The art is Halloween ephemera so it is all rather appropriate. 

It is a rather fun collection of articles to be honest and to have them all in one place for an easy download is worth the price of the PDF easily.

In the year of our lord, 1631, a strange island came to be on the coast of the city of Plymouth, in the fair county of Devon, where none had stood before. From all around it could be seen, far and wide, for a great light shone from atop a lighthouse that stood at very centre of the strangely circular isle. When sailors saw the light, their only thought was to sail their ships until they beach them upon the shores of that very island, and soon there was not one ship at sea for many miles to see. The merchants of the city did rain much in the way of complaints, for the light was clearly a danger to their livelihoods and did raise fair sum with which to reward brave adventurers who would venture to the shores of the aberrant isle and seek out the reason for the beguiling light. This is the set-up for The Obsidian Anti-Pharos, a scenario designed for low Level Player Characters for use with Lamentations ofthe Flame Princess Weird Fantasy Roleplay. Published by Lamentations of the Flame Princess, the scenario is primarily a short mini-dungeon that slots easily into the default historical period for Lamentations of the Flame Princess Weird Fantasy Roleplay—that is, the early modern period of the seventeenth century—and equally, is as easy to adapt to the retroclone of the Game Master’s choice. The dungeon though is tough and unforgiving and if the Player Characters are to survive, they are going to need to have a lot of luck on their side.
The Obsidian Ant-Pharos provides the Player Characters with two options for their getting involved. However, whether offered a reward of a thousand silver or being shipwrecked on the shore of the island itself, what the Player Characters discover is a perfectly round island at the centre of which stands the strange tower, fifty foot tall and apparently cut from one piece of black stone. The thickly wooded island itself is divided into two hemispheres by a barricade, each occupied by a different, but antagonistic tribe. In addition to each tribe hating the other, primarily because of the way it worships the occupant of the tower, Khepegoris, each tribe practises cannibalism and will happily eat any sailor washed up on the shore. Which is just the second problem that the Player Characters has to deal with getting onto the island—the first being withstanding the effects of the hypnotic light beams cast by the type of the tower. (Of course, the aim is the scenario to get to and investigate the tower, but players do object to their characters being pulled about so obviously…) Neither tribe, both descended from the Khepegoris’ servants, can agree on what colour the doors to the tower should be either—one side believes it should blue, the other it should be yellow, and wear wooden masks painted accordingly.
The third big problem that the Player Characters will face is getting into the tower. The doors on the outside—the ones which one tribe wants to paint yellow, the other tribe blue—are false and if anyone touches them, they vanish. This is the fourth big problem. The actual entrance is a hatch in the ground that appears at random, so initially, the players are going think that there are multiple hatches across the island. The key to the hatch is also missing (sort of). The Game Master will definitely need to drop some hints as to how the Player Characters might find the clues to getting into the tower. That fourth big problem remains in the meantime, because when a Player Character touches either of the false doors, not only does he vanish, but reappears on a platform in a room, surrounded by water (but which is actually potent acid) with a door by the wall, some forty feet away. This is the tower prison. It is left up to the player’s ingenuity to work out exactly how his character is going to get out of the situation, but the fourth big problem is not the true nature of the problem. Instead, it is the fact that it separates the Player Characters from each other and splits the party. Touching the false doors on the outside of the tower is not the only method the scenario has of splitting the party by dumping one or more in this prison.
As the Player Characters proceed up the tower, they will encounter a maze, a grotto with a bejewelled alligator-shaped automaton, a bed chamber, and more. There is a clue to be found to how to proceed through the maze, but beyond that? The tower has very much been built to dissuade visitors and intruders and so any attempt to move forward upon the part of the Player Characters will be down to guess work as there are no clues whatsoever. For example, the bejewelled alligator-shaped automaton contains two keys, one of which will open the door to the next room. Pull that one out and the Player Character will be fine, but pull the other out and the Player Character loses a limb. There is no way of knowing which is the right key. In effect, The Obsidian Anti-Pharos shares elements of the death-trap dungeon a la S1 The Tomb of Horrors, but with less of a reliance on puzzles. Plus, Khepegoris returns and is really not very happy about anyone having been meddling in his home. How exactly he returns is unlikely to turn out well for at least one Player Character…
Which leaves the fifth and final big problem for the Player Characters—what do they do about Khepegoris if he does return? He need not return, that being down to Player Character invention, but if he does, Khepegoris is very much of a higher Level than they are and they unlikely to pose a real threat to him. He may even reward them for bringing him back to life. If he stays, his research will remain a regular threat to local shipping, so the Player Characters may be back again, this time to kill him—if they can. Ultimately, the best outcome for the Player Characters is not to summon him at all—inadvertently or otherwise, as his presence will radically alter the campaign.
Physically, The Obsidian Anti-Pharos is laid out white on black and has solid artwork and cartography. Unfortunately, the editing is slipshod, and the result is the scenario feels rushed in places.
The Obsidian Anti-Pharos does have its moments—the interaction and roleplaying with either of the two tribes should prove entertaining and watching the players come up means to escape the acid pool prison should prove either inventive or frustrating. Yet the end result is underwhelming, a dissatisfying death-trap dungeon that does not seem to reward the players and their characters for their guesswork and is likely to end in an exercise in frustration for both.

A new Kickstarter this week for a 5e sci-fi magic and tech RPG that you might be familiar with.

Amethyst (5E) - Magic & Technology Collide (Collection)

https://www.kickstarter.com/projects/diasexmachina/amethyst-5e-fantasy-and-technology-collide-collection?ref=theotherside
I have been looking for a good 5e Sci-fi RPG for a while and I am familiar with Amethyst from previous editions.

This one looks like it has everything. It has already blown past its funding goal and knocking out the stretch goals in record time.

There is so much here too, DEM from Chris Dias seems to be pulling out all the stops for this and it is working well for him.

I just now have to figure out what level I want to get in on!

