RPGs

Dracula, The Hunters' Journals: 23 September; Mina Harker's Journal

The Other Side -

A quick word from Mina as we begin Chapter 14.

Dracula - The Hunters' Journals


CHAPTER XIV
MINA HARKER’S JOURNAL

23 September.—Jonathan is better after a bad night. I am so glad that he has plenty of work to do, for that keeps his mind off the terrible things; and oh, I am rejoiced that he is not now weighed down with the responsibility of his new position. I knew he would be true to himself, and now how proud I am to see my Jonathan rising to the height of his advancement and keeping pace in all ways with the duties that come upon him. He will be away all day till late, for he said he could not lunch at home. My household work is done, so I shall take his foreign journal, and lock myself up in my room and read it....


Notes: Moon Phase: Waxing Crescent

A short, but profound, entry today. Jonathan is at work (and not contributing to the plot) so Mina secludes herself by reading Jonathan's journal. This event is every bit as important, if not more so, than Van Helsing proclamation yesterday. 

Van Helsing might "know," but Mina is about to figure it all out on her own. 

While I am not trying to put a lot of stock in the various moon phases and times of year, I can't help but draw the parallels of Lucy dying during a new (dark) moon and Mina and Van Helsing having their revelations during the waxing, or brightening, of the moon. 

Monstrous Mondays: The Monster Movie Marathon & RPG Blog Carnival

The Other Side -

 It is that time of year again! Ok, that's lie, it is always that time of year for me. But it is that time of year when I start talking about it. And by "it" I mean my October Horror Movie Challenge

The goal is basically the same every year: Watch 31 Horror movies, with at least 20 of them as first-time views.  I often throw in a little twist to the theme. One year, it was all Vampire movies; another movie just before 1973 when The Exorcist came out.  This year, we will have a theme as well. 

The Monster Movie Marathon

To celebrate 50 Years of Dungeons & Dragons, I am going back to watch a bunch of classic (say pre-1977) movies featuring monsters from the AD&D 1st Edition Monster Manual.

Monster Movie Marathon

This all works out great for me.

"Monster Movies," as my Dad and I used to call them, were a big influence on my childhood and primed me for when Dungeons & Dragons came into my life. 

So I am going to watch a bunch of horror movies, mostly from before the Monster Manual was printed in 1977, featuring monsters that would later appear in those pages. 

I am not making any claims that these movies inspired these monsters, but certainly, they would have been known by the authors and artists of D&D at the time. They WERE certainly an inspiration to me at the time. The challenge here will be finding 20 I have never seen.

I have been reviewing my lists of monsters and comparing them to the book "The Classics of the Horror Film" I mentioned about a month ago. Along with other books, that for me, were the pillars of my love of monsters and ultimately D&D.

I'll watch the movie and talk about their Monster Manual counterparts. 

Should be great! So join me all month long next month.

I am also hosting the The RPG Blog Carnival for October. My theme is "Horror and Fantasy." Many of the monsters I'll be talking about have a toe, or tentacle in both. Monsters like the vampire, Medusa, and the mummy are featured in both genres. Creatures like the ogre and goblin began as horror monsters (of the time) and became more fantasy. Greek Myth for example has a lot of fantasy creatures that would later appear in horror.

So I have my work cut out for me to be sure! So join me in talking about Horror and Fantasy in your games and I'll link to you in future posts.

RPG Blog Carnival


Unknown Ukraine

Reviews from R'lyeh -

Vaesen: Spirits and Monsters of Mythic Ukraine is a special book. Obviously, it is a supplement for Vaesen – Nordic Horror Roleplaying , the Roleplaying Game of investigative folklore horror set in nineteenth century Scandinavia published by Free League Publishing. It is special because it something more than a straightforward supplement for the roleplaying game, though to be fair, it is actually a very straightforward supplement. Vaesen: Spirits and Monsters of Mythic Ukraine is special because it is the first book to be published as a result of the Free League Workshop, the community content programme for Free League Publishing’s various RPGs such as Mutant: Year Zero – Roleplaying at the End of Days, Sybaroum, and Twilight 2000. More importantly, it is special because of the circumstances of its development and publication, and that the proceeds of its sales go towards charitable causes in support of the Ukraine. These include United24, Come Back Alive, and Uanimals.
Vaesen: Spirits and Monsters of Mythic Ukraine is an anthology of creatures of myth and legend drawn from the folklore of Ukraine. Published by Society of Mythic Ukraine, based on an earlier project, Maloviy, which combined descriptions and details of these famous creatures with excellent artwork. This is continued in this Vaesen: Spirits and Monsters of Mythic Ukraine. The volume may only be a very slim one at just seventy-four pages and just twenty-seven entries, but it is superbly illustrated. Each is given a detailed write-up that runs to two or three pages which includes an excerpt from the Society’s library, a description, the creature’s characteristics, a full list of its magical powers—and all of them have this list, combat stats, the ritual associated with the creature, and examples of conflicts, plus a secret associated with the creature. The rituals are typically commonly held means of warding against the creature, whilst the conflict examples are actually story hooks that the Game Master can develop into mysteries of her own. There are three such conflicts per entry, giving her a total of eighty-one to play with! However, the creature entries in Vaesen: Spirits and Monsters of Mythic Ukraine do differ from those in the core rulebook. This difference is the inclusion of specific examples of Enchantments, Curses, and Trollcraft that a creature might employ. These are not normally listed in Vaesen – Nordic Horror Roleplaying, but are included here to make the use of each creature by the Game Master that much easier.

The collection opens with Bezdonnyk, which lives at the bottom of abysses and chasms where there is a bottomless lake or stream. It cannot stray from these locations because it represents the body of a suicide victim never found there and so never buried. When confronted, it might cause blindness or Christian symbols to shatter, or it might bestow the Gaze of the Abyss and magical power as well as knowledge of an enchantment or curse. The conflicts include looking for a missing, often bullied boy, removing the Sight from a boy who believed he has been cursed by a Bezdonnyk, and a village which secretly makes sacrifices to a Bezdonnyk to ensure its nearby springs grant healing. The grim nature of the entries in Vaesen: Spirits and Monsters of Mythic Ukraine continues with the Bohynka, an evil spirit born from the deaths of women who died giving birth, committed suicide, or aborted their babies, as well as from the deaths of betrothed girls who died before their weddings. She stalks pregnant women and women with newborns, stealing the babies before they are baptised and leaving behind monsters in their cradles. The stolen child is then twisted into an evil spirit. If that is not enough, Bezdonnyk also strangle people in their sleep, frighten and attack cattle, drive horses away, and devastate pastures. She appears as either an ugly old crone or a pale girl with long black hair. The conflicts include a village where the inhabitants cannot sleep feeling as if they are being strangled and a priest summoned to help was found strangled dead, a village where a new mother is being driven mad because she feels that her child is not hers, and a Bohynka who has returned to enact its revenge on those who drove her to suicide.

Other entries include the Chort, an evil spirit that is the cause of most misfortunes in the world. Cunning, wicked, insidious, and dangerous, it can inflict illness and bad luck to both people and livestock, incite people to commit evil deeds, tempt them to sell their souls to it in return for magical powers, and wilt fields and crops. A Chort is humanoid with animal features—hairy with horns, donkey ears and tails, a pig snout, and hooves—and always dresses in shades of red, typically fancy boots, a hat and a coat. The Nichnytsia is an evil night spirit that appears as a pale woman with long, dishevelled hair, bulging eyes, and a mouth twisted in terror, as well as gnarled, bony hands with long nails, dressed in a white nightdress so long that she looks like she is floating. Either the restless soul of a girl who suffered an unnatural death, a witch, or of someone who died in terrible agony or grief, she lives by day in nearby chasms, but at night sneaks into houses to pick first on children, sending nightmares, pinching and tickling, and feeding them a foul yellow milk which causes a child to be sick. She can also inflict insomnia or a lethargic sleep in which the sleeper has terrible nightmares. The Pesyholov is more typically monstrous, a wolf-headed humanoid with a single eye, believed to be descended from man-eating giants, a practice it keeps today, keeping its victims in pits, fattening them up until they are ready to eat!

Not all of the creatures or spirits in Vaesen: Spirits and Monsters of Mythic Ukraine are malevolent. For example, the Brodnytsia, which looks like a pretty girl with thick black braids, builds and protects fords across rivers and swamps so that people can cross them in safety as well protecting children who come too close to the water. This kindly spirit lives with beavers in their dams and will also protect places and people nearby, breaking damns to unleash the held back waters on fires or invaders! She can detect evil doers or those up to no good and lead them into whirlpools where they will drown. Since the Brodnytsia is a kindly spirit, conflicts associated with her involve things that have been done or anger her. The three include looking for the missing wife and brother of a famous hunter and tanner, who unfortunately has annoyed a Brodnytsia by hunting her beaver living companions; searching for a missing troupe of performing artists; and discovering why the dams and fords near a village keep breaking and the area flooding despite the villagers making good repairs.

Khukha are cute and fluffy nature spirits found in fields, forests, steppes, and caves, their forest types often waking with an incredible noise under the canopy that resembles knocking, squeaking, purring, and grunting. They do help those trouble and warn about the dangers in a forest, though some do see them as evil and vengeful. The Krynytsia is the spirit of the well or water spring, who ensures that the weather is good for the harvest and the fertility of the land. When she appears, it is as a young woman of great beauty with long, flowing blond braids. The better maintained her well or spring is, the better the weather and the better the harvests, and the more beautiful she is, but if neglected, the waters will stagnate, and the village and its surrounds will be beset with drought and evil spirits, the latter inflicting misfortune, illness, and disasters.

One of the stranger creatures in the bestiary is the Skarbnyk. Only appearing as a set of floating red eyes, the Skarbnyk guards hidden treasure, but only evil treasure that has been gained through theft, betrayal, or pacts with wicked spirits. The Skarbnyk will do this in return for the owner’s soul when he dies and if anyone does try to steal it, the treasure will turn into potsherds or snakes! However, the Skarbnyk will allow a swap to take place if the thief is willing to give up his soul. The Spryiia is the spirit of a person’s skill or talent which normally dies with the person, but it can be passed on to a child at birth, this being indicated by a birthmark. The Spryiia appreciates hard work and so will leave a person if he becomes too lazy. Mechanically, the increase in the skill is represented by a magical gift that increases a skill by two. The Zharook is either a household spirit or a god of fire that resides in the stove. This many-headed, many-eyed serpent can also be vengeful if it or the stove is shown disrespect and will set fires in the house. It can also make people gossip because it enjoys talking about rumours and news between its various heads!

Physically, Vaesen: Spirits and Monsters of Mythic Ukraine is a lovely looking book. The artwork is rich, wonderfully bringing its entries to life. The writing is slightly rough in places and it does need another edit. However, it would be churlish to grumble too much about this, given that the book is for a good cause and how good the book looks otherwise.

There are some common themes running through Vaesen: Spirits and Monsters of Mythic Ukraine, such as girls and women having suffered terrible deaths, spirits protecting streams, wells, or swamps, and so on, but this countered by the strangeness of other entries such as the Zharook or Skarbnyk. Yet all of the entries in the bestiary are going to be strange to most of the audience for it, the folklore and stories of creatures and monsters native to Ukraine having rarely travelled beyond its borders. With Vaesen: Spirits and Monsters of Mythic Ukraine they have, and in return, Game Masters and players of Vaesen can travel east to cross those borders and investigate mysteries new and different. Vaesen: Spirits and Monsters of Mythic Ukraine is an excellent introduction to Mythic Ukraine for Vaesen – Nordic Horror Roleplaying.

Mapping Your Gothic

Reviews from R'lyeh -

Given the origins of the roleplaying hobby—in wargaming and in the drawing of dungeons that the first player characters, and a great many since, explored and plundered—it should be no surprise just how important maps are to the hobby. They serve as a means to show a tactical situation when using miniatures or tokens and to track the progress of the player characters through the dungeon—by both the players and the Dungeon Master. And since the publication of Dungeon Geomorphs, Set One: Basic Dungeon by TSR, Inc. in 1976, the hobby has found different ways in which to provide us with maps. Games Workshop published several Dungeon Floor Sets in the 1980s, culminating in Dungeon Planner Set 1: Caverns of the Dead and Dungeon Planner Set 2: Nightmare in Blackmarsh; Dwarven Forge has supplied dungeon enthusiasts with highly detailed, three-dimensional modular terrain since 1996; Loke BattleMats publishes them as books; and any number of publishers have sold maps as PDFs via Drivethrurpg.com. 1985 Games does none of these. Instead, as the name suggests it looks back to the eighties and produces its maps in a format similar to the Dungeon Floor Sets from Games Workshop, but designed for use in 2025 not 1985.
Dungeon Craft: Cursed Lands – Game Pieces of Dread is a box of terrain geomorphs, some forty-six sheets of them! Each sheet is of light card, covered in plastic so that it works with both wet and dry erase markers, and marked with an eight-by-ten grid of one-inch squares. All of the sheets are depicted in full vibrant colour. Some are also marked in dotted lines which indicate lines where the Game Master can cut and sperate buildings, ruins, trees and flowers, threats and monsters. Some sheets depict single locations, locations, or monsters, such as a shop, a ruined windmill, a coffin makers, homes occupied and unoccupied, a church or temple, taverns and inns, wizards, necromancers, spiders, wraiths, gargoyles, wolves and hounds, black cats, murders of crows, chopping blocks with axes, a great tree hut, flaming skulls, and more. There is a lot of cemetery features, including statues and headstones, ground sections which have skeletal hands reaching up ready to claw at the Player Characters or pull themselves out of the earth, giant skulls and broken gates, and so on. Which sounds all great, but there is more to each of these sheets, and that is because each is double-sided.
Dungeon Craft: Cursed Lands – Game Pieces of Dread does not simply reprint the same locations, objects, and creatures on the other side. In some cases, it reprints the same location or object, but with a change in status. For the most part, this is to show the roofs of buildings, but for other pieces, the other side is very different. For example, the other side of the chopping blocks with axes shows piles chopped wood, the various creatures and monsters and NPCs are shown by day on one side and by night on the other, trees are shown with foliage on one side and without on the other, and so on. Whilst the reverse side of most building tiles show their roofs, others do depict up floors of the same building. Thus simply flipping the counters and locations over doubles usefulness of the Dungeon Craft: Cursed Lands – Game Pieces of Dread as well as helping to keep parts of a location or encounter secret until the Master Master is ready to reveal them.
Dungeon Craft: Cursed Lands – Game Pieces of Dread is obviously designed to work with a fantasy setting such as that for Dungeons & Dragons, Pathfinder, or any number of retroclones or fantasy roleplaying games. Indeed, Dungeon Craft: Cursed Lands – Game Pieces of Dread would very well with the Curse of Strahd and Vecna: Eve of Ruin campaigns for Dungeons & Dragons, Fifth Edition. Of course, the most obvious use for Dungeon Craft: Cursed Lands – Game Pieces of Dread is with the Ravenloft setting, which has a particular gloomy, Mitteleuropean feel to it. This does not necessarily limit it to the mediaeval pulp horror of Gothic, since the look and feel of the locations depicted in this map could be any time from the sixteenth century to the twentieth. So not just Ravenloft, but also Masque of the Red Death and Other Tales, as well as any pulp horror adventure where the heroes might encounter vampires and the undead, venture down streets swathed in shadow and passing moonlight, and out into cemeteries to dig up bodies to check to see if they are truly dead! Chill would work very well with Dungeon Craft: Cursed Lands – Game Pieces of Dread, as would any roleplaying game with a Pulp sensibility, whether that is Pulp Cthulhu: Two-fisted Action and Adventure Against the Mythos or Achtung! Cthulhu, especially if the Investigators wanted to vampire hunting or the Nazis were recruiting! Lastly, combine with the BattleMap: Turned Earth/Graveyard pack to create the locations of uprisings of the dead and the BattleMap: City/Dungeon pack for town streets where the undead can lurk and prey on random tourists whilst the locals know better than to be abroad at night and lock their doors!
Physically, Dungeon Craft: Cursed Lands – Game Pieces of Dread comes in a sturdy which also contain a single introduction and instructions sheet. Beyond that, the rest of Dungeon Craft: Cursed Lands – Game Pieces of Dread is all maps that can be easily adjusted with the addition of the various terrain pieces and marked up and wiped clean as necessary.
Dungeon Craft: Cursed Lands – Game Pieces of Dread is an appropriately gloomy and gothic-themed box of maps and geomorphs. In comparison to other Dungeon Craft boxed sets from 1985 Games, Dungeon Craft: Cursed Lands – Game Pieces of Dread is not as vibrant (since of course, it is set in the shadows) and it does not include quite as much variety in its pieces. Nevertheless, this is a good box of maps, floor plans, and map tiles, and for the Game Master using miniatures and wanting to take her campaign into the gloom of the gothic where only the moonlight shines and vampires stalk the night, Dungeon Craft: Cursed Lands – Game Pieces of Dread is packed with everything she will need.*
* Stake not included.

