Across from Room 10 is a similarly configured room.

Photo by Pixabay from Pexels

A secret door in the floor reveals a sack of 150 GP.  The coins are ancient and unknown to the PCs.

 Up from Room #8 and across from Room #9 is Room #10.

It appears to be of the same dimensions as the previous rooms 5 through 9. 

Virgil Finlay

Once the room is entered, a group of semi-human Phantoms appears.

The Phantoms can not attack, but a failed saving throw vs. Spells will cause anyone to run out of the room in fear. Once out of the room the fear effect dissipates.

They have 1-1 HD and 1 hp. Magic weapons are required to hit. There are 10 and their AC is 9.

The phantoms can be Turned by a cleric. A bless or dispel evil spell will also destroy them. The entire group is effected by these magics.

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.

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Name: The Souls of BriarcroftPublisher: Chaosium, Inc.
Author: Joshua Callanta

Setting: Cthulhu by Gaslight Black Country
Product: ScenarioWhat You Get: Thirty-one page, 8.89 MB Full Colour PDF
Elevator Pitch: Black seeds in the Black CountryPlot Hook: Not yet All Souls’ Day, but souls may be lost by the remembrance…
Plot Support: Staging advice, nine NPCs, ten handouts, nine maps, and two Mythos monsters.Production Values: Vibrant.
Pros# Halloween horror# Bucolic horror one-shot# Seeds of destruction threaten to undo Allhallowtide# Can be adapted to other rural times and settings# Horrifying transformation of traditional Halloween rituals# Pleasing sense of village ecumenical matters# Malusdomesticaphobia# Trypophobia# Dendrophobia
Cons# Long set-up before the Investigators can act# No village map# No NPC portraits
Conclusion# Under-powered player agency and long set-up means the horror takes a while to strike in this tale of ecumenical undoings# Parish life is threatened in this bucolically transformative horror one-shot

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

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What is it?
The Temple of Twins is a scenario for use with RuneQuest: Roleplaying in Glorantha.

It is a fifty-two page, full colour, 32.56 MB PDF.

The layout is clean and tidy. The artwork is excellent.

Where is it set?
The Temple of Twins is set in Prax. It is a sequel, but not a direct sequel, to The Gifts of Prax and Stone and Bone. 

Who do you play?Any type of Player Character can play The Temple of Twins, but Eiritha and Ernalda worshippers will be useful. Members of the Straw Weaver clan or Player Characters with connections to or experience with the Straw Weaver clan will have interesting experience playing the scenario. Player Characters with Survival and Herd skills will have an advantage.
What do you need?
The Temple of Twins requires RuneQuest: Roleplaying in Glorantha only, but the Glorantha Bestiary may also be useful.
What do you get?The Temple of Twins is a standalone scenario set in Prax. It takes place both outside and inside a temple to Eiritha. The Player Characters may have been sent there by a powerful priestess, by a Khan demanding or offering tribute, or simply because they have heard that water can be found there and it is a convenient place to stop. Whatever the reason for their visit, the guards protecting the temple ask the Player Characters for their help. They take them to an assistant priestess who explains that the Herd Mother, the head priestess of the temple, has gone missing in the temple. None of the guards can enter as it is taboo for them to enter the temple and she herself must remain outside, so she wants the Player Characters to enter the temple and find the Herd Mother. She assures them that the goddess has given her blessing for strangers to enter the temple. The Player Characters are free to conduct a little investigation around the temple, but are otherwise quickly ushered to its entrance. 
The main events of the scenario play out in the temple to Eiritha. The assistant priestess forearms them with the story of how Eiritha survived the early days of the Great Darkness. This is important because what the Player Characters will essentially be doing is re-enacting this in their quest to locate the Herd Mother. In effect, what The Temple of Twins is a HeroQuest, but one in which enforcing its myth, the Player Characters are actually carrying out a rescue mission. Thus, they are moving from one station of the HeroQuest to the next, enabling them to move deeper into the myth and towards its conclusion and so find the Herd Mother. However, the presence of the Player Characters sets up an interesting tension within the quest itself. They are not told that they will be going on a HeroQuest, but that they will face trials, though the likelihood is that the players and their characters will quickly realise that this is what they are on. Consequently, the Player Characters are free to adhere to the myth as told, or alternatively stray from it, and this can affect the final outcome. The balance here is between the female and male paths, between the paths of Eiritha and Waha, but fundamentally, both the guards and the assistant priestess are asking the Player Characters to be women when undertaking this task.
The Temple of Twins is not just a straightforward re-enactment of Eiritha’s legend, although this central section could easily be removed from the scenario and with slight adjustment run as a HeroQuest or even an initiation for an Eiritha worshipper. As written though, once the Player Characters do find the Herd Mother, they will also discover that something else is going on, something that ties back to the scenario, The Gifts of Prax. There is no easy solution to either the discovery of the Herd Mother or the problem that she reveals and the Player Characters will need to work hard to bring the latter to a conclusion that satisfies the various NPCs involved.
In addition to the scenario itself, the Game Master is provided with a detailed location to add to her Prax campaign, an enjoyable breakdown of the myth, various cultural notes, numerous detailed NPCs, and a dozen fully detailed and interesting encounters. Technically only the first is specifically designed to be run as part of the scenario, whilst the rest can very easily be used in any scenario set in Prax. The nature of the scenario means that it does focus on particular skills—notably Herd and Survival—although interaction skills will also be very useful. There are opportunities for combat, but they are not necessarily the focus of the scenario. The scenario also involves birth and sacrificial death as part of myth, which some players might find uncomfortable and so lines and veils may need to be drawn over some scenes.
Is it worth your time?Yes—The Temple of Twins is an engaging scenario which presents a highly detailed myth that the Player Characters can enact as part of another mission and so discover the bigger plot. An absolute must if a Player Character worships Eiritha. No—The Temple of Twins is too location specific and the Game Master’s campaign may not have yet reached Prax, plus a gaming group may not want to confront the bloody nature of survival, even in myth.Maybe—The Temple of Twins can be adjusted to anywhere in Prax or its central myth extracted and used for an Eiritha worshipping Player Character.

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.