Escape the Dark Sector: The Game of Deep Space Adventure brought the brutality of the Fighting Fantasy solo adventure books of the eighties to both Science Fiction and co-operative game play for up to four players in which their characters begin incarcerated in the detention block of a vast space station and must work together to ensure their escape. Published by Themeborne, with its multiple encounters, traps, aliens, robots, objects, and more as well as a different end of game Boss every time, Escape the Dark Sector offered a high replay value, especially as a game never lasted longer than thirty minutes. Now, like its predecessor, Escape the Dark Castle: The Game of Atmospheric Adventure, the game has not one, but three expansions! Funded via a Kickstarter campaign, each of the three expansions—Escape the Dark Sector – Mission Pack 1: Twisted Tech, Escape the Dark Sector – Mission Pack 2: Mutant Syndrome, and Escape the Dark Sector – Mission Pack 3: Quantum Rift—adds a new Boss, new Chapters, new Items, and more, taking the path of the escapees off in new directions to face new encounters and new dangers. Each expansion can be played on its own with the base game, or mixed and matched to add one, two, or three mission packs that increase the replay value of the core game.
Escape the Dark Sector: The Collector’s Box is no mere pretty box to hold the core game and all three of its expansions, although it is pretty. The large, square, and sturdy box is matte black and has circuitry picked out in UV detailing for quite a subtle effect and a quiet, but imposing presence on your shelf. Inside there is space to hold and organise all of the game’s cards—sleeved or unsleeved—as well as dice, playmats for the escapees, scorepads, pencils, and the various rulebooks. If you are looking for somewhere to hold your copy of Escape the Dark Sector and its three expansions, both to store and organise for play, then Escape the Dark Sector: The Collector’s Box is very much what you need. That is not all though.
In addition to holding everything for the game, Escape the Dark Sector: The Collector’s Box also comes with its own content. These begin with not one, but four new Bosses which could be faced at the end of a game as part of the players’ escape attempt. They include ‘The Changeling’, which can never take two consecutive wounds of the same type so that the escapees need to vary their attack types; ‘The Monolith’, simply inflicts damage by its very presence and cannot be flanked, so there is no teaming up for attacks; ‘Grottle & Snork’ are a pair of murderous aliens who also cannot be flanked, but vary their attack type from round to round; and ‘Madame Chrome’, a cyborg or robot defended by a drone swarm.
The three new Start cards provide new beginning points for the escapees, all three of which have them finding a way out of their cells. For example, having prised their cell doors open, one Start card presents the players with two options. If they take the left door, the players ‘Discard the first Act 1 Chapter Card’ and each draw a ‘Starting Weapon Card’ for each escapee. If they take the right door, the players ‘Add one Act 1 Chapter Card’ to the mission deck and then a ‘Starting Weapon Card’ for each escapee as well as two new Item Cards. This Start Card presents the players with a simple choice—reduce the number of Chapter Cards and thus the difficulty of the escape attempt and get a simple reward, or increase the number of Chapter Cards and thus the difficulty of the escape attempt and get a bigger reward. The most fun involves a scavenger breaking into the escapees’ cell and the players having the choice of fighting it or making a bargain with it. If they defeat it, the escapees gain all of the scavenger’s items, but if they strike a bargain, they gain one item it has previously stolen, and they get to ‘Discard the first Act 1 Chapter Card’. It is delightfully thematic.
The new crew member is K-100, an android escapee. It rolls an entirely different die—a twelve-sided die. One faced is marked with a ‘Triple’, the face being marked with all three traits. This counts as a Double when rolled and a Block in close combat. However, one face of the die is ‘Blank!’ and this is rolled, the android’s neural-net freezes and it is forced to reboot for the next round. This is the player missing a go, but again, it is thematically appropriate.
Escape the Dark Sector: The Collector’s Box adds three new Items or pieces of equipment. The ‘Alien Blaster’ can fire both ballistic ammunition and energy ammunition, the player being able to choose between them. Since it is an ‘Alien Blaster’, sometimes its bio-identification feature will discourage the escapee from using it with its imposter repulsion system, converting an ammo die into damage it inflicts on the wielder! The escapees begin play with the ‘Life Support Module’ in their inventory and can be used be transfer Hit Points between escapees. It is then discarded after use.
The biggest Item in the Escape the Dark Sector: The Collector’s Box is the ‘Demolition Mech’! This has its reference card and Event Card, which is drawn randomly from the Item Deck. Any escapee can pilot it, but cannot carry Items when doing so. The ‘Demolition Mech’ itself is represented by four mech section cards which together form the image of the mech itself. Although the pilot cannot use any Items or mutations (from Escape the Dark Sector – Mission Pack 2: Mutant Syndrome), he can use the mech’s Demo-Cannon in ranged combat or Wrecking Ball in close combat. Both are powerful weapons. In addition, the ‘Demolition Mech’ is armoured, able to take any amount of damage on each of the four locations—represented by its four mech section cards—but only the once. When that happens, the damaged mech section card is turned over and cannot take any further damage. Damage to the torso can destroy the Demo-Cannon or it can hinder the use of the Wrecking Ball. Should all four section cards of the ‘Demolition Mech’ be damaged, it explodes! The pilot is thrown from the wreckage and suffers a lot of damage. The pilot can eject from the ‘Demolition Mech’ before this happens.
The ‘Demolition Mech’ adds a new level to the play of Escape the Dark Sector, literally powering it up. Of course, it has a downside or two. Push its use to far when it takes damage and an escapee can be badly injured, and it also limits what an escapee can carry. Its use is fun though and energises the game when the event card for the ‘Demolition Mech’ is drawn.
Lastly, Escape the Dark Sector: The Collector’s Box comes with a new ‘YOU’. This is in sturdy metal and has a hefty weight to it as it passes from one player to the next, Chapter Card after Chapter Card.
Physically, Escape the Dark Sector: The Collector’s Box is as well produced as the core game. The new Start Card and Boss Cards are large and in general easy to read and understand, whilst the ‘Demolition Mech’ includes its own reference card. Each one is illustrated in Black and White, in a style which echoes that of the Fighting Fantasy series and Warhammer 40K last seen in the nineteen eighties. The box itself is sturdy and capacious.
Escape the Dark Sector: The Collector’s Box is both an entertaining and a practical addition to Escape the Dark Sector. As with the three Mission Packs for Escape the Dark Sector, this box adds more randomness and just a little more flavour to the play of the game, but always balances the advantage that any one card—Crew Member, Chapter Card, Start Card, Boss Card, and even the ‘Demolition Mech’ cards—with potential disadvantages too. The Escape the Dark Sector: The Collector’s Box provides more choice and more randomness and more Sci-Fi theme, as well as more storage space, nicely rounding (or squaring off) out the game with its own big box.