Friday Fantasy: The Dusk Bringers

Reviews from R'lyeh -

Two centuries ago, a heretical cult that had begun as a radical sect within the Church of Zonurandi brought to fruition its plans for a great ritual which it believed would bring about a new Dawn for their Sun God when he would shine so very brightly. Yet in order to bring about this age of enlightenment, the world must first enter a perpetual Dusk. The Dusk never came. The cultists—including many secret members within the ranks of Church of Zonurandi—disappeared. In the time since, the Herald of the Sun, the name of the original sect within the church, and the Dusk Bringers, the name for the cult, have become nothing more than an interesting side note in the history of the Church of Zonurandi, and then only to sages and archivists. Recently, a message has been received by the authorities from the remote Wichama Valley. It is a Rite of Protection, an ancient tradition which if fulfilled would be answered with an Oath of Loyalty. What is curious is about this message is that the Wichama Valley is part of the estates belonging to the Mayweather family which has long been loyal to those it owes fealty to. So, the question is, who has sent this Rite of Protection, and what exactly do they need protection from?

This is the set-up for The Dusk Bringers, a scenario published by LunarShadow Designs. The scenario is a departure for the publisher, which is best known for solo journalling games such as Signal to Noise or roleplaying games such as Project Cassandra: Psychics of the Cold War, because The Dusk Bringers is very much an Old School Renaissance-style adventure. Excepts for one thing. There are no stats. In other words, The Dusk Bringers is a systemless or systems agnostic scenario. This is a fantasy scenario which could be dropped into numerous settings and not so much adapted, as given stats to run with Old School Essentials, Dragonebane, or the Dungeon Crawl Classics Role Playing Game. To name, but three. Ultimately, all the Game Master needs to apply stats and if the names do not fit her campaign, then change them so that they do. And if the Goblins and Ghostly Knights that comprise the majority of the scenario’s monsters—though not its threats—do not fit her campaign either, then they can be changed to. What all of this boils down to is that The Dusk Bringers is at its heart, a plot, a scenario in the true sense of the word.

However, The Dusk Bringers is not all plot. There are maps too and much of the scenario’s plot is wrapped around those maps. The Dusk Bringers was a submission to the ‘Dyson Logos Jam’, which ran throughout October 2021, using those that are available from his commercially available maps. Dyson Logos is renowned for the quality of his maps which have appeared in numerous releases for the Old School Renaissance. These include maps of what the scenario calls a keep, but is more of a tower, plus a strange temple complex connected to a mine and a map of the nearby walled settlement of Motuen township. The plot concerns a clan of goblins, which like all of its kin, lurked in the hills and caves surrounding Wichama Valley, but without being any real threat to the inhabitants. They have been driven out the mine in which they had made their home and taken refuge in Veranna Keep. However, whatever it was that the Goblins disturbed in the tunnels of their previous home has followed them to Veranna Keep and lurks still, ready to pounce on anyone foolish enough to be alone. The Goblins want help with the thing outside the walls of Veranna Keep and they want to return home, which also means dealing with what it they found in the mines.

Investigating the mines raises questions that cannot be answered there, but might be in the records to be found at the temple to Church of Zonurandi in nearby Motuen. The walled town was once prosperous, but has fallen on hard times with the paying out of the nearby mines. This has led to a loss prestige and power by the local branch of the Mayweather family to the influence of the church and the town’s merchants. The result is some tension between the head of the Mayweather family and the rest of the town, though this is more resentment than anything else. Only a two-page spread is devoted to Motuen along with an accompanying one-page description of the temple to Church of Zonurandi and its staff, but together these three pages are the highlight of The Dusk Bringers providing some local colour and roleplaying opportunities for the Game Master. Details beyond this are left for the Game Master to develop, but the basic building blocks are there.

The plot to The Dusk Bringers has a certain circularity to it, and the whole scenario can be played through in two or three sessions. Beyond this, there is a handful of story hooks that require full development upon the part of the Game Master and there is also a discussion of what happens if the Player Characters deal with the actual threat to the Wichama Valley and what happens if they decide not to. The latter has greater ramifications than the former. There are also notes on all of the scenario’s NPCs and detailed descriptions to accompany the maps.

Physically, The Dusk Bringers is cleanly and tidily presented. Both artwork and cartography are good—very good in the case of the cartography—and whilst there is very little artwork in the scenario, all of it I used to illustrate the various NPCs and monsters to be found in the scenario.

Without any stats, The Dusk Bringers feels threadbare. There is though decent advice on how to run the scenario, as well as questions that the players, their characters, and the Game Master might want answer by the end of the scenario. The outline of the scenario is also decently done. Overall, if the Game Master is looking for something that is ready-to-play with a modicum of preparation, then The Dusk Bringers is not going to be for her, but if the Referee is looking for a scenario that she can readily more design the monster and NPC stats around and adjust to make it her own, then The Dusk Bringers is a good choice.

Friday Filler: Holi: Festival of Colours

Reviews from R'lyeh -

Celebrated as the Festival of Colours, Love, and Spring, Holi is the Hindu festival that both celebrates the eternal and divine love of the deities Radha and Krishna and commemorates the victory of Vishnu as Narasimha over Hiranyakashipu. It is notable outside of India as the festival in which richly coloured ‘gulaal’ powder is flung by the celebrants resulting in street scenes that are a riot of colour. It is also the theme of Holi: Festival of Colours, a board game from Floodgate Games, in which the players will try and outscore each other by placing more of their colour on the board, grabbing sweets, and hitting each other with their colour. It combines area control mechanics with elements of hand management and pattern building, the result being a colourful, abstract design that has a very physical, vertical presence at the table. It is designed for two to four players, plays in about half an hour, and is designed for players aged thirteen and up. That said, younger players who plenty of experience with board games should have no difficulties learning to play Holi: Festival of Colours.

The components to Holi: Festival of Colours really begin with its Courtyard Tower. This is a three-level tower with each level consisting of a clear plastic tray with a six-by-six grid of spaces. The Courtyard Tower requires construction for each play. It does wobble slightly, but is sturdy enough. The other components consist of four Helper Cards, twenty-four Sweets Tokens, a Score Tracker and four Score Markers, twenty-one Rivalry Cards, fifty-two Colour Cards in four colours, one-hundred Colour Tokens, four Player Markers, and the First Player Marker. All of the Sweets Tokens, Colour Tokens, and the frame for Courtyard Tower are done in rich, vibrant colours. Colour Cards show the pattern of spaces in a three-by-three grid that Colour Tokens will land on when thrown. The Rivalry Cards are bonus cards. For example, ‘Sweet Tooth’ scores extra points for each Sweets Tokens and ‘Snack’ forces a player to give up a Sweets Token if another player scores a Direct Hit on him.

To set up, the Courtyard Tower is put together and Sweets Tokens are placed on the ground and middle levels. Each player receives the Colour Tokens and Colour Cards in his colour and a Helper Card. Two or three Rivalry Cards are revealed. These affect scoring or add a new rule to game, often radically changing how the game is played. It is suggested that the Rivalry Cards be omitted for a simpler play experience.

On his turn, a player can take between one and three actions, in any order. The mandatory action is the ‘Throw Colour’ action, whilst the others are Move and Climb. For the Throw Colour action, the player chooses one of his Colour Cards—he always has three in his hand and plays it. Each Colour Card indicates the point where the player’s Marker is located and then the pattern where the Colour Tokens will fall when he throws him. The player can rotate the Colour Card to fit the pattern onto the board. If a Colour Token lands on another player’s Marker, then a Direct Hit is achieved. This scores the player a point and the Colour Token which lands on the other player’s Marker goes into the other player’s supply of Colour Tokens. Colour Tokens in another player’s supply will score the scoring player further points. This can only happen when the players have their Markers on the same level.

Alternatively, a player can simply expend the Colour Card to place a Colour Token anywhere on the level. This includes on a Sweets Token, but not on another player’s Marker.

The ‘Move’ action enables a player to move his marker to anywhere on the level. This can be anywhere, including on Colour Tokens, which are returned to the player’s supply. If they belong to another player, they go into the moving player’s supply and will score the other player points at the end of the game.

The third option is ‘Climb Up’. When a player’s Marker is surrounded on all four orthogonal sides, the player can choose to move up to the same space on the next level up. Once a player has moved to an upper level, he cannot move down. Once on an upper level, when a player does a Throw Action, if there is no Colour Token in the squares in the corresponding squares on the levels below, then the Colour Token will fall to the level until it lands on an empty square. This means that a Colour Token can fall from the top level to the ground level.

Play continues like this until each player is unable to do the Throw Colour action and have run out of their Colour Tokens. This triggers the end of the game. Each player score points for the Colour Tokens he has on the three levels of the Courtyard Tower, the higher the level, the more points scored; Colour Tokens in other players’ Colour Supply; and lastly for each player who has a fewer number of Sweets Tokens than he does.

Physically, Holi: Festival of Colours is a very nice-looking game. The Player Markers are bright and cheerful and eye-catching. The rules are easy to understand and the components are of a sturdy quality, though the Courtyard Tower does wobble a bit despite its sturdiness. It remains to be seen if the Courtyard Tower will stand up to too much taking apart and putting together necessary for each play. The artwork is excellent and the cover of the box is stunning.

Holi: Festival of Colours is simple to learn and play. It is perhaps a little fiddly to play between levels, especially when working out where Colour Tokens will land when they fall from another level and if there is another token below. The game does include a ‘Take That’ element in that another player’s Marker can be targeted with a Direct Hit, but this is very much a minor part of play. The Rivalry Cards do add a much-needed element of randomness to the game in scoring and rules, though it is a pity that they are used for all of the players rather than each player being able to draw his own and keep them secret until the end.

From its box artwork to its Courtyard Tower, Holi: Festival of Colours is eye-catching. That it takes a little known—at least in the West—Hindu festival and turns it into a pleasingly light, but physically impressive and tactile game, is an indication of the skill of the designer and publisher. Game play is solid rather than spectacular, but Holi: Festival of Colours is a decent game, not so light as to be less enjoyable for experienced gamers, but not too difficult for family or casual players. Overall, Holi: Festival of Colours an impressively lovely looking game, with easy to understand and playable rules, with a playing time that suits a filler.

The Other OSR: Pirate Borg

Reviews from R'lyeh -

They came for the freedom of the new world. They came for the richness of the climate and the beauty of the islands. They came for the plunder, carried by the great Spanish treasure fleets, ferrying the ingots of silver mined in the Americas home to make Madrid the capital of the richest nation in the world. At times they would be given permission to harass and steal from the ships of other nations. At other times, they would be chased across the sea as criminals and when caught hanged to a man. Then the Scourge came. The bodies of dead sailors made to walk again, ghosts of those driven from their ancestral homes, skeletons strewn with seaweed and the muck of the sea, and monsters unknown, let alone imagined. They came from the sea and fell upon settlement after settlement. The survivors holed up in the towns and cities which could be fortified and strongholds that already were. Then a strange discovery was made. The ash of the burned and ground undead had strange effects upon the body and mind. When consumed, it could debilitate and destroy either, causing limbs to wither and rot, make you hear colours, see sounds, and feel taste, turn the world grey and lifeless, but it could toughen the skin, make you see in the dark, and even make you aware of the universe. This is ASH. It is a drug that can be brutally harvested, but sold for untold wealth. It drives its own black market, but has caused conflict and trade wars across the region. Addicts have sunken eye sockets, darkened lips, and faintly glowing bones. The most notorious source of ASH is Nassau Town, the ruins of an imperial colony on New Providence Island, a plethora of driftwood shacks and canvas tents that is home to the Brethren of the Coast, rebels, thieves, and vagabonds. Elsewhere, the loss of support from London has driven Lord Hamilton, governor of the Jamaica colony, to employ pirate crews to protect British interests even as the power of the West India Company grows. The French Indies has drifted into indolence and incompetence, dominated by criminal syndicates and cruel cultists. The Viceroyalty of New Spain on Cuba has grown rich and fat on the transport of bullion and ASH, but quivers under the beady eye and sharp accusations of the Inquisition. Folktales of the cities of gold and temples strewn with jewels and treasures lure the unwary to the Yucatán, but few return. Everywhere and elsewhere, cultists lurk, worshipping their foul masters, the Great Old Ones, as laid out in the dread pages of The Necronomicon, welcoming their prophet, The Sunken One, each Solstice in remembrance of the day that the Scourge arose and in the hope that The End of Days will come. Welcome to the Dark Caribbean.

The Dark Caribbean is the setting for Pirate Borg. Published by Limithron via Free League Publishing following a successful Kickstarter campaign, it is based upon Mörk Borg, the Swedish pre-apocalypse Old School Renaissance style roleplaying game designed by Ockult Örtmästare Games and Stockholm Kartell and also published by Free League Publishing. Mörk Borg is notorious for its Artpunk style and layout, vibrantly done in chrome yellow and neon pink, seen by some as distracting and unreadable. Pirate Borg is not so much Artpunk as ‘pirate punk’, its colours muted in comparison, but actually far busier in terms of layout and content. There are typically a lot of tables in any roleplaying game based on Mörk Borg, but Pirate Borg has even more! It is a book packed with tables and information and tables of information that is all useful, but which keeps coming and coming at the reader! One thing that Pirate Borg does share with Mörk Borg is that both are pre-apocalyptic roleplaying games, the end of the world hanging over everyone’s future, but where in Mörk Borg everyone actually knows that it is coming, this is not the case in Pirate Borg. In the Dark Caribbean, there is a sense of pervading doom, of hopelessness, but not necessarily of the end. The roleplaying game does include a history that ends in the Abyss—and the Game Master’s copy of Pirate Borg cast into the sea—but this is not hardwired into the setting. The Game Master is free to pick and choose what he wants from the history or ignore it altogether.