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50 Fathoms: High Adventure in a Drowned World was the second Plot Point setting to be published by Great White Games/Pinnacle Entertainment and the second Plot Point setting to published. Like the first, Evernight, it was published in 2003 and introduced both a complete setting and a campaign, in this case, a Plot Point campaign. A Plot Point campaign can be seen as a development of the Sandbox style campaign. Both allow a high degree of player agency as the Player Characters are allowed to wander hither and thither, but in a Sandbox style campaign there is not necessarily an overarching plot, whereas in a Plot Point campaign, there is. This is tied to particular locations, but not in a linear fashion. The Player Characters can travel wherever they want, picking up clues and investigating plots until they have sufficient links and connections to confront the threat at the heart of the campaign. In 50 Fathoms the threat consists of a trio of Sea Hags who are downing the world of Caribdus, literally under fifty fathoms!
50 Fathoms: High Adventure in a Drowned World begins with the dark history of its doom. The Sea Hags were once three witches in Ograpog, condemned by King Amemnus to death by drowning from the rising tide. With their dying breath, they cursed Caribdus, the land itself, to drown as they were, and so the rains began and the seas began to rise, flooding the land and forcing the inhabitants of Caribdus to either take to the seas or retreat to ever smaller islands. Caribdus is home to several different species, all of whom have learned to adapt to the changed world. These include the Atani, weak, but winged humanoids who can fly; Doreen, semi-aquatic hunters and nomads, who fell prey to the vicious Kehana when they were forced to flee their drowning island; the walrus-like Grael, strong, but both slow and slow-witted; the cruel and callous shark-like Kehana; the squid-like Kraken whose home is the last of their fleet of their navy’s Great Ships and who have an affinity with elemental magic; the Red Men or Half-Ugak, massive and brutish, unworldly and unwise; and the Scurillians, mean-spirited crabs with an eye for detail. (It should be noted that Half-Ugak are the product of rapes by the Ugak, which twenty years on from the publication of 50 Fathoms, does put the species on a par with the half-Orcs of Dungeons & Dragons.) There are no native Humans on Caribdus, the nearest being Masaquani who always iconically embody their body shape, in form and personality. The choices offered here all lend themselves to a very non-traditional fantasy.

However, there are plenty of Humans on the world of Caribdus. All have come from Earth, caught in a terrible storm and led by the Maiden to the world of Caribdus, sometime between the sixteenth and the eighteenth century—that is during the Age of Sail. Privateers, pirates, explorers, officers, soldiers, marines, merchants, sailors, surgeons, whalers, and more have made their way to the Drowned World and made it their home. Called ‘Visitors’ by those native to the new world, they have been arriving for the last thirteen years, initially caught in the Flotsam Sea, a slowly twisting, sinking whirlpool fouled by a morass of green debris, jutting timbers, and the bloated corpses of things that that could have been human or they could have been something worse. The lucky ones escaped to make a new life, the rest drowned in this sodden aquatic quagmire. Some Visitors have taken up their old lives on this new world, including many pirates, priests continue to practice their faith and have spread among the natives, whilst Torquemada directs the Inquisition against those who practice the elemental magic of Caribdus. Besides the Inquisition, the British East India Company and the Spanish Guild operate trade cartels across the Thousand Islands. Others take to the new world adapting to it and adopting new lives and aims—treasure hunters and salvagers sail and dive on the new sea bed to find the riches lost to the rising waters, ship’s mages take up the study of elemental magic, able to protect and propel the ship depending upon the elements studied, whilst dreaming mastering all four elements, and Questors, perhaps the bravest, most noble of this world seek for a way to end the rain and the reign of the Sea Hags.

A Player Character in 50 Fathoms looks like a standard Savage Worlds Player Character. This is indicative of how little has changed between editions of the roleplaying game, such that were a Game Master to pick up the current rules the differences are minor. The rules and setting content can really be divided between those that would fit a historical style of game set during the Age of Sail and those that fit the fantastical world of Caribdus. Edges and Hindrances such as Arrogant, One Arm, Close Fighter, Master & Commander, Merchant, and Rope Monkey would all suit a historical, mercantile, nautical, and piratical campaign, whereas Kraken Bone Sword & Armor, Elemental Mastery, and Mark of Torquemada, all integral to the setting of 50 Fathoms. Similarly, the rules for goods, trading, and selling, weapons, ships and sailing, fighting below deck and crew upkeep, and so on, would work in a historical campaign. The weapons include cannon and firearms, noting the problems with having wet powder, gaffs and hooks, whilst also including the Jumani Chain, a fearsome Masaquani pirate weapon consisting of a chain shot with extra links to turn it into a deadly flail. Armour is typically donned only prior to battle as should the wearer end up in the water, there is a greater chance of him drowning. When worn in water, its armour bonus acts as a penalty on Swimming rolls. Boats and ships range in size from the humble dinghy and the wave rider to the galleon and the man of war—only Black Beard and the ‘Hero of the High Seas’, British Admiral Nelson Duckworth command one of the latter vessels. The rules for ship-to-ship combat are written as an expansion to the core rules and bolt on easily enough since Savage Worlds was always designed to scale up from traditional parties of Player Characters to relatively small skirmish battles which can be run as miniatures battles, keeping the players involved in both, of course. The rules barely run to a page-and-a-half in length, so lean towards being run as part of the narrative of the roleplay, rather than as full miniatures rules. There is also a list of pirate lingo.

The main addition in terms of the rules and the setting of 50 Fathoms is for ‘Elemental Magic’. Earth magic is used to help grow crops, speak with and control mammals, mend ship’s timbers, and so on, whilst fire magic is used for destructive purposes. Water magic is used to heal, make sea water drinkable, and control the many beasts of the ocean, and so Water Mages are valued aboard ship, whilst Aire Mages are the most highly valued as their magic move vessels even when becalmed, calm storms, speak with avians to find land, and toss aside enemy missiles! Mages in the setting initially only study one type of elemental magic, but can study the others. Doing so until is difficult as elemental spirits are jealous and actively impede the casting of all magic. This lasts until the Mage has mastered all four elements and becomes an Archmage, able to balance the four elements. In game this is represented by a Mage taking the Elemental Mastery Edge, once for each of the other three elements he needs to study. 50 Fathoms also includes fourteen new element-themed spells and a list of all of the element-themed spells in the rulebook at the time.
There is a short gazetteer of surviving lands and locations of Caribdus, known as ‘The Thousand Isles’, but the setting is really described in the section for the Game Master, called the ‘Captain’s Log’, which takes up two thirds of the book. This presents the world of Caribdus and the background to the campaign in more detail as well as describing the various surviving and interesting places. Many of the have a symbol attached them, which indicated that the location has a Savage Tale attached to it. For example, in the lawless pirate town of Brigandy Bay, almost anything can be bought and sold at the Black Market. Amongst the more exotic merchandise can be found a treasure map for $1000. Allegedly, the map shows the location of one of the dread pirate L’Ollonaise’s cache. It turns out the map is true and leads to the Savage Tale, ‘L’Ollonaise’ Vengeance’. Not every location has an attached Savage Tale, some have more than one, and some require a certain entry to be rolled on a table. The advice for the Game Master covers the types of the adventures that the Player Characters might embark on, including carousing, pirating, privateering, salvaging, and trading, and includes both tables of subplots and booty, but the meat of the campaign consists of some forty-one Savage Tales, ranging in length from a single paragraph to several pages in length. The ‘Encounters’ chapter at the end of the book includes all of the major NPCs and monsters that the Player Characters could run into as part of the campaign.