 If you are beginning to think I bought every bit of clip art or stock art with "witch" in the title, then you would likely be right.

Clipart Critters 338 - Witches Trio

Another great one from Bradley K. McDevitt. It features a trio of witches over a cauldron under a full moon while a cat looks on.

Very spooky and puts me in the mood for fall.

I have to admit I enjoyed it so much it is going to be in my very next project.  But more on that one later.

Nice mail call last week and I got my copy of Swords of Cthulhu from BRW Games / Joesph Bloch. As always BRW fulfills its Kickstarters in record speed. 

There is a lot to unpack here so lets get to it.

Swords of Cthulhu

For this review and deep dive, I am going to focus on the PDF and Print on Demand, I got from DriveThruRPGvia backing the Kickstarter.

The book is set up much like all the Adventures Dark and Deep books for "1st Edition."  This includes his Book of Lost Beasts and Book of Lost Lore.  One might wonder why this isn't the "The Book of Lost Cthulhu."

The book has the "1st Ed" Orange spine and layout and is a proper 128 pages. If the goal here is to feel like a book that would have been in your book bag in 1986 then I would say it was a success.  

Like the BRW's previous "Books of" this one is for 1st Edition AD&D but no mention of that game is found here. There are oblique references to it, but nothing say to the level we saw in Mayfair's AD&D products of the 80s and early 90s.  Though like those previous two books there is no OGL and no Open Gaming content.  So here are my thoughts on that. One, it doesn't affect the game playability of this book. Two, given that much of the Lovecraftian mythos are in the public domain this feels like a slight really, I mean using essentially IP for free but not giving something back. And three, there is so much of this already in the public domain AND released as Open under the OGL from other publishers it my all be a moot point.  Still I am sure some OSRIC, Advanced Labyrinth Lord, or Old School Essentials Advanced might want to do some Lovecraftian-style adventures for "1st Ed." and this would have helped.

But enough of that. Let's get into what is in the book.

If you are familiar with AD&D 1st Ed, any part of the mythos, and/or BRW's Adventures Dark and Deep books then you could likely predict with a high degree of certainty of what is in this book.  This is not a bad thing.

The spiritual godfather here is the Unearthed Arcana. The book gives us new races; the Deep One Hybrid and the Degenerate.  These feel like they are right out of Lovecraft books, though I would argue that both races have issues moving outside of their realms. Deep One Hybrids away from water and Dagon for example.

We get level limits for the new races with old classes and old races with new classes (not introduced just yet).

The new classes are the Cultist and the Scholar.  The cultist gets different abilities depending on which cult they are in.  Scholars are a "split class" starting out as Magic-users and then switching over to scholars. If you have the Book of Lost Lore then you can split class with the Savant. I would even argue that the Cleric would be a good choice if the cleric has a high Intelligence. 

The is a Skill system, the same found in the Book of Lost Lore, and this recaps some of that and expands it. While again overtly for 1st Edition it could work anywhere, also it can be ignored for folks that do not want to use skills for their games. 

Up next are spells. In the Cthulhu mythos books and tomes of occult lore and knowledge never lead to good things. These spells are part of that yes, but this is also an "AD&D" game and not "Call of Cthulhu" magic serves a different purpose here.  We get about 36 pages of spells. There is even an optional rule for human sacrifice that fits the tenor of the tales well.

There is a section on running a "Lovecraftian" game along with the tropes found in an AD&D game.  These have been covered elsewhere, but this version fits this tome well.  In particular how to mix demons in with the Lovecraftian mythos creatures. Something I have covered in my own One Man's God. 

You can't do the Lovecraftian mythos and not deal with sanity. Now. I am going to be honest. The overwhelming majority of RPGs get sanity and insanity completely wrong. I say this a game designer and as someone with degrees in psychology (BA, MS, Ph.D.) and who spent years working as a Qualified Mental Health Professional for the State of Illinois who specialized in treating schizophrenics.  How does this book do? This one introduces a new saving throw versus Insanity. Not a bad solution really. I will point out that "Insane" is largely a legal definition. "Madness" would be a better term of choice here. 

The definitions and descriptions used for the various modes of insanity (keeping with the book) are fine. We are not trying to emulate the DSM here. Though "Schizoid" is off. What is described there is more of a compulsion disorder. The Mulitple Personality one is always going to be problematic and I personally would drop the occurrence to more like 1 or 2%; even 3% is too high. I would re-do it as something akin to a "fractured" personality.  It is a usable system, but it lacks the integration of the SAN system of Call of Cthulhu. Though this is understandable.  Side note: I always look for "dementia praecox" in the list of insanities. When I see that and it is used properly I know the developer did their homework. It is not here and I had hoped it would be.

Up next we get to what is really one of the big reasons people want a book like this.  The monsters.

There are about 30 monsters here in AD&D 1st Edition format. If you use nothing else in this book then this is pretty fun stuff. The art is good and works well here.

This is followed naturally by the magic items. Plenty of books and tomes to terrify players and delight GMs. Yes, the Necronomicon is here.

Ah. Now we get to the stars of the show. The main course of this seven-course meal. The gods.  

All the usual suspects are here and the format is familiar to anyone that has read the Deities & Demigods.  IF playability is your largest concern then yes this book WILL replace the 144-page Deities & Demigods for you. No more having to lurk on eBay or hope for that rare score at Goodwill.  The stats are not exactly the same, nor should they be, but they are what I think many would expect them to be. 

We end with an Appendix of suggested reading (a must really) and lists of random tables.

The PDF is currently $9.95 and the hardcover is $24.95.  Perfectly within the price I would expect for this.

Now before I render my final judgment on this one a few more things.

I don't think it is unreasonable to ask "What does this book have that others do not?" For starters, it is developed specifically for AD&D 1st ed. I will point out that we do have plenty of other books, games, and resources that also do this for other OSR games and their relatives as well. Conversion is a matter of personal taste.