In Pirate Borg, the Player Characters are members of a crew, adventuring across the Dark Caribbean. Each is defined by his Abilities, Class, gear, and Devil’s Luck. The five Abilities are Strength, Agility, Presence, Toughness, and Spirit, each rated between ‘-3’ and ‘+3’. There are six Classes and two optional Classes. Each provides adjustments to Abilities, basic Hit Points, and starting Devil’s Luck. The Brute is a raging melee fighter who gets a trusted weapon like a ‘Brass Anchor’ or ‘Rotten Cargo Net’ and when he gets better, he might gain a ‘Boomstick’ or ‘Grog Breath’, the latter enabling him to belch in the face of an enemy and stun him! The Rapscallion is a sneaky, cutthroat scallywag, which as a Class requires an ordinary deck of playing cards to play. The Rapscallion starts with a single speciality such as ‘Burglar’ or ‘Sneaky Bastard’, and gain more or even double up on already possessed specialities. He can also drink Grog to heal himself. The Buccaneer is a sharpshooter and treasure hunter, and is also a skilled tracker. The Swashbuckler is a brash fighter, who might also be an ‘Ostentatious Fencer’ or ‘Inspiring Leader’, and when he gets better, he could be the ‘Shakespeare of Insults’ or a ‘Calculating Cutthroat’, the former adding damage to attacks with his wounding taunts, the latter letting the player achieve critical hits on a natural roll of nineteen as well as twenty. The Zealot has prayers like Heal, Curse, and Holy Protection, which are learned randomly and can be cast several times a day without the need to make a roll or a test. The Sorcerer draws power from supernatural spirits and ghosts to cast spells like Spiritual Possession, Clairvoyance, and Raise the Dead, not whilst near cold iron or holding metal.

The Haunted Soul is either a ghost, conduit for restless spirits, has an eldritch mind, is a zombie, suffers from vampirism, or is a skeleton. Each provides a benefit and a penalty. For example, restless spirits constantly communicate with the conduit to grant a random Arcane Ritual which can be cast without a Spirit test, but must be cast before dawn the next day or conduit suffers damage. The Tall Tale can be one of the Merfolk, an aquatic mutant like a crab or The Great Old One, or a sentient animal such as a ‘Foul Fowl’ or a ‘Clever Monkey’. Although both the Haunted Soul and the Tall Tale are given as optional Classes, they are not really Classes, but closer to a Race or a Species as in other Old School Renaissance roleplaying games. This is because not only do they not get any better with experience, but the player also then rolls for an additional out of the standard six. Their inclusion, though, is unbalancing, granting a Player Character extra abilities that other Player Characters without either the Haunted Soul or Tall Tale options simply does not have the equivalent of. Further, the six core Classes not balanced either, especially when it comes to their progression. Several of the Classes like the Rapscallion or Buccaneer have multiple specialities or features that can be taken twice, whereas the Brute and the Swashbuckler do not. Of course, there is no need for the Classes to be equally balanced, but some rough equivalency would not have gone amiss.

To create a character, a player rolls for his Abilities, Class, gear, and Devil’s Luck. Gear includes weapon, clothing, and a hat. Optional tables provide for backgrounds, distinctive flaws, physical trademarks, idiosyncrasies, unfortunate incidents and conditions, and thing of importance. Of these which a group might want to avoid is rolling for Class since it avoids too many of the same Class serving in a ship’s crew.

Name: Peter ‘Green’ Wright
Class: Sorcerer
Strength 0 Agility +0 Presence +1 Toughness 0 Spirit +4
Hit Points: 4
Devil’s Luck: 3
Holding Breath: Two minutes
Carrying Capacity: Nine
Spells: Raise the Dead
Background: Merchant
Distinctive Flaw: Paranoid Physical
Trademarks: Increasingly gangrenous
Idiosyncrasy: You become a murderous grump when hungry
Unfortunate Incidents And Conditions: You have no memory before a few days ago.
Thing Of Importance: perfect cube made of crystal
Gear: Container – bandolier, Cheap Gear – pipe & tobacco pouch, Fancy Gear – blanket & pillow, wooden knife (d4), old uniform, wig

For the most part, Pirate Borg keeps everything mechanically as simple as Mörk Borg, though with some adjustments for the genre and setting. A player rolls a twenty-sided die, modifies the result by one of his character’s abilities, and attempts to beat a Difficulty Rating of twelve. The Difficulty Rating may go up or down depending on the situation, but whatever the situation, the player always rolls, even in combat or as both Mörk Borg and Pirate Borg terms it, violence. So, a player will roll for his character to hit in melee using his Strength and his Agility to avoid being hit. Armour is represented by a die value, from -d2 for light armour to -d6 for heavy armour, representing the amount of damage it stops. Medium and heavy armour each add a modifier to any Agility action by the character, including defending himself. This is pleasingly simple and offers a character some tactical choice—just when is it better to avoid taking the blows or avoid taking the damage? Armour can also be damaged, due to a Fumble when defending, reducing its protective effectiveness, and a critical hit in combat inflicts double damage or allows another attack. A Player Characters whose Hit Points are reduced to below zero is dead, but at zero, is broken and can recover.

Every Player Character also has the Devil’s Luck. Each Class receives a different amount of this, but all can spent to inflict maximum damage on a single attack, reroll any die, lower the Difficulty rating of a Test, neutralise a Critical or a Fumble, and to lower damage suffered by a random amount.

A Player Character may also have access to Arcane Rituals, such as Dark Delusions, which creates illusions in the minds that can see the caster; Phantasmal Fauna, which summons a ghostly hound or shark until sunset; and Thalassomancy, which fill the lungs of targets with sea water, causing them to suffocate. There are some truly nasty Arcane Rituals in this list. For example, The Black Spot which literally marks the target for death or Release the Kraken, which summons one of these great creatures in the nearby sea. If a Player Character fails to cast an Arcane Ritual, then a roll may be made on Pirate Borg’s Mystical Mishaps table. Other forms of magic in Pirate Borg include a quick and dirty pair of tables for handling alchemy and a list of Ancient Relics, such as the Conch Shell of the Abyss, which enables the wielder to ask a corpse one question or Mermaid Scales that when eaten grant the ability to breath underwater for a few hours.

Pirate Borg being a pirate roleplaying game, the one thing that it definitely needs is rules for ships and nautical combat. A vessel is defined by its Hit Points, Hull, Speed, Skill, Broadsides, Small Arms, Ram, Crew, and Cargo. Hit Points includes its condition and the health and morale of the crew; Hull, its armour; Skill the skill and training of the crew; Broadsides, the damage inflicted by a vessel’s main cannons; Small Arms the damage done by swivel guns and muskets; Ram, damage done in a ram action; and Crew, the minimum and maximum number of crew the ship can carry. Combat is conducted in thirty second rounds, and in that time, the captain moves the ship, the Player Characters take an action, and the Crew can take actions such as ‘Fire Broadsides’, ‘Full Sail’, ‘Boarding Party’, and more. Speciality Crews include Legendary Captains, Strict Bosun, Deck Sorcerer or Priest, and so on. The rules cover crew skill, morale, cargo, repairs, and optionally—surprisingly, weather! An earlier section gives a list of sea shanties that the crew can perform each day, which might be to raise the crew’s morale or put out all the fires on a ship! Besides tables for flotsam and jetsam, encounters, and events, Pirate Borg lists stats for and illustrates a wide variety of vessels, from raft, dinghy, and canoe to galleon, man-of-war, and ship of the line. Added to this are a fortress, and to fit the Dark Caribbean, a ghost ship, a ship of bone, and a vessel from the deep. This is a very pleasingly comprehensive list.

The bestiary is categorised into pages of dark terrestrial, dark avian, dark aquatic, and dark flora. Added to this are families of creatures. Thus, for skeletons, there is the Lookout, The Rank & Vile, Deadeye, Hulk, Bosun, Warlock, and Cap’n. It does similar things for zombies and ghosts, whilst also adding a scavenging seagull and the amusingly named obscure oyster cult. Deep Ones and the Coral Shoggoth add an element of the Mythos. Big beasts of the sea include the Undead Megalodon, Kraken, Davy Jones, and Leviathan. Marrow Cannons, like the Marrow Carronade and the Marrow Mortar are sentient, undead weapons, whilst there are stats for archetypes such as the Naval Mastermind, Inquisitor, Necromancer, and Sunken One. This is an excellent selection of creatures, highly thematic and fun.

Besides tables for generating random ships and derelicts, treasure maps, riddles, uncharted islands, and jobs and quests, Pirate Borg includes a mini-sandbox for the Player Characters to explore. This is ‘The Curse of Skeleton Point’ which a description of an island, its key locations, and important NPCs, threats, and plot hooks. They include widespread word that the local governor’s daughter is missing and that he will pay for her safe return, legends of a treasure hoard in the castle at Skeleton Point, and an evil witch in the swamp. Each of the major locations—Coral Town, the old lighthouse, the Nameless Temple—and more, are all given very easy to use two-page spreads, with the castle given more space. There are three mini-dungeons too, and all together, ‘The Curse of Skeleton Point’ offers a lot of play. If there is anything missing in the scenario it is that given how up-front Pirate Borg is about ASH, it does not have much of a role to play in the scenario.

Physically, Pirate Borg is a smorgasbord of tables and options. In fact, so many tables that they threaten to overwhelm the reader. This is not say that the tables are not useful—they are—but rather that the layout can feel cramped in places and sometimes it does feel as if the text needs room to breathe. Whilst there is an index, one extra devoted to the book’s many tables would have been useful. Otherwise, the presentation, the artwork, and the writing are all well done.

Pirate Borg is lacking in terms of advice for the Game Master. Bar advising the reader that this is not a roleplaying game about slavery, genocide, sexual violence, or other distasteful aspects of history, there is no advice on how to run Pirate Borg. In the main then, it is primarily relying upon the previous experience of the Game Master and her players to run and play Pirate Borg. However, with that experience, what both Game Master and players will find is a fully realised and accessible setting whose genre will be familiar to most and which does not rely upon a detailed knowledge of the Golden Age of Piracy. Although it does include a nod to the coming apocalypse, unlike Mörk Borg, in Pirate Borg, this does not hang over the players and their characters like some ever present doom cloud, leaving them room to explore and adventure in the setting, which consequently feels more open and detailed. Pirate Borg is not only easy to play, but its familiarity is also easy to grasp, and it supports with everything that a gaming group will need for a pulpy pirate horror game in the Dark Caribbean, and more.

—oOO—
Today, Thursday, September 19th 2024, is International Talk Like a Pirate 2024.

The Kickstarter for PIRATE BORG: Down Among the Dead is currently running here.

Miskatonic Monday #299: Operation Hope

Reviews from R'lyeh -

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

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

—oOo—
Name: Operation HopePublisher: Chaosium, Inc.
Author: Marco Carrer

Setting: Post-‘the Stars are Right’ Germany, 2035Product: Scenario
What You Get: Eighteen page, 512.92 KB Full Colour PDF
Elevator Pitch: “Hope in reality is the worst of all evils because it prolongs the torments of man.” – Friedrich NietzschePlot Hook: A search for sanctuary in a time when dreams are all that anyone hasPlot Support: Staging advice, six pre-generated Investigators, five handouts, five maps, four NPCs, and four Mythos monsters.Production Values: Plain
Pros# Near future-set post-apocalyptic scenario for Pulp Cthulhu: Two-fisted Action and Adventure Against the Mythos# Ososphobia# Oneirophobia# Phagophobia
Cons# Requires Cthulhu through the ages# Who was calling for help?# Needs an edit# Sanity rewards too high# Underdeveloped setting

Conclusion# Operation Hope turns to Operation Hopelessness...# Underdeveloped setting# Reviews from R’lyeh Discommends

Airstrip Assault

Reviews from R'lyeh -

Achtung! Cthulhu is the roleplaying game of fast-paced pulp action and Mythos magic published by Modiphius Entertainment. It is pitches the Allied Agents of the Britain’s Section M, the United States’ Majestic, and the brave Resistance into a secret war against those Nazi Agents and organisations which would command and entreat with the occult and forces beyond the understanding of mankind. They are willing to risk their lives and their sanity against malicious Nazi villains and the unfathomable gods and monsters of the Mythos themselves, each striving for supremacy in mankind’s darkest yet finest hour! Yet even the darkest of drives to take advantage of the Mythos is riven by differing ideologies and approaches pandering to Hitler’s whims. The Black Sun consists of Nazi warrior-sorcerers supreme who use foul magic and summoned creatures from nameless dimensions to dominate the battlefields of men, whilst Nachtwölfe, the Night Wolves, utilise technology, biological enhancements, and wunderwaffen (wonder weapons) to win the war for Germany. Ultimately, both utilise and fall under the malign influence of the Mythos, the forces of which have their own unknowable designs…

In addition to any number of scenarios for Achtung! Cthulhu, Modiphius Entertainment also publishes what it calls ‘Section M: Priority Missions’. These are smaller missions and scenarios intended to help a Game Master is hard-pressed for time or needs an alternate scenario when there are fewer players. Alternatively, they can be used as one-shots or woven into ongoing campaigns. Each though, provides a single mission that can be played in a single session as well as adventure hooks should the Game Master want to expand the scenario.

Achtung! Cthulhu 2d20 – Priority Mission 3: Assault on Zuara 2 is the third entry in the series and the second to be set in North Africa. Its premise is very simple. A mysterious Luftwaffe aircraft has been spotted making a forced landing at an airstrip in North Africa following an engagement with the RAF where it is undergoing repairs in a hangar on-site. The LRDG, or Long Range Desert Group, which conducted the reconnaissance, indicated in its report that the aircraft resembled the Junkers G 38 bomber, a model based on a 1929 large, four-engined transport. However, there are significant differences. This aircraft has only two engines, both of them rear-facing, and there is no rear fuselage or tail boom. Whatever the aeroplane is, it must be experimental, because what it resembles is a flying wing! The report also contained one other fact: the damaged aircraft seemed to flicker in and out of sight as it landed. Could it be some new radical prototype? The RAF was sceptical. It was just one unidentified aeroplane and the fact that the report said it seemed to flicker in and out of sight as it landed was ridiculous. The report was filed away.

However, the very fact that this strange aircraft was said to have flickered in and out of sight as it landed was more than enough to attract the attention of Section M. Especially when its hears each disappearance was marked by an intermittent burst of blue light! This is definitely more than a simple prototype. Whatever is in that hanger at the airstrip is definitely connected to Nachtwölfe or Black Sun. Likely a wunderwaffe of the former or some devilry of the latter. The mission is simple. The Player Characters have to get to the airstrip, sabotage or steal the aircraft, and then report back!

The LRDG operated in North Africa between 1940 and 1945, which gives a wide time frame in which to run the mission. Ideally though, it should be after the events of Achtung! Cthulhu 2d20 – Priority Mission 2: Our Lady of the Eternal Sapphire is and early on in the war when Nachtwölfe was a relatively unknown force in the Secret War. It would also mean that it could be easily run as a side mission for part of the campaign, Achtung! Cthulhu: Shadows of Atlantis. The campaign involves Nachtwölfe and its third mission is set in Cairo and Egypt. Either way, the fact that the damaged engine is flickering with a blue light probably means Nachtwölfe involvement.

As with other ‘Section M: Priority Missions’, the focus on Achtung! Cthulhu 2d20 – Priority Mission 3: Assault on Zuara 2 is on detailing the location and mapping what and who is there. As an active airfield there are a lot of personnel. There are over fifty members of the Luftwaffe and twelve members of Nachtwölfe assigned to operate and monitor the newly designed prototype. There are also fifteen vehicles, primarily used for transport in and around the airfield, plus, of course, several Bf-109 fighters. The map of the airfield is nicely done, showing both how widely spaced out the various locations are for the safety of the men and the aeroplanes in case of attack or explosion and how temporary the landing strip is, with only two buildings. One is a modern concrete command post; the other is an old fortress. There is also a single hanger and a machine shop. These and the other locations are lightly described and there are no internal maps of the command post, fortress, hanger, or machine shop. The Game Master will need to do some research or improvise if the Player Characters want more information or floor plans. That said, these locations should be familiar to anyone who has seen a few World War 2 films!