The campaign itself begins with ‘Maiden Voyage’. This is the opening Savage Tale and places all of the Player Characters as the crew aboard a small sloop. At the end of the Player Characters are invited by an NPC to continue into the events of the second Savage Tale. This is ‘Tressa the Red’ and it is marked with a skull and crossed weapons to indicate that the Savage Tale is part of the campaign against the Sea Hags. There is a total of eight of these and together they form the spine of the 50 Fathoms campaign. However, they cannot be played in linear fashion as there are typically Rank requirements for each one, and in order to acquire sufficient Experience Points to go up in Rank, the Player Characters will need to explore and adventure elsewhere. This gives the chance to learn more about the world and its dangers as well as the nature of the threat they face. This is where the Plot Point format comes to the fore because the Player Characters are free to travel wherever they want and, in the process, discovering more of the world and potentially triggering more Savage Tales contained in the ‘Captain’s Log’. Play then is very player driven and the players have a lot of agency in what their characters do and where they go. This does mean that the campaign is episodic in nature rather than having a great linear plot and this more open structure means that the campaign is easier to prepare and run since it plays through location by location rather than by plot.
The Savage Tales themselves will take the Player Characters back and forth across the Thousand Isles. They will find themselves conducting jail breaks, searching the Flotsam Sea for artefacts, facing down legendary pirates—including Blackbeard himself, who is, of course, immortal, diving on wrecks on the sea floor, fighting ghost ships, going whaling, acting against the opium trade, going bear hunting, and even facing down an invasion from under the sea in dingy Dunich! There is a wide array of Savage Tales in 50 Fathoms, all of them different and all of them offering a variety of excitement and adventure. Beyond that, the 50 Fathoms Companion expands upon the gazetteer in 50 Fathoms and adds another forty Savage Tales. Many of these can be run as part of the 50 Fathoms campaign or specifically after it, and include a a mini-campaign of its own. 50 Fathoms: Fire & Earth also adds another mini-campaign.
Physically, 50 Fathoms is well presented, and the illustrations are suitably practical, nautical, and scurvy! The book is done in greyscale throughout, but that would have been standard for 2003. The map of the Thousand Islands is perhaps a bit small to be used with any ease.
50 Fathoms: High Adventure in a Drowned World combines pulp sea-going action and mystery with pirates and fantasy for a great campaign. It is as still as a fun and exciting as it was in 2003 and it still stands out as one of the best of the Plot Point campaigns from Pinnacle Entertainment Group.

Traveller is one of the hobby’s oldest Science Fiction roleplaying games and still its preeminent example outside of licensed titles such as Star Wars and Star Trek. It is the roleplaying of the far future, its setting of Charted Space, primarily in and around the feudal Third Imperium is placed thousands of years into the future. Since its first publication in 1977, Traveller has been a roleplaying setting built around mercantile, exploratory, mercenary and military, and adventuring campaigns. Inspired by the Science Fiction of fifties and sixties, the rules in Traveller can also be adapted to other Science Fiction settings, though it requires varying degree of effort depending upon the nature of the setting. The Traveller: Explorer’s Edition is presented as introduction to the current edition of the roleplaying game, published by Mongoose Publishing. It is designed for scenarios and campaigns that focus on exploration beyond the frontier and provides the tools for such a campaign, including rules for creating Player Characters, handling skills and challenges, combat, spaceship operation and combat, plus equipment, animals, and the creations of worlds to explore.
The Traveller: Explorer’s Edition begins with a quick explanation of what it and roleplaying are before diving into game conventions—rolling the dice—and creating Player Characters. They are by default Human, and in the Traveller: Explorer’s Edition, have had past careers as either Scouts or Scholars. Character creation primarily involves a player putting his character through a series of four-year terms during which the character will gain and improve skills, be promoted, experience events and mishaps, make connections with his fellow characters, and at the end of it, be older, wiser, and experienced. A Player Character will typically be aged anywhere between twenty-two and forty-two by the end of the process—and if older will have suffered the effects of aging.

The skill system for Traveller is straightforward. To have his character undertake an action, a player rolls two six-sided dice and adds a Dice Modifier from the appropriate characteristic as well as a skill value. If the result is eight or more, the Player Character succeeds. The skill explanations are clear and easy to understand and include plenty of options as to how they might be used and how long a task might take. For example, for the Astrogation skill, “Plotting Course to a Target World Using a Gas Giant for a Gravity Slingshot: Difficult (10+) Astrogation check (1D x 10 minutes, EDU).” All of the skills are listed for the Traveller roleplaying game, so there are skills mentioned here that the Player Characters cannot obtain during character creation. Combat uses the same basic mechanics and covers both ranged and mêlée combat, and allows for differences in technology and weapon traits. Damage is directly deducted from a Player Character’s characteristics—Endurance, followed by Strength and Dexterity. The rules also cover environmental dangers such as gravity and radiation, whilst encounters are with various animal types.

The equipment lists just about everything a mission will need when out exploring the galaxy. This includes arms and armour, augments, communications and computers, medical supplies, sensors, survival gear, and tools. The Traveller: Explorer’s Edition also explains how spaceships are operated and space combat is conducted, although it should be noted that the rules for the latter cover use of skills that the Player Characters cannot obtain during character creation. For example, the Tactics (Naval) which helpful for initiative and then the Gunner skill for actually operating the ship’s weapons! So using the rules in the Traveller: Explorer’s Edition means that any spaceship combat the Player Characters get involved in, they are going to be at a severe disadvantage from the start. Plus, there is only the one spaceship given in the Traveller: Explorer’s Edition and that is the Type-S Scout/Courier, which for an exploration campaign makes sense. However, there are rules for space combat, but no other ship stats or details in the rulebook. So, what exactly will the Player Characters be fighting in space combat in their Type-S Scout/Courier? Other teams of explorers and scientists in their Type-S Scout/Courier?