Briefly here are the main Lovecraftian/Cthulhu Mythos-related games/products I pulled from my shelves for this and how they compare. I am going to focus largely on the monsters and gods since that is the most common element. 

Table of Cthulhu

• DDG = Deities & Demigods
• SoC = Adventures Dark & Deep Swords of Cthulhu
• RoCC = Realms of Crawling Chaos (Labyrinth Lord)
• ASSH = Astonishing Swordsmen and Sorcerers of Hyperborea (Only including Cthulhu/Mythos creatures)
• CoC d20 = Call of Cthulhu d20 edition
• SP CM5 = Sandy Petersen's Cthulhu Mythos for 5th Edition
• WSH = What Shadows Hide 

In most cases, I am restricting myself to the "Core" Mythos creatures and the ones I really like.  Some names are different, but I will try to go with the common names. 

Of Gods  DDG  SoC  RoCC  ASSH  CoC d20  SP CM5  WSH  Cthulhu  Y  Y  Y  Y  Y  Y    Abhoth      Y      Y    Atlach-Nacha      Y      Y    Azathoth  Y  Y  Y  Y  Y  Y    Chaugnar Faugn          Y  Y    Cthuga  Y        Y  Y    Dagon    Y  Y    Y  Y    Ghatanothoa    Y            Hastur  Y   Y      Y  Y    Hydra    Y  Y    Y  Y    Ithaqua  Y      Y  Y  Y    Mordiggian          Y      Nodens          Y      Nyarlathotep  Y  Y  Y    Y  Y    Shub-Niggurath  Y  Y  Y    Y  Y    Shudde M'ell          Y      Tsathoggua    Y  Y    Y  Y    Yig    Y      Y  Y    Yog-Sothoth   Y  Y  Y    Y  Y                     & Monsters                Ape, Devil      Y  Y        Bhole    Y        Y    Beings of Ib      Y      Y    Bokrug      Y      Y    Byakhee  Y        Y  Y  Y  Cave Beast      Y          Colour Out of Space      Y  Y    Y    Crawling Reptile      Y          Cthonian / Spawn of Cthulhu    Y      Y  Y  Y  Deep One   Y  Y  Y  Y  Y  Y  Y  Deep One Hybrid    Y    Y  Y  Y  Y  Dhole          Y  Y  Y  Dimensional Shambler          Y  Y  Y  Flame Creature / Fire Vampire  Y        Y  Y  Y  Flying Polyp    Y      Y  Y  Y  Ghast      Y  Y    Y    Ghoul      Y  Y  Y  Y    Great Race of Yith  Y  Y  Y  Y  Y  Y  Y  Gnop-Keh          Y  Y  Y  Gug    Y        Y  Y  Haunter in the Dark    Y  Y      Y  Y  Hound of Tindalos    Y  Y    Y  Y    Man of Leng    Y  Y  Y    Y    Mi-Go / Fugi from Yuggoth  Y  Y  Y  Y  Y  Y  Y  Moon Thing    Y  Y      Y  Y  Night Beast      Y          Night Gaunt    Y  Y  Y  Y      Primordial One / Elder Thing  Y  Y  Y  Y  Y  Y  Y  Rat Thing          Y      Serpent People      Y  Y  Y  Y    Shantak    Y  Y      Y  Y  Shoggoth  Y  Y  Y  Y  Y  Y  Y  Spider of Leng    Y      Y  Y  Y  Tcho-tcho          Y  Y    Young of Shub-Niggurath    Y  Y    Y  Y    Voormis      Y  Y        White Ape      Y  Y        Zoog      Y      Y                    Open Content  No      No  No  Yes  No  Yes  Yes

It looks like Swords of Cthulhu fares pretty well, to be honest. No one book has everything. Now comparing anything to Deities & Demigods is a touch unfair since space in the D&DG was limited.  Likewise comparing to Sandy Petersen's Cthulhu Mythos for 5th Edition (or Pathfinder) is also unfair for the opposite reason; it has so much and few people have written or said as much about the Cthulhu Mythos as much as Petersen has.

But comparing Swords of Cthulhu to say Realms of Crawling Chaos or Hyperborea is appropriate.

Realms of Crawling Chaos

These two books complement each other well. While there is a very, very slight difference in underlying system assumptions each one offers something the other lacks in terms of gods and monsters.

Hyperborea

Formerly Astonishing Swordsmen and Sorcerers of Hyperborea, this game is closer to AD&D than it is to Basic D&D and the tone of the world fits well. Where Hyperborea stands out in the inclusion of and the predominance of Howard and Ashton-Smith mythos as they relate to the Lovecraft ones.  So lots of the same monsters and gods, but more Clark Ashton Smith.  While Swords of Cthulhu gives advice on how to integrate the mythos into your "AD&D" world, Hyperborea gives us a world where they are integrated. What is the difference? In Hyperborea "sanity" is not really an issue since the mortals here already know of the gods and these creatures.  Still, Hyperborea is not everyone's cup of tea.

I would argue that the combination of the three would give you the best Mythos game. Or maybe it would give *me* the best mythos game since I tend to lean into more Clark Ashton Smith tales than H.P. Lovecraft's alone.

Conclusion

Swords of Cthulhu is a great addition to the already crowded field of Mythos-related RPG books. No one book seems to have everything, and maybe that is fine really. If your game is AD&D 1st Edition and you want something a bit more than just what you get from the Deities & Demigods then this is your book.

If you play a lot of OSR games including their spiritual ancestors and you like the mythos, then this is also a fine book, but check with my table here to be sure you are getting what you want.  

For things like "which is better 'Swords of Cthulhu' or 'Realms of Crawling Chaos'" it is a draw. Both do what they are supposed to do well.  Both are good resources. SoC looks a bit better on the shelf next to all my AD&D books, but likewise, RoCC looks good on my Basic-era OSR shelf.

I vacillate on whether we have too many mythos-related RPG titles to thinking one more book won't hurt.  Currently, the word "Cthulhu" produces over 5,450 titles on DriveThruRPG. So there is a market.

With so many choices you need to decide what fits well for your games. Swords of Cthulhu is a great choice but it is hardly the only choice. 