Achtung! Cthulhu 2d20 – Priority Mission 3: Assault on Zuara 2 is a strike mission. It is military in nature and it will involve a lot of stealth. Plus, if the Player Characters are to steal the strange prototype, then one of their number should include a pilot. The focus on the strike mission, that is, get in, steal or destroy the prototype, means that there is little in the way of variation in terms of hooks or how the Player Characters get involved. Instead, three possible outcomes are discussed, including destroying the aeroplane, alerting the base personnel, and escaping aboard the aeroplane, ready to fly it back to Allied territory. In addition, several ‘Encounter Escalation’ options are suggested. These are all thematically appropriate such as a sudden downpour of rain that turns the airfield into a muddy quagmire or a flight of Allied bombers attacks the aircraft!

However, Achtung! Cthulhu 2d20 – Priority Mission 3: Assault on Zuara 2 saves its best for last—“Who’s the big feller?” This is Egypt, there are Nazis, so there has to be big bruiser of an NCO ready to duke it out with one of the Player Characters with his fists! And if that NCO is played by the late Pat Roach, then all the better. His inclusion, though, points to the obvious inspiration for the Priority Mission, and that is Raiders of the Lost Ark. Another is that the mysterious aircraft which initiates the plot is based upon the Blohm and Voss BV-38 ‘Flying Wing’ that appeared in that film. Another possible inspiration is Captain America: The First Avenger in the design and modification of the aeroplane.

Physically, Achtung! Cthulhu 2d20 – Priority Mission 3: Assault on Zuara 2 is cleanly and tidily laid out. It is not illustrated, but the map of the airfield is nicely done.

Achtung! Cthulhu 2d20 – Priority Mission 3: Assault on Zuara 2 is more military than Mythos, more stealth and action than cosmic horror. As a military operation though, it is actually easier to prepare and run and thus easy to slip into an ongoing campaign or run when a backup scenario is needed. Despite the lack of Mythos in the scenario, Achtung! Cthulhu 2d20 – Priority Mission 3: Assault on Zuara 2 is fun and its playing around with its inspirations is engaging.

1984: PSI World

Reviews from R'lyeh -

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

—oOo—
Some time in the near future. Mankind has advanced into near orbit and beyond, establishing space stations and lunar bases. Regular shuttles run between them and the Earth. Crewed spaceflights have visited the inner planets and the asteroid belt, and great solar arrays beam power down to the surface. Advances have been made in terms of computer hardware and software. It could be ten years from now. It could be fifty years from now. In other words, it could be 1994 or it could be 2034. The world though riven in two and society has fragmented. The cause? Psionic powers. Whether to be seen as gifts or curses, to be celebrated or feared, society in general has reacted with fear and distrust. The Psis, those with the genetic quirk that grants them their powers, are few in number, so the Norms, those without, ostracise them, corralling them in ghettoes where they can be monitored and controlled. The government enacts laws that restrict their freedoms in the name of protecting the majority and will use force and even other Psis to track down and arrest those that hide or worse, resist.

This is the setting for PSI World: Role Playing Game of Psionic Powers, a roleplaying game published by Fantasy Games Unlimited in 1984. It is a roleplaying game in which either the Player Characters have psionic powers and fear being hated and persecuted because of them, but wanting to use them to benefit humanity, or they are hunting rogue or terrorist Psis. Inspiration would have come from books such as Stephen Kings 1980 novel, Firestarter, and the 1984 film of the same name, David Cronenberg’s 1981 Scanners, and the ‘Days of Future Past’ storyline from the Marvel Comics comic book The Uncanny X-Men issues #141–142, published in 1981. It is slim affair in several senses. The genre, that of near-future ‘dystopian otherness’ does not amount to very much, though that does not mean that familiar tales of resistance cannot be told using the roleplaying game. After all, the television miniseries V was released in 1983 and that drew parallels between the alien Visitors and the Nazis. The setting is very lightly defined, but it does leave more than enough room for the Referee to map it onto her own setting, perhaps even the one outside her window, or simply create one of her own. Lastly, the two books that come in the boxed set are slim themselves.

PSI World was published as boxed set. Inside can be found the thirty-two-page ‘PSI World: Role Playing Game of Psionic Powers’ rulebook, the thirty-page ‘The Psi World Adventure’, a Referee’s Screen, a character sheet, and two ten-sided dice and two six-sided dice. Bar the lid of the box, which is in powder blue with a very eighties cartoon-style cover by Bill Willingham, everything is in black and white. ‘PSI World: Role Playing Game of Psionic Powers’ rulebook opens with a three-paragraph introduction, two of which provide an overview of the setting, before leaping into character creation.

A Player Character in PSI World has seven attributes. These are Strength, Agility, Dexterity, Endurance, Intelligence, Will, and Psionic Power. These are rated between two and twenty. Various values are derived from these including Initiative Factor, Defence Bonus, Bonus to Hit, Damage Bonus, Hit Points, Shock Resistance, and Heal Rate. To create a character, a player rolls two ten-sided dice for each attribute, works out the derived factors, and then rolls for Hit Points, before rolling for educational background. The latter is a percentile roll, with a bonus for Intelligence. Non-Psis gain this and a general bonus. Options for educational background include General Education, Vocational Education, Military, Advanced Education, and Spacer. Advanced Education represents studying at college. Skills are divided between ‘Level’ skills and ‘Non-Level’ skills. ‘Level’ skills are straightforward percentile skills, whilst ‘Non-Level’ skills are those are either known or not known, and rely on the appropriate Attribute Saving Throw to use. If a Player Character has psionic powers, then he has either one Major discipline or two Minor disciplines, or they can be rolled for randomly.

Name: Rachel Rosen
Education: Military
Strength 08 (AST 32), Agility 14 (AST 56) Dexterity 16 (AST 64), Endurance 14 (AST 56), Intelligence 18 (AST 72), Will 12 (AST 48), Psionic Power 14 (AST 56)
Initiative Factor: +13
Defence Bonus: -7
Bonus to Hit: +10
Damage Bonus: +2 (Projectile) 0 (Hand-held Weapons)
Hit Points: 25 (Base), Head – 7, Chest – 14, Abdomen – 14, Left/Right Arm – 6/6, Left/Right Leg – 6/6
Shock Resistance: 60%
Heal Rate: 1½/day

Skills: Interrogation 50%, Police Techniques 50%, Police Weapons 50%, Drive Car, Gambling, Streetwise 50%, Unarmed Combat 50%, Stealth 30%, Swimming, Street Combat

Psionic Disciplines: Precog (Major), Time Shifter (Minor)

The core mechanic in PSI World is percentile, a player typically rolling against either a skill or an Attribute Saving Throw. For each complicating factor, the Referee applies a Level of Difficulty, a ten-point penalty. Regardless of the Level of Difficulty, a Player Character always has a minimum chance of success, equal to one twentieth of the skill level. A roll of 95% and above is always a failure. A failure can result in equipment or materials being damaged. To avoid this, the player will need to roll an Attribute Saving Throw, modified by the degree of failure. A roll of one hundred indicates a major failure and a major penalty to the Attribute Saving Throw. However, whilst there is scope for a major failure, there is no room in PSI World for its counterpart, a major success.

Combat is played out in a series of ten-second rounds and covers unarmed, melee, and ranged combat. The attacker’s skill is modified by his Bonus to Hit and the defender’s Defence Bonus. There are processes given each for Throws, Throws/Pins, Throws/Chokes, and Strikes, and then again for melee and ranged attacks. Where attacks affect specific hit locations, damage is applied to both them and general Hit Points. Damage that exceeds the Hit Point total for a location indicates a wound which will have different effect depending upon the location. This is followed by various weapons lists, most of which consists of typical weapons from the eighties like the .357 magnum revolver or the .44 auto magnum. They are joined by needlers, tangle guns, essentially Science Fiction weapons.

Between the combat rules and the skill lists are listed the psionic powers and their use. Psionic powers are divided between major and minor disciplines. All require the expenditure of Psionic Power Points to use, each Player Character possessing a number equal to double to his Psionic Power attribute. The major disciplines consist of Precog, Telepath, Teleport, Telekinetic, Self-Aware, Healer, and Empath. The minor disciplines include Time Shifter, Pyrokinetic, Ghost, Weakness Understanding, Psi Amplifier, and more. Some of the minor disciplines, such as Genius which adds extra points to the Intelligence attribute and adds more skill points, are permanent effects, but at a cost of permanent reduction in the Psionic Power attribute. Major disciplines have numerous sub-abilities. For example, Precog has Clairvoyance, Clairaudience, Sense Danger, Locate Danger, Detect Psi, all the way up to Augury, Vision, Combat precog, and Luck. Each of these costs its own amount of power points to use. For example, Sense Danger costs five points to use, but Psychometry on an object costs twenty points. The list of powers is compressive, though it should be noted that the Healer includes reverse effects. So, Harm and Heal, Reverse Major Wound and Cause Major Wound, Curse Disease and Cause Disease, and so on. However, the one aspect missing here which is integral to the genre, that of psionic duels of will and power.

The ‘PSI World: Role Playing Game of Psionic Powers’ rulebook comes to a close with a chapter called ‘The World’. Except, it really is not about the world. Rather that it takes a cursory look at some of the changes that might affect the neighbourhood where the Referee is setting her campaign, the suggestion being that the this should be her neighbourhood, only changed to account for the advances in technology and the presence of the psionically capable. The rest is devoted to a price list. The result is distinctly anaemic and indicative of the problem that pervades the roleplaying game as a whole.

The second book ‘The Psi World Adventure’ contains two scenarios. It also expands upon the setting. Three generations previously, the world was divided between two superpowers and a host of neutral nations. The two superpowers were the People’s Confederacy and the United Commonwealth, the former based on Communist China, the latter on the then modern U.S.A. The neutral nations formed trade blocs. The appearance of Psis disrupted society and led to the collapse of the People’s Confederacy into a patchwork of warring states, often led by Psis who set themselves as petty dictators and warlords. Similarly, a wave of psi-related crime swept across the United Commonwealth, but unlike the People’s Confederacy, it was able to survive this due to strong central government and effective police force. The United Commonwealth established the Psionic Protection Agency, a federal organisation dedicated to protecting the general population. Psionic crimes are subject to a warning and several years of probation on the first offence, and then psionic lobotomy on a second. Most who suffer this migrate to space. Violently opposed to the Psis is the League for Human Genetic Purity.

Both scenarios are set in the fictional commonwealth of New Arlin, in Bishop County, located on the heavily forested edge of a western mountain range. It is known for its furniture products and a range of breakfast cereals. In ‘Scenario I’, the former ghost town of Enclave has been opened up again and re-established its bauxite mine, and offered a sanctuary for Psis. The town council asks the Player Characters to travel to the nearby town of Bently where they have detected someone whose psionic abilities are beginning to express. The Player Characters are to monitor the situation, avoid any entanglement with the Psionic Protection Agency and the League for Human Genetic Purity, and in particular, avoid a radical psionic revolutionary known as ‘Bonzo’ and said to be in the area. In ‘Scenario II’, the Player Characters are recently graduated agents of the Psionic Protection Agency who are assigned to help local law enforcement investigate organised crime activity in the area.

Both scenarios are fairly open with the Player Characters free to go about their investigation. There is more advice about running ‘Scenario II’ than ‘Scenario I’, and both are supported by decent maps and lots of detailed NPCs. Neither scenario is all that interesting and neither develops PSI World in terms of a setting. This highlights the issue with the roleplaying game. PSI World does not have a setting except that of ‘tomorrow’, but with gifted individuals being persecuted and facing bigotry and violence. As the designers state in the ‘PSI World: Role Playing Game of Psionic Powers’ rulebook, “Background chrome has been kept to a minimum to the rules sections to allow more referee freedom in setting creation. For a closeup of part of the authors’ playtest world, see Book 2, The Psi World Adventures’ for scenarios and design ideas.” To be fair, the authors have kept ‘background chrome’ to a minimum in the rules sections, but to be equally fair, they have also kept it to a minimum in ‘The Psi World Adventure’ and both of its scenarios. It is frustrating because it leaves the Referee with a lot of work to do in developing her setting and it does not address any of the ideas or themes intrinsic to PSI World and its game play—resistance and rebellion, oppression and suppression by the government and hate groups, bigotry and misunderstanding, and so on. This is the core problem with PSI World. The Referee with left with all of the work to do, but given none of the advice with which to help her do it.

PSI World was supported by three supplements. Published in 1985, The Hammer Shall Strike contained new psionic powers and two scenarios, whilst Underground Railroad, also published in 1985 and Cause for War, published in 1986, contained five linked scenarios. These would do more to develop a setting to PSI World and explore some of its themes.

Physically, PSI World is decently presented. The writing and layout are clean and clear rather than adventurous. The artwork is good, much of it by Bill Willingham and Matt Wagner, and the cartography is decent.

—oOo—PSI World was reviewed in ‘Games Reviews’ in Imagine No. 21 (December 1984). Reviewer Chris Baylis wrote, “I would suggest that this is a system for the slightly more mature player, not for the young and blood-thirsty beat-’em-up brigade. Much thought and planning is required by both GM and player, and character interaction and party cooperation is a must for survival and enjoyment.”

Scott A. Dillinger reviewed PSI World in ‘Game Reviews’ in Different Worlds Issue 44 (November/December 1986). He was in general, positive about the game, but said that one “…[A]rea with which I have a bit of problem is the reverse healing. For every curative function listed there exists an opposite damage producing function. As a mental health professional I question the probability that anyone who is sensitive enough to the life force to be able to sense and restore it would under any circumstance harm another human being with such a power. I might concede that if such actions are used to save more lives, then the healer might harm someone but they would be loathe to do so. This is a matter for the individual gamemaster to decide but it does tend to put some limits on an incredibly powerful character-a character with the ability to literally give and take life at will.” Ultimately though he was positive about the open nature of the roleplaying game in that it did not tie the Game Master to a setting, but left room for her to create one of her own and awarded it three stars and said, “It’s a lot of fun for a little money.”

Stewart Wick reviewed PSI World in White Wolf #7 (April 1987), awarding it a rating of seven out of ten, and said, “Thru and thru, Psi-World is an interesting and pleasing game. It is fairly simple, but does not achieve this by sacrificing either playability or campaign development.”
—oOo—
There is no denying that PSI World is workmanlike and serviceable. It provides solid mechanics for both its then modern, near-future setting and its psionics. In fact, mechanics which are far less complex and much easier to comprehend than those presented in other roleplaying games from Fantasy Games Unlimited. However, that is all it does. The setting included is so underwritten and underdeveloped as to be no better or no more useful than the Referee could come up with herself. Without a fully realised setting, PSI World cannot even begin to address or explore any of the themes and storylines that it wants to lend itself towards. Ultimately, GURPS Psionics would do it better. The result is a roleplaying game that does not go out of its way to make itself distinctive, bar the simplicity of its mechanics in comparison to other roleplaying games from Fantasy Games Unlimited. PSI World: Role Playing Game of Psionic Powers is mechanically solid, but in every other way, is just too generic and simply underdeveloped for what it wants to do.