Lastly, the Traveller: Explorer’s Edition includes rules for subsector and world creation. This cover world distribution followed by how to create a world profile, including Starport type, planet size, atmosphere, hydrographic percentage, population, government type, Law Level, and Tech Level. Much like creating a character this consists of rolling on tables and some of the ramifications of the numbers are detailed. These include Law Level and the likely types of goods banned and potential legal ramifications. In comparison to the earlier rules for character generation, the rules for world generation will provide for a wide range of possible outcomes and world types, but then these are tried and tested rules.

Physically, the Traveller: Explorer’s Edition is an attractive product. It is well written; the artwork is decent and the layout is clean and tidy. It also includes an index.

There is one fundamental question which has to be asked about the Traveller: Explorer’s Edition and that is, who is this book for? It is certainly not for the seasoned Traveller player or Game Master, both of whom will already have access to the content in this rulebook. It is for the Traveller fan and collector who will want to have it to add to the collection, but the rulebook does no more than add to that collection and again, that collection, that Traveller fan and collector will already have access to the content in this rulebook in the collection. Is it for the player or Game Master new to roleplaying? Is it for the player or Game Master new to Traveller? The answer to that question is yes, but very much not an unqualified ‘yes’. There can be no doubt that the Traveller: Explorer’s Edition presents all of the rules necessary to run a game with an exploration theme, from creating scouts and scholars as Player Characters and equipping them and detailing the core rules to animal types, operating a spaceship in and out of combat, and creating worlds and sectors. However, go beyond that and an awful lot of problems begin to appear for the Traveller: Explorer’s Edition.

The Traveller: Explorer’s Edition is not written as an introduction to roleplaying. Its description of roleplaying is cursory at best and there is no example of what roleplaying is. Similarly, its introduction to Traveller as a setting is equally as cursory. It acknowledges the existence of the Imperium—but no other polity—and explains that the Traveller: Explorer’s Edition is set beyond the borders of the Imperium. So, in a sense, the Traveller: Explorer’s Edition is set entirely away from the classic setting for Traveller, and thus arguably not actually an introduction to Traveller as a setting at all. Also similarly, the Traveller: Explorer’s Edition ignores Traveller as a roleplaying game. First in ignoring that the roleplaying game has any sense of history going back decades, and second—and more importantly, as an introduction to Traveller, the Traveller: Explorer’s Edition, by not having anything that asks, “What’s next?”. There is no page or text saying, “If you played and liked this game, here is what you should look at next.” This is a ridiculous omission for what is designed as an introductory product.

As an introduction to the rules and mechanics of Traveller, the Traveller: Explorer’s Edition does a better job. All are clearly and serviceably presented, but no more. This lack of a ‘more’ is where the Traveller: Explorer’s Edition best showcases its inadequacies and omissions. For an introductory product, there is severe lack of examples in the Traveller: Explorer’s Edition. What examples are amount to no more than a handful—an example or two of the core rules and an example world. There is no example Player Character, no example of space combat, no example subsector, no example of what a world actually looks like in Traveller, and so on. So nothing that would help the prospective player or Game Master—whether new to roleplaying or Traveller—with what these look like in the game.

Then there is the advice for the Game Master. Or rather, the complete absence of advice for the Game Master. To be clear, in a product that is intended to introduce a player to Traveller and provide him with the tools necessary to create adventures or even an entire campaign as the Game Master, there is no advice whatsoever. So no advice on running a roleplaying game. No advice on running a campaign. No advice on running Traveller. No advice on running an exploration-themed campaign, let alone a scenario. No discussion of what an exploration-themed scenario or campaign would be like. No discussion of what threats might be encountered. No advice on what mysteries might be found. No advice on what discoveries might be made. No advice on what alien life might be encountered. All of which is compounded by a lack of a scenario, a lack of a setting in terms of a world or subsector, or even a lack of scenario hooks or ideas or even encounter tables. If it were a case that the Traveller: Explorer’s Edition was designed to introduce the rules to Traveller and exactly that—no more, no less—then this would not be so much of an issue. Yet it clearly states that it is intended to do more than that, that it is intended to be used to run a campaign, a scenario, and so on. Then the rulebook completely ignores this whole aspect of its stated remit. Of course, this is a large subject to cover and the likelihood is that the Traveller: Explorer’s Edition could not have covered it all, but none at all? It is as if there are twenty or extra pages that are actually missing from the rulebook. That fact that the Traveller: Explorer’s Edition completely ignores the role of Game Master beggars belief.

Lastly, as an introduction to Traveller, the Traveller: Explorer’s Edition, there is no “What’s next?”. There is no page or text saying, “If you played and liked this game, here is what you should look at next.” This is a ridiculous omission for an introductory product.

Then there is the matter of the price. This varies wildly depending upon format and retailer. As a PDF, the Traveller: Explorer’s Edition is less than a pound or a dollar, but in print, it costs £15 ($19.99) direct from the publisher, and a wallet gouging £25.99 ($24.99) in retail. The PDF than, can at best, be seen as a bargain—an attractive rules reference if you will. In print, the exact opposite is the case. The purchaser is simply not getting enough content for the money that he paid for it.

Ultimately, the Traveller: Explorer’s Edition is an astounding showcase for a staggering lack of vision and imagination. Overpriced, over produced, overly utilitarian and technical, but underdeveloped, the Traveller: Explorer’s Edition is a nothing more than a ‘cut & paste’ job that does not so much miss the possibilities of its title and theme and subject as ignore them all together.

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

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

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What is it?
The Dragonbane Quickstart is the quick-start for Dragonbane, the reimagining of Sweden’s first fantasy roleplaying game, Drakar och Demoner, originally published in 1982. Funded via a Kickstarter campaign by Free League Publishing in 2022, Dragonbane promises to be a roleplaying game of “mirth and mayhem”.

It includes a basic explanation of the setting, rules for actions and combat, magic, the adventure, ‘Riddermound’, and five ready-to-play, Player Characters.

It is a forty-four-page, full colour, 11.45 MB PDF.

The layout is clean and tidy. The cartography is excellent, but the artwork and illustrations are superb. They are done by Johan Egerkrans, who also illustrated Vaesen and possess a grim, if comic book sensibility.

How long will it take to play?
The Dragonbane Quickstart can be played through in a single session.