I bought a lot of stock art. Some I have used, some I haven't. I am really, really disappointed in myself that I have not used this one anywhere yet.  I need to fix that.

Witch from Artikid Arts

From Luigi Castellani.  It features a dead or zombie witch on a broom. Love it. Has a real "American Witch" meets "Living Dead Girl" vibe to it.

The cat and the ripped fishnets are a nice touch.

Ah, I had to look back for this one, but my very first was not until 2014.

One of the reasons for this is I am always super busy in August due to Gen Con (didn't go this year) and my Fall term start.

Well, that is another #RPGaDAY for the history books! How did you all do?

More stock art tonight.

BlaszczecArt Stock Art: Halloween Witch

This one features a long-haired witch riding a broom.  Had to grab it. I am not sure where I will use it yet, but I will certainly find a spot.

Today's question looks to the future.  What should #RPGaDAY do for its 10th anniversary next year?

Two things I can think of.

1. Poster's choice.  You participate in a past #RPGaDAY that you did not do originally or did not complete.  So for me 2017 and 2018.

2. Roll a d10 to and post for whatever that year was.  This means Dave still needed to come up with things for Year 10 (2023)

I think my money is on #1.

Quick one tonight, some stock I rather enjoyed.

Troll Witch

A cool bit of art from Daniel Comerci.  It is labeled as a "Troll Witch" and that works for me. 

I used this one for my Winter Witch book and it is rather perfect to be honest.

We are getting to the end of the D&D 3.x Monster Manuals now. There are more 3.x monsters to be found; not just official D&D ones, but thousand through the d20 explosion.  Today though I want to spend some time with the Monster Manual V.

Monster Manual V (3.5)

PDF. 223 pages. Full-color covers and interior art. 

For this review, I am considering the PDF from DriveThruRPG and my hardcover I had a number of years ago.

Published in 2007 this was one of the last hardcovers published for the D&D 3.5 game prior to the announcement of the D&D 4e.  

I picked this one up cheap at the local RPG auction and I think I sold it back at next year's auction. Not a ringing endorsement I know, but in mine (and this book's) defense I was reducing my 3.x collection to make room for more OSR books and the upcoming 4e.  I am glad I picked up the PDF though.

There are just over 110 monsters in this book (ranging from CR 1/2 to 22), the least amount for any of the "Monster Manuals" for 3.x. There are 11 templates, and many companion and summonable creatures. There are even new feats and spells.  So at least this late in the game there is (or was) new material that could be shared.

The monster entries are again limited to whole pages. To make up the space there are "Lore" entries on some monsters. Others even have a Sample Encounter, Typical Treasure and/or how the monster appears in various campaign worlds.  I admit these do not feel like padding and instead feel like a value-added feature.

Alignments are also prefaced with "Always" or "Usually" in some cases, giving more variety to alignments. 

Among my favorite creatures here are" the Arcadian Avenger, the various new demons, the unique Dragons of the Great Game, Frostwind Virago, the God-Blooded creatures, Kuo-toa (finally!), Mindflayers of Thoon, Skull Lord, Spawn of Juiblex, the unique vampires, and the Wild Hunt.

While I was expecting a lot of "also-rans" and some diminishing returns on monsters this one actually is pretty good.  The details are greater for each monster entry, so this explains the low monster-to-page ratio here.  

Still, you have to be playing D&D 3.5 to really get the most out of these monsters.

Who would you like to see take part in #RPGaDAY?

Honestly? I would like to see some of the big names in the industry do something with it. So Wizards, Paizo, and others. Sure, use it to sell your own games, but it would be fun to get some of the big names involved.

Though the more the merrier to be honest!

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.
Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. A more recent retroclone of choice to support has been Mörk Borg.
Published in November, 2020, Strange Citizens of the City is one of three similar fanzines released by Philip Reed Games as a result of the Strange Citizens of the City Kickstarter campaign, the others being Strange Inhabitants of the Forest and Strange Visitors to the City. It follows on from the publisher’s Delayed Blast Gamemaster fanzine, by presenting a set of tables upon which the Game Master can roll and bring in elements to her game. Whilst Delayed Blast Gamemaster detailed monsters, environments, and more, with a cover which reads, “Roll 2d6 and say hello to Evil”, Strange Citizens of the City is all about the encounter and all about encounters with evil.
Strange Citizens of the City follows the format of Strange Inhabitants of the Forest, consisting of four tables—or rather sets of entries—which populate and add detail to a large location, in this case, a nameless city. The issue opens with the eponymous ‘Strange Citizens of the City’ which presents a table of villains or villain-like NPCs to be encountered in the forest. Each is given their own two-page spread, with a large illustration, a full page of text providing background, and of course, notes and stats. The notes typically suggest how much money the Player Characters might make from their loot or handing in proof of their deaths, though not always. They include Günter Buckler, Back-Alley Merchant, a dealer in all manner of goods who never steps out of the shadows, but who has no premises and no inventory, but can always get what you want—in a few days. The strange, twisted man is a wanted, known criminal, but sometimes demand exceeds what he can deal with his own and then he employs others to obtain items for him, which of course, could be the Player Characters. As to the thing that rides his back, it is best not to ask… Dinko and Bruno, Disciples of Skullheart, are unholy twins swathed in heavy robes and wearing strange masks, dedicated to a dead god. These zealots have acquired a small following, but want to establish a temple to Skullheart and so revive him. What happens when they do, remains to be seen, but for the moment, the city authorities regard them as no more than charlatans. Roland Repnik, Priest and Inventor, is held in high regard, hypnotically preaching against the evil which he claims pervades the city, but which he himself promulgates and helps bring about the End of Days… In secret, he conducts ghastly secrets in body manipulation. One of the victims of these experiments is Iapio Eskola, Reconstructed Warrior, a shattered survivor of a great battle whose armless and legless torso Repnik bonded to an infernally-fired, multi-legged, body that gives him the centaur form. Although the priest wanted Iapio Eskola as his bodyguard, the warrior fled, driven by his anger and desire to be free, and now works in the city as guard and enforcer despite being shunned and reviled for his appearance. Repnik wants him back and has commanded his followers to leave alone, but fears that Iapio Eskola will have his vengeance one day…
‘Strange Citizens of the City’ takes up over half of Strange Citizens of the City. It presents a collection of monsters and the monstrous, many of them evil in nature, and if not that, evil looking. They are invariably challenging opponents should the Player Characters go after then for their bounty. One difference between Strange Citizens of the City and Strange Inhabitants of the Forest, is that all of the NPCs described in this table—and elsewhere in the fanzine—do all feel as if they would fit in the one city. A dark twisted city where arcanotech, a mixture of magic and technology is available.
‘Strange Citizens of the City’ is followed by a shorter table, ‘Hired Goons’. This is a small collection of hirelings, simply detailed and each with a special trait, such as ‘Cowardly’ or ‘Intimidating’. Some are beneficial, such as ‘Calculating Leader’ for Arnold Jespersen, whose ability to command and direct grants combatants a small bonus to damage in a fight. Most are negative. For example, Sis Ermengol suffers from ‘Overwhelming Greed’ and will even change sides in a fight if offered enough coin (his description suggesting a perception check be made, even in battle, to notice this, and potentially take advantage of it), whilst the very presence of the ‘Spell-Touched’ Samuel Paasio will erase any scroll he comes near. This is an entertaining selection of minor NPCs which should add extra detail and flavour to any party expedition or task.
Similarly, the entries on the ‘(Possibly) Harmless Wanderers’ will also add colour and detail to a game, but this time on the streets of the city. None come with stats as they are there for flavour rather than anything else. They include Niene Meirer, the old and wrinkled pie seller, whose wares contain whatever meat she is able to find that day—including rat! The resulting pie might be tasty, but not the resulting stomach upset. Others range from a skilled puppeteer who performs unsettling shows using puppets carved from sewage-soaked wood to a pickpocket who specialises in rolling drunks and who might have something interesting to sell the next day. The selection is accompanied by an extra table of rumours.