The Other OSR: Sanction

Reviews from R'lyeh -

Sanction: A Tabletop Roleplaying Game of Challenges & Hacks describes itself as a set of “Universal Rules for Challenge-driven Games.” If that sounds pretentious, then what it really is a roleplaying game with a set of mechanics that are designed for simplicity and flexibility in play, the intention being that they do not intrude unnecessarily and that rolls are only made when there is a chance of a Player Character failing and suffering consequences. That is the ‘Challenges’ aspect of the subtitle. The ‘Hacks’ are adventures and Genre Set-Ups that influence the way in which Sanction is played, but not the how. Published by Just Crunch Games following a successful Kickstarter campaign, Sanction is derived from three roleplaying games. The first is The Black Hack, an Old School Renaissance roleplaying designed for Dungeons & Dragons-style play, whilst the second is Cthulhu Hack, the roleplaying game of Lovecraftian investigative horror. Both would lead to the third, The Dee Sanction, the roleplaying game of ‘Covert Enochian Intelligence’, which like Cthulhu Hack, is published by Just Crunch Games. Sanction includes the full rules and two Genre Set-Ups, one of which is very, very good.

Sanction: A Tabletop Roleplaying Game of Challenges & Hacks begins with an explanation of its mechanics. A Player Character has three Resources rather than attributes or traits. The default are Physical, Mental, and Willpower, but will vary according to the Genre Set-Up. Each Resource is represented by a die type, ranging from ‘D4’ to ‘D12’, but ‘D4’, ‘D6’, and ‘D8’ being the most typical. If a Player Character is faced with a Challenge where the outcome is unknown, his player rolls the appropriate Resource. The Game Moderator decides the terms and goal of the Challenge, what happens if the Player Character succeeds and the Consequences if he fails, and if the Resource can have a ‘Step Up’ or ‘Step Down’, and thus be changed to a higher or lower die size depending upon the circumstances. The player rolls the die and if he rolls three or more, his character succeeds. However, if he rolls one or two, the Challenge Falters and the character suffers the stated Consequences. (Throughout the rules, options are given for using cards from an ordinary deck of playing cards instead of dice.)

A Player Character can also have an Ability which applies to a Challenge. This Ability can be a skill, a knowledge, or a power, depending upon the Genre Set-Up. The Game Moderator can decide that the Ability simply lets the Player Character undertake the task without the need to roll or that it provides him with an edge in the situation which will be represented by a ‘Step Up’. Alternatively, an Ability lets the Player Character undertake the task because it is so specialised. For example, the ‘Concealment’ Ability might simply let the Player Character hide in the undergrowth surrounding a castle or give him a ‘Step Up’ if there are guards on patrol. Whereas, a Player Character with the ‘Cantrips’ can cast minor magical spells that he would otherwise be unable to.

If a ‘Step Down’ decreases the die size to below a ‘D4’, the Game Moderator may still allow the Player Character to act. This is known as a ‘Call to Fail’ and the Player Character will suffer severe Consequences. In general, this option is for the Player Character who wants to cause a distraction.

The most obvious type of Consequence is the Hit. This might be due to a fall, poison, or being hit in combat, but Sanction is not a roleplaying game that emphasises combat. Morse so given that a Player Character only has three Hits before being severely injured or dead. Instead, Consequences can take the form of delays, susceptibilities, breakages, or losses. Their aim is to present interesting narrative outcomes and to test the Player Characters in ways other than being slashed with a sword.

Character creation involves first assigning dice steps to the three Resources. The base for each is a ‘D4’, and once the dice steps have been applied, all three will be at ‘D6’ or one at ‘D4’, one at ‘D6’, and one at ‘D8’. The next step is to take the Player Character through a Lifepath. This consists of three steps. In the default setting, this is a Past, a Diversion, and an Influence. The Past is typically an occupation, the Diversion is why the Player Character is in his current predicament, and Influence is an aspiration. Each of these provides an Ability. The Player Character also receives some equipment. Many items have a Supply Die which, like a Resource, ranges in value from ‘D4’ to ‘D12’. When a Player Character uses any items with a Supply Die, the die is rolled. If a one is rolled, the Supply Die is stepped down to the next die size until this happens on a ‘D4’ and the items are exhausted. A Player Character’s Past, Diversion, and Influence can either be rolled for or the player selects them.

Geoffren is a failed petty wizard. His bursary ran out and he turned to petty theft in order to fund his further studies. It turned out that he was as bad at that as he was at handling his money. His tutors bailed him out in order to prevent any embarrassment to the academy. Now he owes them. He has joined one of the Lesser Orders of the Grand Guild, a minor adventurer assigned to clean-up teams working through dungeons already battled through by mighty Warriors. He notes down everything that his team discovers and recovers and reports back to his true masters in between assignments.

Geoffren
Physical D4 Mental D8 Willpower D6
Past: Scholar
Diversion: Petty Crime
Influence: Sage
Abilities: Blather, Burglary, Folklore
Equipment: Journal
Hits: 3

Sanction is a player-facing roleplaying game. This means that the player always rolls whilst the Game Moderator never does. Nowhere does this show more than in combat or facing Threats. Here the player rolls for his character to attack a Threat and also rolls to avoid being attacked by a Threat. When facing Threats in Sanction, it extends to the order of play as well. Thus, whilst the Game Moderator states the goals for the Threats first and the players states their second, the players resolve their characters’ actions first and then the Game Moderator does for the Threats. Combat is fought out in Moments, each lasting a few seconds, during which time a Player Character can typically attack or act once and react once. A Player Character will typically inflict one Hit with a successful attack, whereas an NPC has its own damage table. The results are determined randomly and can be to move to a more advantageous position, inflict bruises or leave him bloody, or do one Hit. With doing a Hit being only one of the four options, this again emphasises the narrative Consequences of the rules rather than simply doing mechanical damage. This is the most basic range of damage, meant to represent an ordinary person. Sanction includes a range of Threats, each with its own range of damaging Consequences. For example, the Damage options for the Giant Spider consist of ‘Move’ which imposes a ‘Step Down’ on attacks against it; ‘Catch & Throw’ triggers a physical Challenge which inflicts the Restrained condition on a success, but Restrained and a Hit on a failure; ‘Impale’ for one Hit; and ‘Poison’ which inflicts a Hit, causes Bleeding, and injects venom.

For the Game Moderator, there is advice on creating encounters, supported by sample creatures and Threats, and on resolving hazards. The ‘Hacker’s Toolbox’ offers a guide to using the various parts of character creation to enforce and foster the flavour and feel of a Genre Set-up in Sanction as well as adding unique elements. This is further supported by advice on creating Threats suitable for the Genre Set-Up. Given the size of Sanction, it should be no surprise that the ‘Hacker’s Toolbox’ is short, but it is succinct, helpful, and to the point.

The Game Moderator is supported with not one, but two Genre Set-Ups. ‘With Guile, Incantation, & Faith’, or ‘.GIF’, is the default, threaded throughout the pages of Sanction as an example. In ‘.GIF’, the Player Characters are second rate adventurers, investigating and clearing out dungeons on behalf of the Grand Guild. A mighty Warrior on a euphoric ‘Weird Out’ has already been through the dungeon and done the hard job of slaughtering the major—and most of the minor—Threats. Now it is the job of the members of the Lesser Orders to investigate and clean up. Having failed to become a true Adventurer like the Warrior, the Player Characters have become blue collar dungeoneers, collecting treasure, recording details, mapping out the complexes, and so on, all while wondering where it went wrong for them. Inspired by B1, In Search of the Unknown for Basic Dungeons & Dragons, the ultimate abandoned-clean-up dungeon, ‘.GIF’ does two things. First is to give characters who would otherwise have been the role of the hireling in traditional Dungeons & Dragons-style roleplaying games a greater role and agency of their own, whilst the second is to provide a means to play just about any dungeon all over again, ideally after the players’ actual adventurers have battled their way through it.

The second Genre Set-Up comes at the end of the book, complete rather than threaded through the book. ‘Agency: Outlet Work’ shifts Sanction from the fantasy genre of ‘.GIF’ to the espionage genre. Not though the action espionage of the superspy James Bond, but the grim, grimy, and pathetic espionage of the Slow Horses series by Mick Herron with dash of John Le Carré. The Player Characters are ex-agents, failures and fuck-ups, washed out of active service, but not out of the service. Exactly why is something that will have to be worked out between the player and the Game Moderator during Agent creation. Reassigned to small towns and cities like Wolverhampton or Grimsby, the Agents do data processing, combing through reports and archives, and so on, before sorting it and sending it back to head office, with no explanations as to why or what the information is for. It is make-work, a window job, and that is all that the Agent will have until he retires. Yet the agent hopes, and worse, he cannot help but want to apply his tradecraft.

‘Agency: Outlet Work’ changes its Resources to Network, Cover, and Tradecraft. It has its own Lifepath table and it adds Espionage Specialties, Bonds, and a Burn Track. Bonds are connections to NPCs who might help the Agent, whilst the Burn Track measures his stress. Rolling a one or two on a Resource when undertaking a Challenge in public or dealing with an actual intelligence asset, calling in a favour, or resorting to an act of violence, will increase an Agent’s Burn Track. As it increases, there will be Consequences, which get worse and worse, until the Agent washes out completely, is killed, or arrested. What is noticeable here is how bad violence and fights are in ‘Agency: Outlet Work’. There is not a fight-related Resource and fights are so stressful that in the long term, the Consequences are career or life ending, taking into account the fact that the Agents of ‘Agency: Outlet Work’ have no career. There is advice for the Game Moderator and a table of prompts, but no scenario. Admittedly there is no scenario for ‘.GIF’, but you really wish that there were for ‘Agency: Outlet Work’. (Fortunately, there is one available, For A Rainy Day.) ‘Agency: Outlet Work’ is deliciously pathetic and rife with roleplaying possibilities.

Physically, Sanction is a well presented, tidy book. The artwork is decent and the book is easy to read.

Although its heritage lies in the Old School Renaissance, Sanction is not part of it, but more tangentially adjacent to it, having adopted a more narrative approach in terms of its mechanics and storytelling. The simplicity of the mechanics make it very easy to learn and play, and they also make it easy to adjust to other Genre Set-Ups. Perhaps a third Genre Set-Up might have been included in Sanction to showcase its flexibility more fully, but there can be no doubt that ‘Agency: Outlet Work’ not only does that, but is also worth the price of admission alone. It would also be good to see other Genre Set-Ups, perhaps as an anthology from a variety of authors, showing off Sanction in other genres. Overall, Sanction: A Tabletop Roleplaying Game of Challenges & Hacks is an impressive design, providing simple, but not simplistic, mechanics that encourage roleplaying and storytelling whilst also being flexible enough to adapt to different genres and settings.

Quick-Start Saturday: Conan: The Hyborian Age

Reviews from R'lyeh -

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 can 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?
Conan: The Hyborian Age – Quick Start is the quick-start for Conan: The Hyborian Age, the roleplaying game based on the Swords & Sorcery short stories by Robert E. Howard and published by Monolith Board Games SARL.

It is designed to be played by five players, plus the Game Master.

It is a fifty-two page, 16.52 MB full colour PDF.

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

The themes and nature of Conan: The Hyborian Age and thus the Conan: The Hyborian Age – Quick Start, specifically the lurid and sometimes uncomfortable nature of the source material may require the X-Card depending on the gaming group. However, there is nothing controversial or potentially offensive about the content of the Conan: The Hyborian Age – Quick Start.

How long will it take to play?
The Conan: The Hyborian Age – Quick Start and its adventure or ‘Tale’, ‘The Seal of Acheron’, is designed to be played through in one session, two at most.


What else do you need to play?
The Conan: The Hyborian Age – Quick Start requires a set of polyhedral dice per player. Each player also requires a single extra ten-sided die which should be a different colour.

Who do you play?
The five Player Characters in the Conan: The Hyborian Age – Quick Start consist of a born on the streets assassin, a warrior from the hills, a female wanderer, a sorcerer who can call wolves to his side, and a warrior from the icy north.

How is a Player Character defined?
A Player Character has four stats—Might, Edge, Grit, and Wits. Stats are rated between zero and eight, though most are capped at six. Each stat also has an associated Stat Die. This is either a six-, eight-, or ten-sided die. Skills are not traditional skills per se, but rather special abilities that grant a bonus to a particular action or access to a specific ability. ‘Of the Shadows’ is an example of the former, granting a bonus to all Edge checks involving or detecting acts of stealth, whilst ‘Assassin’ is an example of the latter, enabling the Player Character to apply Edge rather than Might when using one-handed light or medium melee weapons.

Besides Physical Defence and Sorcery Defence and Life Points, a Player Character also has Stamina Points and a Flex Die. Stamina Points are expended to access a range of bonuses or to activate certain Skills. The Flex Die is a special die rolled in addition to any dice rolled by a player for any reason. It can either be a six-, eight-, or ten-sided die.

How do the mechanics work?
Mechanically, Conan: The Hyborian Age – Quick Start has a player roll either a Check or an Attack. To make a Check, a player rolls the appropriate Stat Die for the action and adds to it the value of the Stat and any modifiers. ‘The Rule of Threes’ means that the modifiers do not go above ‘+3’ or below ‘-3’. The Difficulty ranges between four and six for Easy, seven and nine for Moderate, ten and twelve for Difficult, and thirteen or more for Legendary. A roll of one on the Stat Die means that the Check or Attack fails.

When any Check or Attack roll is made, the Flex Die is rolled as part of it. When the maximum on the Flex Die is rolled, it triggers a Flex and grants access to various boons. This always includes giving the Player Character a bonus point of Stamina, but the options given in the Conan: The Hyborian Age – Quick Start consist of guaranteeing that an attack or action succeeds or inflicting Massive Damage on a damage roll. Consequently, the smaller the die size, the more chance of Flex being triggered.

There is no effect if one is rolled on the Flex Die.

How does combat work?
Combat in the Conan: The Hyborian Age – Quick Start is designed to be desperate and dangerous. A Player Character can conduct two actions per turn, though certain Skills or expenditure of Stamina Points can add more. A Move is one action, an Attack is one action, a Focused Attack is one action with a bonus, Defend is one Action to gain a bonus to Physical Defence, and Cast a Spell is one or two Actions depending upon the spell. If a Player Character has enough actions, he can take two actions that are the same. Thus two Move actions or two Attack actions. Range is determined by zones around a Player Character. Melee Attacks use the Might Stat; Ranged and Thrown Attacks use the Edge Stat; and Sorcery Attacks use the Wits Stat. If the result of the Attack roll is equal to or greater than the opponent’s Physical Defence, a Melee, Ranged, or Thrown Attack succeeds, whilst a Sorcery Attack succeeds if the Sorcery is equal to or greater than the opponent’s Sorcery Defence.

Melee and Thrown Damage is determined by adding the Might Stat to the result of the weapon’s Damage roll; Ranged Damage is determined by a Ranged weapon’s Damage die only; and Sorcery Damage is determined by the spell being cast. Skills can also add to this damage.

The Armour Rating of any armour worn reduces damage. Armour worn has other effects, including penalising Sorcery Attacks.

Damage suffered is deducted from the Life Points. If a Player Character has his Life Points reduced to zero, he is heavily wounded and unconscious. If a subsequent Grit Check is failed, he dies. If alive, two Recovery checks can be made per tale or session to restore Life Points.

If a Player Character does die, a Game Master can opt for a ‘Fateful Intervention’. Four narrative suggestions are given, such as the Player Characters’ foes leaving them for dead and allowing them to crawl from the battlefield. All four are appropriate to the genre.

Enemy Antagonists have Life Points just as the Player Characters do. Minions have a Threshold value. If this Threshhold is exceeded with a Damage Roll in a single blow, the Minion is killed.