Who do you play?
The five Player Characters include a Human Wizard (Fire Elementalist), an Elf Hunter, a Mallard Knight (yes, a duck knight!), a Halfling Thief, and Wolfkin Warrior. All five Player Characters are given a two-page spread. One page is devoted to the character sheet whilst the other gives some background to the Player Character, an explanation of his abilities, and an excellent illustration. One issue is with the Human Wizard, whose player will need to refer to the magic section of the rules in the Dragonbane Quickstart to find out how his spells work. It would have been far more useful for them to be at least listed along with costs for the benefit of the Wizard’s player.

How is a Player Character defined?
A Player Character has a Kin, which can be human, halfling, dwarf, elf, mallard, or wolfkin. He also has six attributes—Strength, Constitution, Agility, Intelligence, Willpower, and Charisma—which range in value between three and eighteen, as well as a Profession. Both Kin and Profession provide an ability which are unavailable to other Kin and Professions. Various factors are derived from the attributes, notably different damage bonuses for Strength-based weapons and Agility-based weapons, plus Willpower Points. Willpower Points are expended to use magic and abilities derived from both Kin and Profession. A Player Character has sixteen skills, ranging in value from one to eighteen.

How do the mechanics work?
To have his player undertake an action, a player rolls a twenty-sided die. The aim is roll equal to or lower than the skill or attribute. A roll of one is called ‘rolling a dragon’ and is treated as a critical effect. A roll of twenty is called ‘rolling a demon’ and indicates a critical failure. Banes and boons are the equivalent of advantage and disadvantage. Opposed rolls are won by the player who rolls the lowest.

If a roll is failed, a player can choose to push the roll and reroll. The result supersedes the original. In pushing a roll, the Player Character acquires a Condition, for example, ‘Dazed’ for Strength or ‘Scared’ for Willpower. The player has to explain how his character acquires the Condition and his character can acquire a total of six—one for each attribute—and the player is expected to roleplay them. Mechanically, a Condition acts as a Bane in play. A Player Character can recover from one or more Conditions by resting.

How does combat work?
Initiative is determined randomly by drawing cards numbered between one and ten, with one going first. A Player Character has two actions per round—a move and an actual action such as a melee attack, doing first aid, or casting a spell. Alternatively, a Player Character can undertake a Reaction, which takes place on an opponent’s turn in response to the opponent’s action. Typically, this is a parry or dodge, and means that the Player Character cannot take another action. If a dragon is rolled on the parry, the Player Character gets a free counterattack!

Combat takes into account weapon length, grip, length, and so on. The effects of a dragon roll, or a critical hit, can include damage being doubled and a dragon roll being needed to parry or dodge this attack, making a second attack, or piercing armour. Damage can be slashing, piercing, or bludgeoning, which determines the effectiveness of armour.

Armour has a rating, which reduces damage taken. Helmets increase Armour Rating, but work as a Bane for certain skills. If a Player Character’s Hit Points are reduced to zero, a death roll is required for him to survive, which can be pushed. Three successful rolls and the Player Character survives, whilst three failures indicate he has died. A Player Character on zero Hit Points can be rallied by another to keep fighting. The Dragonbane Quickstart also includes rules for other forms of damage such as falling and poison, plus darkness and fear. Fear is covered by a Willpower check, and there is a Fear Table for the results.

How does magic work?
A Wizard powers magic through the expenditure of Willpower Points. Typical spells cost two Willpower Points per Power Level of a spell, but just one Willpower Point for lesser spells or magic tricks. Spells are organised into schools and each school has an associated skill, which is rolled against when casting a spell. Willpower Points are lost even if the roll is failed, but rolling a dragon can double the range or damage of the spell, negate the Willpower Point cost, or allow another spell to be cast, but with a Bane. Rolling a demon simply means that the spell fails and cannot be pushed. A spell cannot be cast if the Wizard is in direct contact with either iron or steel.

Three spells and three magical tricks are given in Dragonbane Quickstart. These are all fire-related, designed for the Wizard Player Character. The magical tricks include Ignite, Heat/Chill, and Puff of Smoke, whilst the full spells are Fireball, Gust of Wind, and Pillar.

What do you play?
The scenario in the Dragonbane Quickstart is ‘Riddermound’. This describes a burial mound called the Riddermound located in the forests of the Misty Vale and reputed to be haunted by a death knight who was once in the dragon emperor’s service. The Player Characters have come to the region in search of glory and riches, only to discover that someone has got there before them and unsealed the tomb entrance. The dungeon itself is relatively short, just nine locations in total, and being a tomb, fairly linear in nature. The dungeon has a fairly creepy atmosphere and the Game Master is encouraged to play this up in her descriptions of the various rooms. There is opportunity for a little roleplaying, but the scenario is primarily one of exploration and combat. The two major threats in the scenario each have a table of random attacks which the Game Master rolls on each time.

Is there anything missing?
In terms of what you play and how you play it, no. However, the Dragonbane Quickstart could have done with a little background on the setting with its differing ages of the land being ruled by demons and dragons. It is difficult to get this setting across to the players and perhaps some kind of briefing could have been included. Plus, it does leave players and Game Master alike to wonder about the nature of the Dragonbane world.
Is it easy to prepare?
The Dragonbane Quickstart is presented in a straightforward fashion and a Game Master should have no difficulties in readying it for a session. It could be prepared and be ready to run if a gaming group needs a last minute game in a relatively short space of time.
Is it worth it?
Yes. The Dragonbane Quickstart features clearly explained rules that most roleplayers will understand having seen similar mechanics used elsewhere. It combines this with a solid set of pre-generated Player Characters—everyone is going to want to play the Mallard Knight—and decent, grim, dungeon-bash style adventure. All of which is neatly packaged with some fantastic artwork. Where it fails is in selling the setting, but otherwise it does a very good job of explaining the core rules, and the Dragonbane Quickstart is easy to grasp and easy to play and easy to bring to the table.

Where can you get it?
The Dragonbane Quickstart is available to download here.

On the glacier moon of Myung’s Misstep, perpetually enshrouded in ice and snowstorms, the Player Characters have been contracted to transport and guard a locked box from Out of Order, the site of the moon’s still not functioning space elevator to the water-farm town of Plankton Downs. The safest means of travel is aboard a low-bodied hovercraft fitted with a heat spike it can use to anchor itself when a severe storm strikes. The Player Characters are booked aboard the Nantucket Sleigh Ride, one of these vessels with an adequate record in terms of punctuality, safety, and comfort. If the Player Characters are expecting a thoroughly uninteresting journey, then they are going to be disappointed. Amidst all of the colonial cyborgs, Martian nuns, alien tourists, and macrame owls aboard, a body is found missing its head! Then another one! And the way they died, their heads are all mangled... Could a monster out of galactic myth be stalking the halls and cabins of the Nantucket Sleigh Ride?