Lastly, ‘Places in the City’ describes various locations. These include ‘Harbold’s Raceway’, a crumbling arena where the city watch once trained, but is now a drinking and gambling den where races of all sorts are held, on all manner of beasts and mounts, including fan-favourite, Uudo Kuusk and his six-legged biomechanical undead creature built by Roland Repnik. At ‘Yesterday’s Lost Wares’, the wooden golems will push to make a deal over any and all of the goods on sale in this two-storey pawnshop, whilst ‘The Statue of the Defeated Dragon’, a piece of public art considered so wasteful that both the artist and the city official who commissioned were cornered and murdered, has become a meeting for thieves, though in certain light, the statue is so life-like that the unwary might believe it to be an actual red dragon!
Physically, Strange Citizens of the City is very nicely presented. Although it makes strong use of colour, it uses a softer palette than Mörk Borg, so is easier on the eye. The artwork throughout is excellent.
Strange Citizens of the City is a set in some strange city where twisted men and women and other things lurk in the side streets, where great evil hides behind populism, and arcanotech is put to dark uses. Although intended for use with Mörk Borg—and it shares the same doom-laden sensibility—the contents of the fanzine would work with any retroclone or be easily adapted to the roleplaying game of the Game Master’s choice. However, they do all feel as if they live in the same city, a city waiting to be detailed. Perhaps a city that Philip Reed Games could detail in a future fanzine? In the meantime, Strange Citizens of the City is an entertaining and useful collection of NPCs for the Grimdark roleplaying game of the Game Master’s choice.

A bit of a different game tonight. Felt I needed a bit of a palate cleanser. The DriveThruRPG page says "Children of Midnight: Coven Quickstart is a gender inclusive urban fantasy Forged in the Dark table-top game. Players take the roles of Wyld Witches and their Familiars who form a Coven for mutual support in a dark and harsh modern world."   Sounds interesting. Let's get to it.

As always, to stay objective I will be following my rules for these reviews.   

Children of Midnight: Coven Quickstart

PDF. You get six files with this:

•  GM Session Notes
•  Quickstart Consent Form
•  Starting Undertaking
•  Quickstart GM Cheat Sheet
•  Children of Midnight Coven Quickstart Grimoire
•  Children of Midnight Coven Quickstart v1.3

In order, the GM Session Notes are exactly that, a form for recording sessions.   The Consent form is similar to others I have seen before. Green, Yellow and Red indicators on what all the players think on various topics. Starting Undertaking is a three page document with an overview/background on the game rules and the world.  Quickstart GM Cheat Sheet is a 6 page PDF with various guidelines and rolls used in the game.  Children of Midnight Coven Quickstart Grimoire is a colorful 2 page character sheet.

Children of Midnight Coven Quickstart is the game proper. This is a 40 page PDF.  It uses a system called Forged in the Dark that I am not entirely familiar with. The authors are Gavin and Áine Moore. For 40 pages there is a lot of material here. The font is a little small, but I can put this on a larger monitor than what I am using now. 

There is an absolute ton going on in this game. There is lore. There are detailed NPCs with photos and social media. I honestly feel I need to do some more research into this game before I can even properly review it.  So since this is a quickstart, I feel a quicky review right now is good. But really there is a lot of promise here.

To get a better feel I'll certainly need to play it, but I like what I am seeing so far.