Stamina Points can be spent during combat to react to a situation in unexpected and daring ways that ordinary men and women do not. This includes to make an additional Move Action, to increase the damage inflicted by a single, successful attack, to increase the Range of a Thrown weapon, and with a Player Character’s final Stamina Point to inflict Massive Damage as per the Flex Massive Damage result.

How does Sorcery work?
Sorcery in Conan: The Hyborian Age is divided into five Disciplines. Each Discipline grants access to a number of inherent spells. Casting spells costs Life Points or Stamina Points to cast. Only one Discipline, the White Magic Dscipline, appears in the Conan: The Hyborian Age – Quick Start, and only one Player Character can cast spells.

What do you play?
The Tale in the Conan: The Hyborian Age – Quick Start is ‘The Seal of Acheron’. In part inspired by Robert E. Howard’s ‘The Slithering Shadow’ and ‘A Witch Shall be Born’, it opens with the Player Characters with their fellow Dog Brothers in a tavern following several days of battle on the border. A fellow mercenary offers them information about a recently exposed ruin in the nearby desert. Wounded in the recent clashes, he cannot explore it himself, so suggests that he share the information in exchange for a share of whatever they manage to loot from the ruin. The Player Characters may be harassed by bandits (oddly armed with just knives) or wild dogs or hyenas on the way there, but the bulk of the adventure focuses on the underground ruins. The emphasis is on exploration, action, and combat combined with elements of horror. ‘The Seal of Acheron’ is straightforward and atmospheric.

Is there anything missing?
The Conan: The Hyborian Age – Quick Start is complete. It includes a good overview of the genre and core themes of Conan: The Hyborian Age. These are adventure, big versus big reward, sword and sorcery, and forward momentum. There is also decent advice for the Game Master on running ‘The Seal of Acheron’.

Is it easy to prepare?
The core rules presented in the Conan: The Hyborian Age – Quick Start are relatively easy to prepare.
Is it worth it?
Yes. The Conan: The Hyborian Age – Quick Start provides a solid introduction to Conan: The Hyborian Age and gives a good as to what it feels like to play.
Where can you get it?
The Conan: The Hyborian Age – Quick Start is available to download here.

Friday Fantasy: DCC Day #5 Gods of the Earth

Reviews from R'lyeh -

As well as contributing to Free RPG Day every year Goodman Games also has its own ‘Dungeon Crawl Classics Day’, which sadly, is 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 2024’, which takes place today on Saturday, July 20th, 2024, the publisher is releasing not one, not two, but three scenarios, plus a limited edition printing of Dungeon Crawl Classics #104: Return to the Starless Sea. Two of the scenarios, ‘The Grinding Keep’ and ‘Tuscon Death Storm’, appear in the duology, the DCC Day 2024 Adventure Pack. The third is DCC Day #5: Gods of the Earth. Both DCC Day #5: Gods of the Earth and ‘The Grinding Keep’ are written for use with Dungeon Crawl Classics Role Playing Game, whilst ‘Tuscon Death Storm!’ is the first scenario for use with the Xcrawl Classics Role-Playing Game, the ‘Dungeon Crawl Classics’ adaptation and upgrade of the earlier Xcrawl Core Rulebook for use with Dungeons & Dragons 3.5, which turns the concept of dungeoneering into an arena spot and monetises it!

Designed to be played with between six and eight First Level Player Characters, DCC Day #5: Gods of the Earth opens with the Player Characters at the death-feast of the great jarl, Horwend, who recently died and left his queen, Gerutha, a widow. They are outsiders this far north in Isvik, but tradition demands that the new jarl, Horwend’s brother, Feng, include strangers in the celebration of his brother’s life. Horwend’s body lies on the table as his men around drink, feats, arm wrestle, sing, and merry. At midnight, Feng stands up and proclaims that is as is traditional, a body of men should have the honour of standing vigil over the late jarl’s body following his death-feast, and that Gerutha has cast the bones and determined that it should be none other than the Player Characters who undertake this task. They will be well-rewarded, in addition to the honour of standing vigil. Of course, the Player Characters have little choice and find themselves in the late jarl’s tomb on a nearby rocky island with the wind and the rain lashing walls of the barrow outside. As is to be expected this is not going to be quiet night for the Player Characters, let alone Horwend. There are portents and there are pleas, the latter from Horwend’s spirit—prevent his body from being taken and his spirit from being sacrificed to the old chaos Gods of the Earth in their final hatching of the Chaos-Egg.
It is a great set-up which sends the Player Characters into the blood-red stone-lined tunnels and rooms below Horwend’s tomb. This is a complex dedicated to the service of the Gods of the Earth, deities of Chaos awaiting the birth of the great End-Wolf and with it their dominion over all of the lands. Fortunately, the heroes of the Sky Gods put an end to this long ago, but could it be that someone is to bring about the birth of the End-Wolf once again? The complex is infested with Chaos-infused Larvalings, home to monstrous—but fortunately sleeping Formorians, the last stand of the Horwend’s forebears, and the workshop of the true villain of the piece as well as their throne. The complex consists of eleven locations, but all of them are highly detailed, interesting, and challenging. Perhaps overly challenging so for First Level Player Characters, but there are moments of respite and the Player Characters can find small boons here and there which might give them the edge they need. What the Player Characters will find is a lot of treasure. In fact, if the Player Characters survive and get out of the complex, they will quite wealthy. And that in addition to any reward promised by the ghostly Horwend.
DCC Day #5: Gods of the Earth does not necessarily end quite there with the Player Characters defeating the villain and their plans, grabbing the treasure and escaping both the tomb and Isvik. An appendix with six other separate areas connected to the complex under Horwend’s tomb. These are the tombs of his forebears, fallen in various states of disrepair since they were plundered for the Gods of the Earth’s plan. Like the other parts of the complex there is a lot of treasure to be found in these tombs, as well as one or two interesting magical items. These are all optional though.
Physically, DCC Day #5: Gods of the Earth is as well done as you would expect for a release from Goodman Games. The artwork is decent and the cartography well done. The cover is very nicely done, showing the moment when Horwend appears before the Player Characters. The handouts are also decently done.
DCC Day #5: Gods of the Earth has a grim and grimy feel, much of it a nod to the Vikings and Norse mythology. The fact that it is set in the North means that it could be adapted to any Viking-type setting, or even the Lankhmar setting of the Dungeon Crawl Classics Lankhmar Boxed Set. In whatever way it is used, DCC Day #5: Gods of the Earth should provide two or so sessions’ worth of play, especially if the Player Characters search the other tombs. Overall, DCC Day #5: Gods of the Earth is an enjoyably entertaining scenario with a great hook.

The Other OSR: Slate & Chalcedony

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The land where the two towers now stand was bright and clean. Then they appeared and from their base grew a circle spreading blight which destroys all that it touches, creating a zone where nothing lives and nothing grows. The rivers are poisoned and empty. No birds fly overhead. Armies have been sent to assault and topple the towers to bring an end to the spreading blight. None have returned. The blight continues to grow. Will the world become a jet-black desert or can anything be done about it? Perhaps brave adventurers will venture forth and investigate the towers? Perhaps they have their objectives—to recover an object from inside one of the towers, to access a gateway to another world inside, to kidnap or rescue someone from inside the tower, and so on… The two towers are not what they seem, though they are the source of the blight. They are the bodies of two powerful sorcerers who travel from world to world, drawing energy from each one, but rarely staying long. The question is, what is it that keeps them in this world? Although each tower is actually the body of a great sorcerer, each is occupied—by sorcerers, Apeman guards, staff, and the occasional monster. Each can be fully navigated and each is full of mysteries.

This is the set-up for Slate & Chalcedony. Slate & Chalcedony is both the names of the two wizards and thus the two towers and the name of an adventure for TROIKA!, the science-fantasy role-playing game of exploring the multiverse. Published by the Melsonian Arts Council, it presents the twisted towers, along with the NPCs and monsters, new spells, and prophecies, as an environment in which to explore and roleplay. Notably, both towers are presented in cross section as a whole, rather floor plans, level-by-level. This adds a certain degree of childish wonder to the weirdness and whimsy that pervades the two towers. This starts from the moment that the Player Characters enter either tower. In Slate they will find diplomatic Delegates in Pressure Suits who have been so harassed by the porcine Gentle Hurmin the Familiar that they have forgotten their purpose; a sphere of black liquid which collates prophecies that can be collected by the mouths in the room below and if drunk, will grant the imbiber some of those prophecies and possibly kill them; a would-be apprentice who specialises in magical dentistry and is so bored, she lets her teeth grow and replenish consistently; and more, whilst overhead Pig Harpies circle and inside the tower, Apemen formidable and loyal patrol and protect the tower, sometimes guarding, sometimes grooming, sometimes curious, sometimes hooting. In Chalcedony, Brain Clusters spark and flash on a great tree, but cannot seem to work or communicate together; Boneroach nests infest the walls; and the tower seems to breath through great gill slits that also happen to be very convenient for climbing. Slate is more extensive, more developed, and more detailed than the other, in places possessing the feel of strange rocket ship or upright submarine, whilst Chalcedony is less developed and not as extensive, being a rougher combination of stone and flesh.

There are short incident or encounter tables for both towers, whilst the first of several appendices provides stats and details of all of the ‘New Enemies’ to be found in both towers. These include the Apemen, Boneroaches, Cerebral Spiders, the Chalcedony Wizard, and a lot more. Their entries include Mien tables too, so that encounters with the various creatures can vary from one encounter to the next. This is especially so with the porcine Gentle Hurmin the Familiar, who can be encountered in either ‘Malevolent’ or ‘Benevolent’ mode. The new spells are inventive, but as weird and as icky as you would expect. Emetomancy forces vomiting and consumption of the result, Megadonsy causes teeth to grow and replace older teeth for as long as the caster wishes; and Metonomasy forces a name change on a victim and it sticks until the caster decides. It should be noted that the lightness of the mechanics to TROIKA! means that Slate & Chalcedony is easily adapted to the Old School Renaissance retroclone of the Game Master’s choice.

Physically, Slate & Chalcedony is very well presented. Even the cover—slate grey on one side and shot through with the red of carnelian on the other half—presages what lies inside, which is illustrated with rich colours. The illustrations are excellent and the cross sections of the two towers present a surprising amount of detail. The writing leans towards the succinct where necessary, adding more detail depending upon the location.

Where Slate & Chalcedony comes up short is in the ‘What If?’. It does not discuss the consequences of the Player Character actions or how exactly they go about preventing the spread of the blight emanating from the two towers. So, no mention of what happens if they stop the blight or what happens if they fail to stop the blight. Options are mentioned in the text, but not developed, leaving the Game Master with a number of questions to answer herself in preparing the scenario. More so than ideally should be necessary. Another issue is that some of the locations within the Slate tower are only accessible via the network of vents, but it is not made clear how those vents are accessed.

Slate & Chalcedony takes the fantasy motif of twin towers and twists them to the weirdness and wonder of TROIKA! The scenario provides a great set-up and situation, and if does not develop any possible outcomes as it really should, it does in the meantime deliver two wondrous and strange environments for the Player Characters to explore and interact with and so provide several sessions of rich adventure.

Miskatonic Monday #298: Alone on Obon

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

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

—oOo—
Name: Flash Cthulhu – Alone on ObonPublisher: Chaosium, Inc.
Author: Michael Reid

Setting: Japan, 1992Product: One-Location, One-Hour Scenario
What You Get: Seven page, 784.18 KB Full Colour PDF
Elevator Pitch: ‘Alone on Halloween’, but Japan and the ninetiesPlot Hook: Not every distressed family member has to be alivePlot Support: Staging advice, four pre-generated Investigators, one handout, two NPCs, and one Mythos monster.Production Values: Decent
Pros# Simple and short# Easy to adjust to other modern eras# Phasmophobia# Coimetrophobia# Aquaphobia
Cons# Unpleasant Investigators
# No Sanity loss for using blood
Conclusion# Short, punchy, spirit standoff# Not so much Spirited Away as spirited affray

The Other OSR: The Lair of the Vampire King

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At the heart of the land stands a fortress of reinforced iron, encircled by a broken stone wall. Set in the wall of the fortress are two things. A window with a beautiful flower in a vase and an eye of crystal and bronze. Should anyone approach the fortress, the great Arm and Hand stretches up out of a hatch in the roof of the fortress and reaches into the cage that stands beside the fortress. From this cage it pulls out a monster and propels it at the wayward intruders. Not that there are any intruders, for the fortress is home to Vaevalz, the self-proclaimed Vampire King. For centuries, Vaevalz has warred against the monsters of the land lest they proclaim rule over the humans that once lived in the land. Now they are long gone, dead or driven out by the war and all that is left is a forlorn land of monsters and a self-styled Vampire King! No monster can enter his lair, but what about men? Could they find a way past its magical barrier and put an end to the unlife that plagued the region for centuries?

This is the set-up for The Lair of the Vampire King. This is mini-adventure for use with Mörk Borg, the Swedish pre-apocalypse Old School Renaissance style roleplaying game designed by Ockult Örtmästare Games and Stockholm Kartell and published by Free League Publishing. It consists of four locations outside of the fortress and three inside. Apart from the thrown monsters, who are unsurprisingly irked at having been thrown at the Player Characters, the locations outside are surprisingly benign. Those inside, however, are nasty and deadly. The rooms inside the Fortress are sparsely furnished, but highly detailed, two of them having larva traps that spray deadly gouts of hot liquid rock! There is also a trap that cannot be escaped unless the Player Characters explore the adventure fully. Then, of course, there is Vaevalz, the Vampire King, all head, arms, and legs and ambitious spite. He is a very tough monster with a lot of Hit Points and an attack that can reduce a defender’s Hit Points to one and another that unleashes a hailstorm of lava and blood, damaging everyone in the room. There is the possibility of talking to him, but the Player Characters would have to be very obsequious…

There are some nice touches to the adventure. Notably, the interaction with the monsters. None of them are inimical towards the Player Characters, except when thrown, of course. Some of them are actually friendly—including those in the cage outside the fortress. So the Game Master can have some fun roleplaying them!

So, The Lair of the Vampire King? Just another nasty, dirty, deadly adventure for Mörk Borg? Well, yes and no. What makes The Lair of the Vampire King different is the fact that it actually based on the drawings and ideas of Assar Nohr, the five-year-old son of Johan Nohr, the co-creator of Mörk Borg. These have been made gameable by Assar’s dad and turned in The Lair of the Vampire King. The original drawings themselves have been included in The Lair of the Vampire King and it is clear that the original ideas and visualisation of the dungeon remains intact in being adapted to Mörk Borg.

Physically, The Lair of the Vampire King is well presented. The artwork is scratchy and gloomy and overall, the adventure avoids the Artpunk style traditional to Mörk Borg.

The Lair of the Vampire King is entertaining and inventive and ridiculous all at the same time. It is also incredibly deadly, but that should not be held against the adventure itself. After all, what five-year-old cares about game balance? so, Assar can we have another adventure, now that you six?