This is the set-up for Slow Sleigh to Plankton Downs,a scenario for Troika!, the Science Fantasy roleplaying game of baroque weirdness published by the Melsonian Arts Council. It is a whodunnit in the mode of Murder on the Orient Express or ‘Robots of Death’ for classic Doctor Who, but here infused with a sense of the weird or the unknown a la the episode ‘Squeeze’ from The X-Files. With the crew ill-suited to conducting anything beyond attempting to implement security measures, it falls to the Player Characters to conduct the investigation. To that end, the Game Master is provided with a break-down of the scenario’s plot and a detailed description of the antagonist and its motives. In addition to the isometric-style cutaway deck plans of the Nantucket Sleigh Ride, the Game Master is given stats and details for the passengers and crew aboard the vessel. All twenty-five crew are named, whereas only a handful of the twenty-one Martian Orthodox nuns, twenty-four water farmers—including children, twelve ice-miners, and four glaciology graduates are treated in similar fashion. Fortunately, a set of tables inside the back cover can be used to determine names, precoccupations, and distinctive features for any of these NPCs. There is also a weather table, mostly containing weather events which will delay the journey of the Nantucket Sleigh Ride even further, giving more time for the murderer aboard to strike again…

In addition, Slow Sleigh to Plankton Downs also includes seven new Backgrounds that can be used describe some of the passengers aboard the Nantucket Sleigh Ride or future NPCs, as well as possible replacement Player Characters, should one of their number fall victim to the murderer aboard the vessel. The new Backgrounds do include the suitably weird, such as Astropithecus Truckensis, a colonial cyborg of Old Mars attended by an Interpreter Parrot and several Martian Rhesus Macaques as attendants or Macramé Owl, which defies explanation. Others are prosaic and are related directly to the setting of the scenario, such as Ice Miner, Misstep Monastic, and Scud Miller.

Physically, Slow Sleigh to Plankton Downs is presented in a swathe of vibrant, gauche colours. It needs a slight edit in places—one of the tables is mislabelled in particular, but is otherwise engagingly written. The art is excellent, having a distinctly European feel to it. The deck plans of Nantucket Sleigh Ride are also decently done and are accompanied with detailed descriptions of each deck and location.

Slow Sleigh to Plankton Downs can primarily be run in one of two ways. As a one-shot, it makes for a weird whodunnit on a strange world for Troika! set in a classic closed environment as the murderer picks its victims off one-by-one. As part of a campaign, it is a short interlude between other adventures or a reason perhaps to get the Player Characters to Plankton Downs. Whatever that reason—and the Game Master will need to devise that, just as if necessary, she will ned to decide what is contained in the locked box the Player Characters have been contracted to transport. This might be the element that ties the scenario into a campaign. Whatever way it is used, Slow Sleigh to Plankton Downs should provide a session’s worth of murder investigation, perhaps two at the very most!

Slow Sleigh to Plankton Downs is short, combining elements of both scenario and toolbox. The brevity of the writing means that there is a lot of room in the scenario for the Game Master to improvise and make the scenario her own. However, the scenario has a lot of atmosphere, a sense of rundown drudgery and people going about their daily job or just waiting for the journey to end so that their lives can continue. Overall, Slow Sleigh to Plankton Downs is a lovely little book which provides the means to stage a weird, claustrophobic whodunnit that can be played through in an evening and ideally on a cold and wintery one at that.

Announcements / January 1, 2023

If you haven’t heard, we wrote a book! And it’s out right now! If you’ve followed us over the last six plus years, you know our MO: we get deep down into the berserk array of popular and outsider media produced during the Cold War and talk about what these various artifacts—lost, forgotten, seemingly disposable—mean in the larger arenas of politics and culture, then and now. We Are the Mutants: The Battle for Hollywood from Rosemary’s Baby to Lethal Weapon takes that approach and applies it to American films released between the arrival of US combat troops in Vietnam and the end of President Ronald Reagan’s second term—probably the most discussed and beloved stretch of movies in Hollywood history. 

Read more about the book at our publisher, Repeater. 

We talk about the book in an interview with Joe Banks at The Quietus.

Check out Andrew Nette’s review at Pulp Curry.

Have a look at Johnny Restall’s review at Diabolique.

You can buy the book pretty much anywhere books are sold, including bookshop.org, Amazon, and Penguin Random House. If you dig it, please rate it and/or review it. We need all the word of mouth we can get. Thank you and keep an eye on the site—we’ll be back soon in some (altered) way, shape or form.

—The Mutants

Since 2001, Reviews from R’lyeh have contributed to a series of Christmas lists at Ogrecave.com—and at RPGaction.com before that, suggesting not necessarily the best board and roleplaying games of the preceding year, but the titles from the last twelve months that you might like to receive and give. Continuing the break with tradition—in that the following is just the one list and in that for reasons beyond its control, OgreCave.com is not running its own lists—Reviews from R’lyeh would once again like present its own list. Further, as is also traditional, Reviews from R’lyeh has not devolved into the need to cast about ‘Baleful Blandishments’ to all concerned or otherwise based upon the arbitrary organisation of days. So as Reviews from R’lyeh presents its annual (Post-)Christmas Dozen, I can only hope that the following list includes one of your favourites, or even better still, includes a game that you did not have and someone was happy to hide in gaudy paper and place under that dead tree for you. If not, then this is a list of what would have been good under that tree and what you should purchase yourself to read and play in the months to come.