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. Another choice is the Dungeon Crawl Classics Role Playing Game.
One of Us #1 is a post-apocalyptic fanzine for the Dungeon Crawl Classics Roleplaying Game. Published by Starry Wisdom Press in January, 2021, it casts the Player Characters as drifters, grifters, ne’er-do-wells, and desperate cast asunder following the Big Mistake, a war of some kind that was perhaps a decade or two ago. This places it roughly in the desperate, dirty decade of the thirties or even ‘Golden Era’ of the fifties. The Player Characters are specifically carnies, members of a travelling carnival, indentured to the mysterious being known as The Madame. In exchange for wondrous powers and “a more perfect self,” The Madame calls upon the carnies to procure for her, magnificent artifacts, as the carnival crisscrosses the dusty and dangerous remains of a once robust and proud land. Their efforts and their presence do not go unnoticed—cannibal hobos, shadowy cults, and uncouth hecklers will do everything in their power to prevent your caravan from carrying out its mission.
One of Us #1 is primarily about the Classes and Races of the setting—all of which come from the Dungeon Crawl Classics Roleplaying Game. This includes the Dwarves, Elves, and Halflings. The fanzine opens with ‘OCCUPTATIONS Now Hiring!’, a table of Occupations suitable for backgrounds and of course, Zero Level characters, all of them for a modern set period. All Classes can use two Signature Weapons from First Level. These are two weapons a Player Character or NPC can use without a penalty, whereas other weapons suffer a step down in die type as a penalty. The first of the Classes is the Strong-Person, which uses ‘Table G: Giants’ for critical hits, ‘Titan’s Might’ means a thirty-sided die is used for Strength checks, Strength of Will grants a Might Die used for all attacks and Strength checks, and Hidden Reserves allows Personality to be temporarily expended to gain an additional Might Die. The second Class, the Acrobat can ‘Roll with the Punches’ and has a better base Armour Class, Cat’s Grace which means the Acrobat can avoid damage too, and as a ‘Land Sailor’, is fast on land and in the air due to climbing, flipping, and leaping over obstacles. The Acrobat is also Ambidextrous and has a ‘Tumbling Die’ which is used for acrobatics and Mighty Deeds for ranged attacks. The Natural Wonder is the third Class and is one of ‘The Madame’s Perfect Children’ and so has Luck like a Halfling, has mutations due to ‘Atomic Singularities’, but due to ‘Mother’s Milk’, is fortified against radiation. An accompanying table provides the mutations.
The three Classes—Strong-Person, Acrobat, or Natural Wonder are all obvious in their inspiration, being archetypal Carnival types, and all well done in their design. Other Classes from both the Dungeon Crawl Classics Roleplaying Game and the Mutant Crawl Classics Roleplaying Game can be imported with little changes, but the Wizard becomes the Mystic, the Cleric the Revivalist, and the Elf, Dwarf, and Halfling The Stranger From A Strange Land. Backed up with a short selection of equipment, these are thematically interesting Classes which should also be fun to play.
Quite what The Madame is never defined in One of Us #1. She could be a demon, the devil herself, a god, or she something in between. She does serve as a Patron for the Player Characters and so can be invoked and there is the danger of suffering Patron Taint. What she wants is trinkets and gewgaws which together will free her from the bondage which confines her to her magical caravan. And this really is the extent of the setting notes and background given in One of Us #1, and that really is the big issue with the fanzine. It is full of brilliant content that suggests possibilities of a type and style of game or campaign, but does not explore either or suggest scenario ideas. Or indeed, give a Character Funnel or scenario, either of which would have shown the Judge what the designers intended. Hopefully that will be provided in the pages of One of Us #2.
Rounding out One of Us #1 is a half dozen monsters particular to the Dust Bowl. These include the Rag Creep, a thing wrapped in rags soaked in grain alcohol, psychedelic desert flower, and camphor to sooth their radiation-burned skin; the Witherer, the spirit of an old woman who haunts water sources who begs others to help her find her lost children and then feeds on their goodwill and hope; and the Dust Preacher, a preacher in his former life not only failed to protect his flock, but made demands of them in return for his protection. Now it demands a tithe of its own Hit Points to gain one-shot actions such as second attack or a static lightning blast! All six monsters are nicely detailed and fit the setting.
Physically, One of Us #1 is well presented with excellent artwork. One of Us #1 is a superb little read, combining elements of horror and the fantastic against a backdrop of broken Americana. One of Us #1 is incomplete though, and more background and some scenarios and scenario hooks would be very, very welcome.

Style Sunday: Roll 1d8+1, tag that many friends with your favorite RPG cover art.

Well. Again, I am not a huge fan of tagging people at random. 

So instead here are some (1d8+1) of my favorite pieces of RPG art. 

D&D Basic Erol Otus

WitchCraft by George Vasilakos


Vampire the Masquerade

Monster Manual


Larry Elmore Witch


Blue Rose

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.
Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. A more recent retroclone of choice to support has been Old School Essentials.
The Planar Compass series takes Dungeons & Dragons and the Old School Renaissance on a journey that out where it rarely goes—onto the Astral Realm and out between the planes. Of course, the option for travel in this liminal space has always been there in Dungeons & Dragons, most notably from Manual of the Planes all the way up to Spelljammer: Adventures in Space and the Planescape Campaign Setting. Whilst those supplements were for Advanced Dungeons & Dragons, First Edition and Advanced Dungeons & Dragons, Second Edition, the Planar Compass series is written for use with Old School Essentials, and it not only introduces the Astral Realm, but adds new Classes and rules for one very contentious aspect of Advanced Dungeons & Dragons—psionics! Planar Compass #1 introduced both the setting of the Astral Realm, presented Dreamhaven, a first calling point for the Player Characters to visit and explore, and provided details of several new Races found across the Astral Realm as well as the rules for psionics. Which turned to be easy to use and did not break the game. Planar Compass #2 takes the Player Characters further out onto the Astral Realms, or rather prevents everything that the Referee will need to take her campaign further out into the Astral Realms.