Atlantis Abides

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Achtung! Cthulhu is the roleplaying game of fast-paced pulp action and Mythos magic published by Modiphius Entertainment. It pitches the Allied Agents of Britain’s Section M, the United States’ Majestic, and the brave Resistance into a secret war against those Nazi Agents and organisations which would command and entreat with the occult and forces beyond the understanding of mankind. They are willing to risk their lives and their sanity against malicious Nazi villains and the unfathomable gods and monsters of the Mythos themselves, each striving for supremacy in mankind’s darkest yet finest hour! Yet even the darkest of drives to take advantage of the Mythos is riven by differing ideologies and approaches pandering to Hitler’s whims. The Black Sun consists of Nazi warrior-sorcerers supreme who use foul magic and summoned creatures from nameless dimensions to dominate the battlefields of men, whilst Nachtwölfe, the Night Wolves, utilise technology, biological enhancements, and wunderwaffen (wonder weapons) to win the war for Germany. Ultimately, both utilise and fall under the malign influence of the Mythos, the forces of which have their own unknowable designs…
Achtung! Cthulhu: Shadows of Atlantis is a world-spanning campaign and the fourth release for Achtung! Cthulhu. An adaptation to the 2d20 System of the earlier version for Call of Cthulhu, the release of a campaign so early in the line makes sense chronologically. It takes place between August, 1939, before the start of the war and May/June, 1940, the period of the Phoney War when full hostilities had yet to break out and France was not yet invaded. The campaign will take the Player Characters or Agents from Vienna to Greenland via Rome, Cairo, Nepal, India, Persia, and more, in a desperate effort to prevent an incredibly ancient artefact from falling into Nazi hands. The period is rife with tension, but the Player Characters have a greater freedom of movement than might be imagined during the rest of the war and whilst they are not in danger of running into German military forces, they will be stalked in the shadows by Nachtwölfe agents and encounter many of their proxies.
In addition to being set early in the war, Achtung! Cthulhu: Shadows of Atlantis not just the first campaign for Achtung! Cthulhu, but also the first campaign for the Game Master and her players. This shows most obviously in the series of three sets of boxed text. ‘Roving Red Line’ handles the travels of the Agents around the world, summarising the options, but also giving a nod to those interstitial moments of map movements in the Indiana Jones series of films; ‘U.L.T.R.A.’ gives the Game Master extra details about NPCs and plot information; ‘Basic Training’, a simple guide to handling the mechanics of the 2d20 System in Achtung! Cthulhu in a particular scene as well as possible Threat expenditures for the Game Master to make the Agents’ more challenging. It also shows in the path and tone of the campaign. Apart from a framing device, the individual chapters of the campaign are not connected and there is no set path from its start to its end, so there is much less of an emphasis upon the collection and analysis of clues to move from one chapter to another. The tone is muscular, very much more action-orientated and in the realm of the Pulp genre rather than the horror genre. This is not to say that the campaign is not lacking in monsters or scary situations, but Shadows of Atlantis primarily involves encountering Nachtwölfe agents and its local, sometimes indigenous proxies as well as monsters based on local legends. Thus, there is a marked lack of monsters and entities drawn from the Cthulhu Mythos. In fact, almost none of the classic creations from H.P. Lovecraft’s oeuvre appears in Shadows of Atlantis. This does not mean that there is not a Mythos presence in the campaign, since Nachtwölfe plays a major role in the campaign, whilst Black Sun plays a minor role, but it remains offscreen for much of the campaign and the backstory to the campaign is unlikely to be revealed to the Agents. This does, however, fit the period, that of the Phoney War, when there is a high degree of uncertainty as to the nature of the enemy faced by the Allies and what that enemy would do next.
The campaign opens in August 1939. The Agents are in Vienna, Austria, working for Section D before what becomes Section M is established, to contact a German agent who feels betrayed by her masters following the death of her husband, Doctor Botho Ehrlichmann, under strange circumstances. He was a noted archaeologist and she believes that he was killed to keep his research a secret. This research concerned the translation and study of the scripts carved on an ancient black stone found in Egypt by a previous German archaeological team. Now his notes are missing and his wife does not want the Nazis to have them. The paper chase will lead the Agents across Vienna with the Nazis at their heels and subsequently out of Austria, south to Rome. By this time, war will have broken between Germany and Great Britain, but no such state exists between Italy and Great Britain. Nevertheless, Italy under Mussolini is a police state and the Nazis are already in Rome, conducting an archaeological dig deep under the streets of the Eternal City. By now, the preliminary research that the Agents will have done into Ehrlichmann’s notes reveals that the stone was linked to a powerful ancient artefact that was split up into five parts and hidden in various locations around the world. One of the locations was in Rome, which is why the Germans were digging into the tunnels under the city.
This sets up the framework for Achtung! Cthulhu: Shadows of Atlantis. Researchers back in Section D in England will continue to translate and decode Doctor Ehrlichmann’s notes. This provides the clues as to the next location where another part of the device can be found and what it is called. These assignments will take the Agents to Cairo, Nepal, India, and Persia, but beyond Vienna, these can be tackled in any order. In many cases, the Agents will find that the Nazis already have their own operatives or proxies on the ground, conducting archaeological excavations, often oblivious or uncaring of the dangerous consequences they are triggering. All involve fantastically monstrous situations, whilst the Cairo and Nepal chapters stand out for their weirdness. The Nepal chapter takes the Agents to an almost Shangri-La-like location, whilst the Cairo chapter sends the Agents into a version of the Dreamlands. The latter is the more engaging of the two, the other often exposition heavy and reading more like a travelogue.
Prior to the campaign finale in Greenland—and beyond, Achtung! Cthulhu: Shadows of Atlantis includes an extra location, new to this version of the campaign. This is British Honduras. With the Agents busy in Asia and the Middle East, when Section M learns of the location of another part of the artefact, it sends another team to secure it. Unfortunately, nothing has been heard from this team, ostensibly conducting an archaeological dig, for quite some time, so Section M arranges for a second expedition to locate the missing team and recover the piece of the artefact. However, word has got out about the missing team and the authorities have already agreed to an offer of help in finding it from the German Ambassador. Though this is with the proviso that neutral observers accompany the rescue mission. The twist here is that these neutral observers will not be the Agents who have been following up on details from Doctor Ehrlichmann’s notes in Vienna, Cairo, Nepal, India, and Persia, that is, in the rest of the campaign. They will instead be entirely different and new Player Characters. This is intended to provide a change for the players, both in terms of perspective and challenge, in roleplaying other characters, but it is a jarring shift. It is also a shift in tone, since the characters and the players will be dealing with Germans and German agents, not as direct threats, but as individuals—supposedly—helping to find missing archaeologists. So, this sets up some tensions between the Player Characters and the NPCs, as well as presenting more roleplaying opportunities than in the other chapters. However, the chapter does take the campaign to an off-scene location and so out of the flow of the campaign’s story. Alternatively, it provides a change of pace and focus before the big finale.
The finale takes place in Greenland and beyond—way beyond. The finale delivers on the title of the campaign and drops the Agents into the most mythological of places. In other words, Atlantis. Since this is Atlantis, this is on its last day, the day of its collapse. As the city falls apart around them, the Agents need to rush through the panicking and fleeing citizenry to stop Nachtwölfe from bringing its plans to fruition. It is a big, exciting conclusion to the campaign and there are some pleasing payoffs to the rest of the campaign as well as little Easter eggs for Achtung! Cthulhu as a whole. The campaign finale discusses various outcomes including failure upon the part of the Agents.

In terms of support, the appendices for Achtung! Cthulhu: Shadows of Atlantis provides stats for the major NPCs and monsters in the campaign and details of the new tomes, spells, and artefacts that appear in the campaign, including the one that forms the major driver for the campaign. There are also several related scenario seeds, quite detailed, but take place after the events of the campaign, all of the handouts, and four pre-generated Agents. They consist of a German émigré Private Investigator, an American secret agent, a British engineer and explosives expert, and an Irish-Czech circus performer turned mystic! If the players are choosing to create their own, then an Agent with knowledge of archaeology will be useful, as will a mystic.
Physically, Achtung! Cthulhu: Shadows of Atlantis is a great looking book, neatly laid out and illustrated with some excellent artwork. It is also well organised, each chapter opening with a Mission Overview, followed by its three scenes, and then brought to a close with a Debriefing. Where the campaign is lacking is in illustrations of the moving parts of the campaign, all the parts that the Agents will interact with. So there are no illustrations or portraits of the NPCs (though some do appear in the artwork) and certainly no illustrations of the various objects and parts of the artefact to be found. This is a major omission in either case, as the illustrations would make the identification of both objects and NPCs faster and easier and so made the campaign more real for the players and their Agents. There is also very little in terms of text to be read out or paraphrased by the Game Master, leaving her with quite a lot of description for her to parse and present to her players. Overall, given that Achtung! Cthulhu: Shadows of Atlantis is intended as a first campaign, certainly for Achtung! Cthulhu, the campaign is not always as helpful as it could or should be.
Given the Pulpy tone of the campaign, what is surprising about Achtung! Cthulhu: Shadows of Atlantis is the lack of good NPCs. Or the lack of scenery-chewing villains who appear over and over to make the lives of the Agents difficult before making their escape vowing to have their revenge after being defeated by the Agents. Part of this is due to the lack of illustrations to help the NPCs to life in general, but it is also due to the true villains of the piece working through proxies—often over-the-hill archaeologists with questionable morals—so they do not get a chance to strut their stuff as much as the style of the campaign warrants it.

Achtung! Cthulhu: Shadows of Atlantis is a campaign of the opening moves in the secret occult war between the Allies and Nazi Germany, but very much one of Lovecraftian action horror rather than Lovecraftian investigative horror. Not without its moments of intrigue and stealth, especially in the opening chapters in Vienna and Rome, Achtung! Cthulhu: Shadows of Atlantis is action-orientated, fists-flying, pedal to the metal, cosmic horror.

Spatial Situations

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Doctor Who: Adventures in Space is a supplement for the Doctor Who: The Roleplaying Game – Second Edition published by Cubicle 7 Entertainment. Doctor Who is all about ‘Adventures in Time and Space’ and as the title suggests, Doctor Who: Adventures in Space, is all about the ‘Space’ of Adventures in Time and Space’. This is a guide to the new worlds, new life, and the ways to get there and what might found there once the travellers do, along with the rules to create all four for the Game Master (or Game Missy) creating his or her own content. That is not all though, for Doctor Who: Adventures in Space includes a traveller’s guide to some of the most interesting planets that the Doctor has visited in the course of thirteen generations, drawn from both Classic Who and NuWho, and all given the same attention to detail. Lastly, there is a complete adventure which is easy to drop into an easy into an ongoing campaign. As with other supplements for Doctor Who: The Roleplaying Game – Second Edition, this one is compatible with the first edition, Doctor Who: Adventures in Time and Space – The Roleplaying Game.

Doctor Who: Adventures in Space begins with a discussion of the whys and wherefores of the Doctor’s travels in time and space, looking at some of the types of stories that have been told in Doctor Who on various types of planets. There is the satire on pollution and traffic congestion on New earth in Gridlock, the fears of joining a Galactic Federation in The Curse of Peladon at a time when Britain was joining the European Common Market, and of bureaucracy and taxation in The Sun Makers. The Doctor is often cast as rebel such as in The Happiness Patrol against a totalitarian regime or a solver of mysteries as in The Ark in Space, the very pointedly titled, Mummy on the Orient Express, or Earth that is actually not Earth, as in The Android Invasion. What is being suggested here is that Game Master look to the real world for themes, they are contemporary or not, but another source of inspiration is fiction. Examples given include The Brain of Morbius and Mary Shelly’s Frankenstein and Paradise Towers and J.G. Ballard’s High Rise. Planets are not the only places to adventure, of course, Doctor Who: Adventures in Space providing a briefer look at space as a location before providing an overview of humanity’s ventures into space from the British Army on Mars in 1881 in Empress of Mars all way to the end of the Earth in The End of the World. Overall, the advice is solid rather than spectacular, along with a good set of pointers and episodes to take inspirations from as classics of their various types.

In terms of new mechanics, Doctor Who: Adventures in Space begins with spaceships. Spaceship design is matter of deciding a concept and focus, and then assigning Attributes and Distinctions—much like Player Character generation. Concept and focus, such as a scout, freighter, command, or ark, will influence the choice of Attributes and Distinctions. Particular ship types favour particular Attributes, like Co-ordination for a scout or racing ship, Presence for luxury liner and command ship. When operating a spaceship, any roll will a combination of the ship’s Attribute and the character’s Skill. Doctor Who: The Roleplaying Game – Second Edition is a not a roleplaying game which focuses on combat, favouring ‘Talkers’ followed by ‘Movers’ and ‘Doers’ before it gets to ‘Fighters’. This applies space combat as much as it does personal combat. Distinctions, such as Advanced Sensors or having a Fate, all reduce the spaceship’s own pool of Story Points, whilst the Game Master answers questions such as “Who built the ship?”, “Are there any other ships like it?”, and so on, as finishing touches. The ‘Spaceship Recognition Guide’ in gives the details of various vessels from Doctor Who, including the Cyberships of the Cybermen, the Saucers of the Daleks, a Judoon Enforcer, Sontaran Scout Spheres, and more, all the way up to Ark Ships and Space Stations.

Doctor Who: Adventures in Space then does the same for worlds, starting with a concept and focus, and then assigning an Attribute and Distinctions. The options for focus—meeting place, battlefield, contested ground, place of beauty, and more—provide interesting starting points, and unlike spaceships or alien races, they only have the one attribute. This is a favoured Attribute on the world itself, for example awareness where there are lots of traps or deception, or Ingenuity for a world with lots of puzzles. Planets have few Distinctions, for example, Seasonal Shift or Renowned Structure, essentially to make them stand out, but not overwhelm the setting. Finishing touches include deciding upon many suns or planets there is in the system, what the planetary environment is, and more. There is also a discussion of deadly environments, accompanied by a surprisingly lengthy section on poisons!

Where there are no examples of planets per se, there are several given for various plants and creatures, prior to creating various forms of life—monsters, constructs, aliens, and celestials. Again, this starts with the Focus before moving onto Favoured Attributes—positive and negative, Favoured Skilled, Society, and Distinctions. The Focus, like Informant, Fighter, Mystery, Villain, and Foil, is primarily an individual alien’s role in the story. Overall, the options given for creating aliens of all types are excellent and when combined with the questions asked should spur the Game Master to create some interesting species.

Instead of giving sample planets created using the given rules and guidelines, Doctor Who: Adventures in Space presents ‘A Guide to Known Worlds’. This details twenty-four worlds visited by the Doctor over the course of his adventures, some of them more than once. From Akhaten, Androzani Major and minor, and Argolis to Skaro, Telos, and Trenzalore, these are all given two-page spreads, and list its location, environment, inhabitants, and background. They also include a scenario hook or three as well, so that the Game Master can take her group back to any one of these familiar worlds. There are some great choices included here, such as The Library, Metebellis III, and Karn. There are also some classics such as the aforementioned Skaro, Telos, and Mondas, so that the Player Characters can go back to the home worlds of the Daleks and the Cybermen.

Doctor Who: Adventures in Space comes to close with ‘The Terror of Elbonia-2’. This opens with the Doctor—or Player Characters—receiving a distress signal. A nearby, newly settled colony has suffered a number of disasters and is in danger of failing. Coming to the colony’s aid sets up the traditional scenes of distrust between the Player Characters and the colonists, but once trust is established and the situation begun to be fixed, the scenario shifts to investigating the cause of the accidents and the mysteries of the world. This brings the attention of outside interests and tensions between the colonists and the outside authorities who are surprisingly militaristic for archaeologists! The scenario is nicely detailed and fairly open-ended. It should provide the Game Master and her players with several sessions’ worth of game play. Lastly, Doctor Who: Adventures in Space ends with some fifteen or so adventure hooks that the Game Master can develop into full scenarios.

Physically, Doctor Who: Adventures in Space is another decent book from Cubicle 7 Entertainment. The cover is good, though not necessarily representative of the book’s contents, suggesting its focus is particular characters or species from Doctor Who when it very much not that. That said, the book is well written, pleasing to read, and decently illustrated with images from throughout the series’ sixty-year history.