—oOo—
Dice Men: The Origin Story of Games Workshop
Unbound ($40/£30)
Written by Sir Ian Livingstone with Steve Jackson, Dice Men is not a history of Games Workshop, but rather a memoir of its founding and first decade or so by the founders of the company, whose dedication and hard work would propel the both of them and the company to the forefront of the gaming hobby in the United Kingdom. The company went from producing wooden puzzles and games and importing the first copies of Dungeons & Dragons direct from E. Gary Gygax to a licensee for numerous roleplaying games, including Call of Cthulhu, MERP, and Stormbringer, and publishing its own titles such as Golden Heroes and Judge Dredd the Roleplaying Game—plus of course, Warhammer Fantasy Roleplay. The authors have delved deep into their archives and their memories to bring forth a fantastic array of photographs and treasures, and thus the book is a lavishly illustrated coffee table book that will bring back memories of a certain age.
Frontier Scum: A Game About Wanted Outlaws Making Their Mark on a Lost Frontier
Games Omnivorous ($25/£19.99)
This Old School Renaissance-style roleplaying game takes criminals to the Lost Frontier, an Acid West hallucination of the Wild West, in which the Player Characters must survive the weirdness, uncertainty, and loss, all of which infuses the landscape and its promise of renewal subverted by avarice and ambition. The Player Characters are desperate outlaws, at best searching for redemption, at worst trying to survive in what is a deadly game—especially gunfights. Fortunately, every Player Character can survive at least one gunshot by having his hat shot off! The roleplaying game includes the full rules and a setting, more enough for a mini-campaign. The Frontier Scum book itself is brilliantly done as a plain matte board book and a spine with no cover that makes the glue visible. The layout inside is thematically done as a Sears, Roebuck and Co. catalogue, which is absolutely perfect for the look and feel for Frontier Scum. This is a startlingly different version of the Wild West and Frontier Scum brilliantly brings it alive!
Regency Cthulhu: Dark Designs in Jane Austen’s England
Chaosium, Inc. ($44.99/£39.99)
Regency Cthulhu takes Call of Cthulhu into the late Georgian period and an age of manners and propriety when everyone—including the Investigators—is expected to conform to societal norms, and woe betide to anyone who does not, including those prepared to investigate the Mythos and cosmic horror. The supplement provides a good introduction to the period and a guide to playing good gentlemen and good gentlewomen, including rules for new Occupations, place in society, and Reputation, the latter actually working as the equivalent of Social Sanity! It supports this with a complete setting in the form of a rural Wiltshire town with lots of secrets and two good scenarios set in and around the town, which invite the Investigators to various social events and then hint at strange things going on in and round the town. Both setting and rules highlight the tension between a highly conservative and stratified society and the need to investigate the Mythos and the consequences of doing so, all of which serves to bring out the Regency period’s roleplaying and storytelling potential.
The Electrum Archive Issue #1
Emiel Boven & CULT OF THE LIZARD KING ($26/£20)
The Electrum Archive Issue #1 introduces us to the Science Fantasy world of Orn where the descendants of survivors transplanted by the ancient starfaring civilisation known as the Elders (who have long since disappeared) survive and explore the Elder ships which crashed to the surface and buried themselves in the surface of the planet long ago. The Player Characters—Fixers, Vagabonds, and Warlocks—search the wilderness for signs of Elder technology and Elder Ink. As Elder Drops, Elder Ink is a currency, but when vaporised and inhaled by Warlocks, it expands the mind and enables users to enter the Realm Beyond and cast spells known by the Spell Spirits. And the spells themselves are entirely random in their name and effect, so every Warlock’s spells will be different. The Electrum Archive Issue #1 comes with lots of flavour and detail, and includes six detailed regions complete with the plot hooks and events that will keep a gaming group busy for multiple sessions. The Electrum Archive Issue #01 is a great introduction to what is a weirdly inky, baroque, and alien planetary romance.
Heat: Pedal to the MetalDays of Wonder ($80/£60)From the designers of Flamme Rouge, the board game of cycling ‘Grand Tours’, Heat: Pedal to the Metal is a board game of tense car races in which drivers jockey for position, manage their car’s speed and energy, requiring careful hand management of movement cards to ensure they can keep ahead of the pack and if not that, then at least, keep up. The base game is fast and furious, with a real sense of speed as the cars career around corners and accelerate onto the straights, but expansions and advanced rules add weather, road conditions, and events, which can make even a single race more challenging, let alone a whole championship. Designed for solo play or up to six players, Heat: Pedal to the Metal can be played by the family, but the expansions will appeal to petrolheads and board gamers alike as it lets the players race like it was in the sixties!

The One Ring: Roleplaying in the World of Lord of the Rings
Free League Publishing ($49.99/£45)The new edition of The One Ring moves the highly-regarded roleplaying game set in Tolkien’s Middle-earth two decades on and the focus from Rhovanion, the region to the East of the Misty Mountains, to Eriador, the region to the West of the Misty Mountains. The One Ring Starter Set began with The Shire, but the new rulebook explores far and wide beyond its borders as well as tidying and streamlining the mechanics. The Player Characters step out into the wilderness to find adventure and perhaps curb the influence of the Shadow which threatens to sow chaos and undermine society as its forces search for signs of the One Ring. This has all been redesigned in a style and look that echoes that of the classic editions of The Lord of the Rings trilogy published by Allen & Unwin, and has a more scholarly feel as if Bilbo himself sat down to write it himself.
Everybody Wins: Four Decades of the Greatest Board Games Ever Made
Aconyte Books ($29.95/£24.95)
Board games have come a very long way in the last quarter of a century, but as authors James Wallis and Sir Ian Livingstone explored in Board Games in 100 Moves, their history goes much further back than that. Now James Wallis returns to explore the history of board games from a different angle—through the boxes, boards, cards, and meeples of the annual Spiel des Jahres winners in Everybody Wins: Four Decades of the Greatest Board Games Ever Made. This is a history of some of the best games ever published—as well as some of the near misses—that tracks the massive rise in popularity of the board game as well as the themes, the changes in design, and trends in the hobby in that time. This is a great read for anyone who loves board games and wants to know more about them and the genesis of the hobby. Beautifully illustrated with many titles from the author’s own collection and engagingly written, this is the history book that board gamers will want on their shelves.
Gran Meccanismo: Clockpunk Roleplaying in da Vinci’s Florence
Osprey Games (£25/$35)
What if by 1510, Niccolò Machiavelli, the military commissioner of the Republic of Florence, had persuaded Leonardo da Vinci to stick to engineering rather than painting? What use could the genius’ designs have been put to in the defence of the republic? Now armed with primitive computers run on water clocks, spring-powered tanks capable of withstanding any cavalry charge, their canons blasting way left and right, and gliders flit across the perfectly blue Tuscan skies delivering messages, intelligence, and reports of troop movements to the city and her military commanders. The Republic of Florence is once again a growing power, but her neighbours are jealous of the new technology and the question is, just how much information is being controlled and compute by the calculating devices. Gran Meccanismo is a Clockpunk roleplaying game of intrigue, invention, and war—no surprise since the Player Characters might find themselves crossing wits with Machiavelli, avoiding the charms of Lucretia Borgia, and entering into philosophical discussions with da Vinci himself! Gran Meccanismo: Clockpunk Roleplaying in da Vinci’s Florence combines fast-playing, easy to grasp rules with a setting that not only can genuinely be called unique, but one to which your first response should be, “That’s a cool idea!”