Planar Compass #2 was published in November 2021. Following on from Planar Compass #1, it promises strange sights, ever changing environmental dangers, and monsters the likes of which the Player Characters will never seen. Opening with a quick table listing all of the planes and explaining that the contents of issue are designed for mid-level play, Fourth Level and higher, and what titles are required to use it contents. It notes that the waters of the Astral Realms are the thoughts, hopes and dreams, and nightmares of all sentient beings of the multiverse, physical matter alien to it and are always either an intrusion or a traveller. Such waters are endless and there are many places that a good crew with a solid ship will be able to sail far and away to strange places—if both survive the dangers of the Astral Plane, many of which are intrusions and breakthroughs from other planes.
The dangers begin with the monsters—oddly placed before the sections on astral ships, astral sailing, and so on. These are all native to the Astral Realm and include Bubonic Barnacles which feeds on the wood ships and can grow into humanoid forms or algae blooms; the Astral Amphiptere, a semi-translucent dragon which dwells in island caves, and whose can cause planar tears which it can escape through or even others to use; Psychic Dugong, capable of telepathy, whose Psionic Milk restores psionic energy; and the Kear Imago. This last is a much-feared astral predator which scoops up ships and feeds on the psionic energy of their crews, leaving them husks ready for their larvae to occupy and grow in… A table of ‘Pirate Encounters’ is ready for the Referee to flesh out.
The rules for Astral Ships use the rules for water vehicles found in Old School Essentials, but adds five classes of Saving Throw similar to those for Player Characters and monsters. These are Storm, Collison, Fire, Water, and Plane Shift. These are rolled when a ship is subject to wind and gale forces, strikes an object or is struck by an object, is subject to flames or extreme heat, is subject to facing huge waves and torrential rains, and when transitioning between planes or suffering planar stress respectively. Two pieces of artillery are given to outfit ships on the Astral Plane—ballista and the Onauki fire thrower. Stats are given for ten types of astral ship, which include pirate ships and trading ships and warships, more or less what a Referee will need to run an Astral Sea campaign. They range from the Aldhelsi Drakkar and the Aldhelsi Knarr to the Tortuga and the Psionic Ship! Some of these, like the Human Catamaran, lie within the scope of a group of Player Characters purchasing the, rather than travelling on ships belonging to others. There are pirate ships and trading ships and warships
A handful of magical items are detailed too. The nastiest is the Sword of Astral Tether Cutting, a cruel, thin blade made from the remains of a meteor which can cut the tether between the physical and Astral bodies of the target, killing them instantly! The most interesting is the Sand from the Shores of Dreams, which can be sprinkled on someone so that the next time he sleeps, everyone nearby experiences his dreams. This presents interesting story possibilities, potentially another realm to explore and more.
The rules for astral sailing uses what it calls a ‘hex-flower’ or rosette to determine prevailing conditions around an astral ship, the direction of nearby encounters, and the direction of movement. Effectively, it sits under the astral ship as it sails from one hex to the next. Each turn of movement is handled through the same sequence of play in which the players roll for navigation, weather, and nearby planes, which the Referee uses to determine hazards and create encounters, and rolls to see if a Kear Imago has detected the vessel. The Referee and her players work together to describe the region the ship is sailing through.
Notably, the direction of movement is randomly determined, though the Onauk and Astral Sailors—both detailed in Planar Compass #1—have the ability to nudge the roll so that it is in the right direction. If the Kear Imago detects the ship, then the leviathan-sized creature will come hunting for it. Options for the encounters, weather, and planes near and far, are detailed separately along with a lovely set of hexes illustrated with icons that the Referee is going to want to be able to pull out and slip under the appropriate hex on the hex-flower. Large and small icons are used to represent everything from sighted vessel or signs of land, instruction of a plane, and more, with the size indicating distance away. Large are of course hear, small are faraway.
What is not made clear until the Referee gets to the adventure, ‘The Hunter Beneath the Waves’ is that the crew of ship needs to mask its ‘psychic load’ lest it be detected by a Kear Imago. This can be done by Astral Sailors or by consuming Psychic Ambergris, one of the magic items given earlier. If detected though, the Kear Imago will hunt the ship until either the ship and her crew get away or the leviathan swallows it whole. This lands the ship in its gut and the crew—that is, the Player Characters—have to navigate their way out of the beast. This is simulated using the hex-flower again, but here the crew are navigating the corporeal body of a beast rather than the Astral Sea, hoping to find the brain and engineer an escape. As you would expect it is nasty environment, the various descriptions of rooms such as the stomach, intestines, and waste chamber accompanied by optional tables for traps, NPCs, and location details. The rules are more or less the same for navigating the Astral Sea using the hex-flower, but instead of being able to nudge the direction roll through abilities innate to certain Classes, the Player Characters acquire ‘Travelling Points’ for encountering denizens of this ‘Kear Dungeon’, discovering and disarming traps, gaining information from friendly NPCs, and so on. The adventure is intentionally odd, surprisingly non-linear given its origins, and it does include some tough encounters. Plus although the players are unlikely to replay the ‘Kear Dungeon’ again, there is the possibility of their encountering a Kear Imago again. The fanzine does leave the Referee wondering what to do in that instance. Of course, there are always to get the Player Characters needing to climb back into a Kear Imago again, such as having to find a Wizard who has not been seen for years or go after a criminal. Lastly, the issue includes a table for ‘Astral Fishing’ and a set of adventure hooks waiting to be developed by the Referee as well a decent little comic strip which follows on from Planar Compass #1.
Physically, Planar Compass #2 is hit and miss. It is well written and it is gorgeous-looking. In places, individual hexes are are too dark and too murky, whilst the layout feels a bit tight in places and odd in others. Plus the organisation is odd with the monster descriptions placed up front. Nevertheless, it is engagingly written, the artwork is excellent, and all together, it is a lovely little book.
Planar Compass #2 is a solid set of rules taking Old School Essentials and almost any Old School Renaissance retroclone in an expected direction, out into the beyond of the Astral Sea. It does feel like a transition, going from the Dreamhaven of Planar Compass #1 to the somewhere else, but not telling you where necessarily. Ideally that will be revealed in Planar Compass #3. In the meantime, Planar Compass #2 has all the rules to enjoy boat trip or sail away to location of the Referee’s own devising across the Astral Sea and back again, effectively, ‘Astral-jammer’ for Old School Essentials.

My goal here is to review, or at least talk about, all the witch products I can get my hands on. Mostly for my own benefit, I am a self-admitted fan and all, but to also share the products I enjoy and think are good.

Today is not one of those days.

Now. I try to avoid ripping into products. There are plenty of bad products out there that you will never hear about from me because frankly, I would rather talk about products and books I like. 

The White Vale: Sex Starved Witch, Alien Horrors,& Dark Secrets

PDF. $4.00. 10 pages. One cover, one title. 4 pages of art. 1 map. 3 pages of content.

So yeah there is this title. 

I am not sure what this is supposed to be. Is it an adventure or a location? Hard to tell. The art is...sub-par to say the least and mostly terrible to be honest.  There is no witch mentioned, but there is one pictured, though it looks really amateur. 

It has an "Adult Content" warning for the previously mentioned "witch" art. 

No. This is pretty bad.