Doctor Who: Adventures in Space keeps its mechanics simple and easy to use, meaning that they better serve the story rather than getting in the way of it. The descriptions of the various alien planets and spaceships are excellent, adding to the wider setting of Doctor Who: The Roleplaying Game – Second Edition, as does the history of mankind’s progress into space. Combine this with good advice on creating planetary or spaceship set adventures, and Doctor Who: Adventures in Space is a solid guide to creating planets, spaceships, and aliens and using them in adventures.

WorldNet Classics

Reviews from R'lyeh -

Cyberspace is enticing. The idea of riding the electrons in the vastness of cyberspace between fortresses of digital data in a cityscape at night, ready make a run on a corporate presence in the virtual world, to unleash demons and code cracking programs all the while dodging or destroying I.C.E. or Intrusion Counter Electronics. Yet as enticing as it is, it has always been a solo affair, something going in virtual space whilst anyone else on the job was hustling time in meat space. It is a problem that has always beset the roleplaying game where hacking played a prominent role, such as Cyberpunk Red or Shadowrun – Sixth World. In these roleplaying games, hacking often becomes a solo game between the Game Master and the Player Character hacker or netrunner, effectively playing a rules subsystem or subgame within the roleplaying game whilst the other players and their characters waited for the hack or netrun to play out. In game time, it might only take a few seconds, but in real time, effectively, too long. In truth, roleplaying games subsequently published since the first Cyberpunk roleplaying game have all attempted to address this issue in one form or another. Typically, making the netrunner or hacker go on the mission with the rest of the Player Characters and need to be on the spot to access the local grid to perform his role. What though, if the whole were need, or could, go on the netrun and work together to perform the necessary in the cyberspace that is the WorldNet? This is the set-up for Netcrawl.

Netcrawl is a supplement for use with the Dungeon Crawl Classics Role Playing Game and the Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, both published by Goodman Games. Published by Horse Shark Games, it shifts the Player Characters, or ‘Users’, out of ‘Reality’ and into ‘Cyberspace’ as ‘Avatars’. Inside this virtual world, they face not I.C.E. or Intrusion Counter Electronics per se, but Intrusion Counter Entities. There is not so much a virtual world as a cyberdungeon. These are not the only dangers in Netcrawl. There is a chance of being detected and worse being noticed by the deities that are the A.I.s. Netcrawl is a setting suitable for one-shots as perhaps the Player Characters from another setting suddenly find themselves transported into a virtual world, hacking into a system in a Science Fiction setting like Mutant Crawl Classics as well as various also third-party settings such as Cyber Sprawl Classics, Crawljammer, Umerica, Terror of the Stratosfiend, and Star Crawl Classics. Plus, of course, it can simply be a roleplaying setting all of its own.
An Avatar in Netcrawl have six characteristics—Power, Agility, Vitality, Wits, Psyche, and Hack. The latter enables an Avatar to manipulate the code which runs the WorldNet and its modifier affects critical hits, fumbles, and the like, and points of it can be permanently expended to gain a one-time bonus. It is the equivalent of Luck and can only be regained by great acts or courage, the Ciphomorph and Grifter Classes. An Avatar has access to three categories of skills—Security, Investigative, and Code Execution—of which he will typically be trained in one. Security covers breaking into and avoiding hazards in secured systems; Investigative skills provide clues; and Code Execution is exactly that. An Avatar will also have a certain amount of RAM. This varies by Class and Level, but is spent to purchase Daemons or equipment, Mod Chips, Programs, and Scripts.

Netcrawl has five Classes. The Avartarist sees the WorldNet as being alive and can Repattern WorldNet and holographic objects to heal them, receives a bonus Holo Die to run programs, and is bonded to an A.I. The Ciphomorph is native to the WorldNet and gains bonuses when rolling for Execute Program and the use of Hack, as well as being able to share Hack with others. The Cybernaut specialises in running Programs and can Burndown Vitality, Wits, or Psyche score to enhance the Program check. The Grifter specialises as either an Intrusion Specialist, Threat Eliminator, or Data Savant. The Intrusion Specialist is good at breaking into systems and hiding his tracks; the Threat Eliminator can harm ICE; and the Data Savant focuses on finding, analysing, and synthesising data. The Grifter also uses finished Scripts, programs with a static outcome and is also good at using skills. The Wardriver focuses on speed and power, relying on Mod Chips rather than Programs or Scripts, as well as Daemons for offensive and defensive countermeasures. Mod Chips give bonuses in combat and the Wardriver has a number of slots for his Mod Chips, being to swap and activate them, as necessary. There are different models for each type of Mod Chip, each proving a better bonus than the earlier ones and as the Wardriver’s Mod Die improves the better the bonus he gains from the Mod Chip. For example, the Brute Mk. I Mod Chip grants a +1 bonus to unarmed attacks, but the Brute Mk. II Mod Chip gives a bonus to both unarmed attacks and damage. Then with a Mod Die of three, the Wardriver gains +1 to his Armour Class whilst unarmed, whereas with a Mod Die of three, he gains the Armour Class modifier and an additional attack with a fourteen-sided die. The various Mod Chips cover ranged attacks, rate of fire, initiative, and more.

Daemons are divided in several categories—Melee, Ranged, Protective, and Support. The weapons and armour are mix of the old and the new, but all with a Cyberpunk theme. Thus, the katana alongside razor claws and the monowire whip. Some of these are nicely adjusted so that nunchuku has a bonus to Fumble rolls and the ICE pick will subvert ICE! In general, the melee weapons are more fun than the ranged weapons, though going into battle with a screamin’ skull that fires a cone attack or a viral gun that shoots malware is entertaining. The Protective daemons are more descriptive, but it is possible to use a Firewall as temporary ablative armour, although some versions reduce a character’s Action die. There are also Datagrams which provide small, one-off boosts to an action, such as ‘Electric jolt’, which forces a target to lose its next action if it fails a Reflex saving throw or ‘Logon credentials’, which grants a bonus to a False Identity check.

In general, combat in Netcrawl works like combat in the Dungeon Crawl Classics Role Playing Game. However, there are some changes to account for the change in genre and setting. This includes ICE being able to enact ‘Traceback’ and track and even attack an intruding Avatar, HupLock an Avatar to prevent it from logging out or a Kick to force a disconnection. Lost Health is regained in Maintenance Cycles, whilst an Avatar reduced to zero Hit Points is de-rezzed, begins to pixelate and lose digital cohesion, but can be re-rezzed, either through certain programs or the Avartarist’s Repattern ability and restored to positive Hit Points. Some Avatars—Ciphomorph or Grifter—can channel their Hacking ability to attack opponents, shatter objects, and even launch a counterattack against program assaults. This requires the expenditure of points of Psyche, the result determined by a roll on the ‘Hacking Result Table’ or compared with the roll made for the program targeting the hacker, this being resolved as per the rules for spell duelling in the Dungeon Crawl Classics Role Playing Game.

Netcrawl has a repository of Programs. Seven are given. They include Decrypt/Decompile, which makes the source code of a program human readable; Glitch causes a robot, A.I., or computerised target to buzz quietly and do nothing for one or more rounds; and Exploit allows an Avatar to implant malice code—computer virus, worm, backdoor, and the like—and so mechanically, impose a penalty into a creature biological or artificial. This can be imposed by upon Luck, a characteristic, attack or damage rolls, saving throws, Armour Class, and more. The Programs have variable effects like those of spells in the Dungeon Crawl Classics Role Playing Game or mutant powers in the Mutant Crawl Classics Roleplaying Game.

In terms of running the game, Netcrawl does discuss the possibility of ‘The Gig’. This is the entry-level scenario, designed for Zero Level Avatars. This is the equivalent of the Funnel, one of the signature features of both the Mutant Crawl Classics Roleplaying Game and the Dungeon Crawl Classics Role Playing Game that Netcrawl 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. As entry-level software, the Avatars are essentially network & system software, developer toolkits, and hacker tools. Netcrawl also includes the short adventure, ‘The Core Queen Slumber’. It is designed for First Level Avatars, who have to infiltrate a data server and locate a one-eyed wizard who has the information that they are looking for. They will need to manipulate the systems around the data server, hopefully without alerting the Core Queen, in order access it. There is a puzzle element to the adventure, which will definitely take a playing group less than a session to complete. It works as a taster for the setting or as task to slot into a loner and fuller scenario.

Physically, Netcrawl is decently written, but the layout is often jarring because it uses different colour text on a black background in several places. This can be difficult to read. The switch to the standard layout for spells in the Dungeon Crawl Classics Role Playing Game or mutant powers in the Mutant Crawl Classics Roleplaying Game for the Programs is also jarring, although more easily red. The artwork is decent and a nice touch for ‘The Core Queen Slumber’ adventure is that the locations are drawn as per the ray-traced depiction of the virtual world a la the film Tron.

Netcrawl has a problem and that is that it a far more technical roleplaying game than either the Mutant Crawl Classics Roleplaying Game or the Dungeon Crawl Classics Role Playing Game, both of which provide the architectural underpinnings upon which it is built. There is shift conceptually, in terms of what the game is about and what the Player Characters do, and a shift—in some ways a more radical shift—in terms of terminology and language. Both shifts are some things that the Judge and her players are going to have to accommodate when running and playing Netcrawl, especially if they have been playing the other two roleplaying games and also in conceptualising the game. The lack of examples of play and the rules does hinder the shift. Otherwise, Netcrawl is in some ways a standard Cyberpunk roleplaying game except that it is all played within the virtual space and the Player Characters are all Avatars and there is no ‘meatspace’, at least not in the basic version of Netcrawl. Also, this version does not explore who wants the data that the Avatars are after and what it is used for, so there is no push or pull in terms of Avatar motivation. That said, a Judge can easily develop these or explore the genre for source ideas.

Netcrawl contains all of the basic rules needed to explore a virtual world in classic Cyberpunk style. However, it is begging for that virtual world to be developed and presented as a setting that can be explored. Both will be expanded upon the Netcrawl Roleplaying Game and its first supplement, Netcrawl Arcologies.

—oOo—
Both the Netcrawl Roleplaying Game and its first supplement, Netcrawl Arcologies are currently being funded on Backerkit.





Friday Fantasy: Winnie-the-Shit

Reviews from R'lyeh -

Kelvin Green must have had a horrible childhood and it must have taken place in a small village. After all he seems intent on twisting and destroying one toy or characters from childhood after another and inflicting the consequences upon some poor settlement of innocent villagers. It was Superman with Green Messiah and it was the Transformers with More Than Meets The Eye: A Short Adventure with Lots of Tentacles and it was… well probably best to even think about it with Fish Fuckers – Or, a Record, Compil’d in Truth, of the Sordid Activities of the People of Innsmouth, Devon. The latest addition in the author’s programme to destroy, or at least besmirch, everything about his childhood—let alone our childhoods—is Winnie-the-Pooh. Yes, the loveable, yellow-haired, honey loving bear of very little brain, which Disney has been bringing us… Or not. Because the bear in question is Winnie-the-Pooh, but not the one that everyone knows and loves from the silver screen. No, this is the Winnie-the-Pooh of creator A.A. Milne, whose U.S. copyright expired at the beginning of 2022, meaning that Disney no longer held the exclusive copyright and other creators could thus make content based on this version of the character. Very quickly, the British slasher-horror film, Winnie-the-Pooh: Blood and Honey, appeared as a result of that. It is also why we now have Winnie-the-Shit.

Winnie-the-Shit is a scenario for Lamentations of the Flame Princess Weird Fantasy Roleplay published by Lamentations of the Flame Princess. Designed for Player Characters of between Second and Fourth Levels, it is set in the roleplaying game’s default period of the seventeenth century, the early modern era. Specifically, Sussex, not far from Town Littleworth, the location for Green Messiah, before the English Civil War. So, Winnie-the-Shit could be run before or after the events of Green Messiah, and the author suggests ways in which this can be done. Other ways of getting the Player Characters involved include their wanting to contact, study with, or simply rob the Magic-User rumoured to be active in the area, find out why he has imported a live bear from Europe, their having been paid to deal with some recalcitrant commoners in the area, or simply even because they are just passing through and spot something odd. Although that said, the author really, really hates that last option.* Another is that agents of Doctor John Dee—the seventeenth century equivalent of the Men in Black (doublet and hose)—have also heard of the new weirdness going on in the area and want it investigated.

* So the last thing you do as the Game Master is use this option and you definitely do not tell him about it on social media.

The scenario is a sandbox, a wooded area known as Lancaster Great Park. A wizard recently arrived in Lancaster Great Park and began a series of experiments that resulted in the creation of human-animal hybrids he called ‘New Men’. Believing them to be better than humanity, he planned to replace mankind with the superior New Men, a plan that was wholly embraced by the newly created creatures and saw the wizard himself being imprisoned for his inferior humanity. Now, the New Men, led by the brutish Edward Bear, a creature small of brain, big of ambition, small of attention span, and lover of mead, have taken over the area, captured anyone who has not fled, and are looking to expand. Progress is slow, primarily because despite their teachings and their regularly updated laws, the New Men are not all that superior and Edward Bear is bloody lazy.

Edward Bear’s sense of lassitude runs throughout Winnie-the-Shit. Thus, whilst there are factions within the New Men of Lancaster Great Park, they are not particularly adversarial in their attitudes towards each other, but rather have their own interest. Edward Bear enjoys the trappings of power, he gets bored with the responsibility too easily; Owl is primarily interested in learning since he is the only one of the New Men able to read; and Rabbit, the very busy messenger of the New Men, is distracted by treasure—especially the treasure he has found in a Roman villa below the woods and secreted in the tunnels he has dug connected to the villa. Then there is ‘The Ass, Not Complaining, But There It Is’, who is as depressed as you think he is, such that the Player Characters are likely to have a hard time deciding whether they want to pity him or kill him. Although monstrous, none of these New Men are the true monsters of Winnie-the-Shit. That would be Allain Alexandre Moreau—or A. A. Moreau—experimental wizard and eugenicist, currently being held prisoner by Edward Bear so that he can daily cast the spell, The Ascendant Synthesis of the New Man and so create one of the New Men. He is, though, the most sociable of persons to be found in Lancaster Great Park, though that should be tempered by the fact that he is an actual sociopath. How the Player Characters decide to deal with him potentially affects the fate of the world…

Physically, Winnie-the-Shit is decently presented in red and orange because it is Winnie-the-Pooh-inspired. The artwork is suitably inspired by the drawings of E. H. Shepard. The cartography is serviceable. The scenario also includes numerous comments and sidebars by the author, some of them helpful, most of them simply informative.

The inclusion of A. A. Moreau points to A.A. Milne as being not the only author whose work inspired Winnie-the-Shit. The other, of course, being H. G. Wells and the work being The Island of Doctor Moreau, here transplanted to leafy Sussex and the equivalent of the Hundred Acre Wood. The resulting combination is disturbing and unpleasant, and certainly not as clever as Green Face or as Fish Fuckers – Or, a Record, Compil’d in Truth, of the Sordid Activities of the People of Innsmouth, Devon. At the same time, it is also absurd, the congruency of the Player Characters hunting for monsters when they are suddenly confronted by an axe-wielding bear bent on bloody violence! This where it is at its strongest and perhaps the realisation upon the part of the player and their characters that the monsters in woods are not monsters. If they go down to the woods of Winnie-the-Shit, the Player Characters are definitely in for a big surprise!

—oOo—
DISCLAIMER: The author of this review is an editor who has edited titles for Lamentations of the Flame Princess on a freelance basis. He was not involved in the production of this book and his connection to both publisher and author has no bearing on the resulting review.

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