Bones DeepTechnical Grimoire Games ($30/£30)
Bones Deep begins with a genuinely weird premise—that after you die your skeleton hatches from your corpse and goes in search of a near life and to find itself as far away as possible, on the sea floor. Literally, ‘bones deep’. Together the skeletons explore the strange, often lightless realms of the sea floor, armed with a few skills, a little magic, and a desire to both own and create some memories of their own. Bones Deep is packed full with a briny bestiary and descriptions of some twenty locations, including ‘The Bottom of the Barrel’, a meeting place for undersea creatures specially constructed with an air half and a water half so that crabs, fish, wizards, witches, skeletons, and any other creatures can meet in safety, stories, and more. This is a fantastic undersea sand crawl which uses the simple mechanics of Troika!, but takes into account the very different physics of the bottom of the ocean. 
Judge Dredd: The Game of Crime-Fighting in Mega-City One
Rebellion Unplugged (£40)
Remember the good old days when you could arrest Judge Death for the crime of Littering? It was possible in the classic Judge Dredd board game designed by Ian Livingstone and published by Games Workshop in 1982. Rebellion Unplugged brought this fondly remembered game back in 2022 allowing players to return to the streets of Mega-City One and bring the law to its 800 million citizens. Their task is to respond to crimes and their perpetrators, making arrests, and proving themselves to be the most productive Judge—and so win the win. The original game involved lots of luck and plenty of intervention by the other players in an attempt to stop a player and his Judge from arresting high value criminals and crimes. The original game has bags of theme, but its high luck and high player intervention make it very much an Ameritrash design. The new edition—some forty years on since the release of the original—keeps the same game play, but adds extra rules which bring more detail and depth to game, including Specialist Judges such as Cadets, Special Judge Squad, PSI-Judge, and more. The result is that players can play the game like they remember or use the new rules for a new experience. Either way, Judge Dredd: The Game of Crime-Fighting in Mega-City One is a light, highly thematic, and most of all, fun board game that fans of the iconic law man of the future will thoroughly enjoy.
Slaying the Dragon: A Secret History of Dungeons & Dragons
St. Martin’s Griffin ($29.95/£22.99)
If one of the most interesting histories of roleplaying and TSR, Inc. in particular, was 2021’s The Game Wizards by Jon Peterson, then arguably its counterpart and equal was 2022’s Slaying the Dragon by Ben Riggs. The Game Wizards charted the first half of the TSR, Inc.’s history and Slaying the Dragon explored the second half from the ousting of E. Gary Gygax and takeover by Lorraine Williams through to the company’s purchase by Wizards of the Coast. It is a fascinating tale of missed opportunities and mismanagement of property after property in a failed search to find that one thing that would transcend the publisher beyond its roleplaying origins. It is not a definitive history of the company during this period, since Lorraine Williams is not interviewed, but nevertheless this is an engaging read from start to finish, providing anecdotes and insight down the path to TSR, Inc.’s sad ending.

Odd Jobs: RPG Micro Settings Volume I
MacGuffin & Co. (£34)
Technically, if you are going to cheat on a list of the best games of 2022, then you had better make sure that the  recommendation you cheat with, is worth it—and Odd Jobs: RPG Micro Settings Volume I is definitely worth it. This hidden gem is contains not one, not two, but eleven, fully supported, mini-campaigns, all systems agnostic and all lasting no more than four sessions (but can go on longer if you want). Covering a diverse range of genres, including Science Fiction, Fantasy, Horror, Christmas campiness, and all sorts of weirdness. Religions done as start-ups, complete with a OSE or ‘Oracle Spiritual Exchange’ tracking the number of worshippers, essentially The Big Short, but literally with faith. Soul retrieval from the dead across the Solar System in Ghostbusters meets Office Space. Evil Wizard’s staff and familiars filling for him after the wizard is killed. Nuns seconded in disgrace to an abbey in France which might just stand over a pit or it might stand over a hell pit in Seventies hellish horror. And what if Atlantis, after it sunk, became the Las Vegas of under the sea? Deep One mobsters anyone? Odd Jobs: RPG Micro Settings Volume I is a superb collection of ideas and set-ups, offering shorter, more focused, and engaging campaigns that can go on for as quick as you or as long as you want, and for the game system you want.

Regency Cthulhu: Dark Designs in Jane Austen’s England extends the reach of the Cthulhu Mythos and Lovecraftian investigative horror into the late Georgian period, a period synonymous with the novels of Jane Austen such as Sense and Sensibility and Pride and Prejudice. Indeed, it is these novels which this supplement for Call of Cthulhu, Seventh Edition draws from to create a highly stratified setting that is very much one of pride and propriety, reputation and rumour, and scandal and sobriety. Both gaming and roleplaying have visited the period before, but only in a limited fashion, for example, Jane Austen’s Matchmaker and its expansion, Jane Austen’s Matchmaker with Zombies and Good Society: A Jane Austen RPG, but for the most part have preferred to visit the earlier Georgian period of the eighteenth century or the later Victorian Era of the nineteenth century with roleplaying games such as Dark Streets and Cthulhu by Gaslight respectively. Regency Cthulhu provides everything a Keeper and her players needs to explore the period and mind both their manners and the Mythos, including an overview of the period, new Investigator Occupations, new rules for Reputation, a setting, and two scenarios, as well as appendices.

Regency Cthulhu: Dark Designs in Jane Austen’s England is set between 1811 and 1820, the period when King George III succumbed to mental illness and under an act of parliament, his eldest son George, Prince of Wales, was appointed prince regent to discharge royal functions. The Prince Regent would succeed his father as George IV in 1820, followed by his brother William IV in 1830. Both the Regency and Georgian eras would end with the accession of Queen Victoria in 1837 and the beginning of the Victorian era. It encompasses a period of near constant war, primarily against the French in the Napoleonic War, but also against the Americans in the War of 1812, of social unrest and poverty, the growth of the Industrial Revolution, and the burgeoning mercantile classes wanting to better themselves despite being in trade! Much of this, though, remains offscreen in Regency Cthulhu which focuses on the landed gentry, the well-to-do, and the minor nobility. The men of this class either inherit their wealth and their home from their father as the eldest son, or enter an appropriate profession, such as the military, the clergy, or the law, whilst women take up acceptable pastimes like embroidery, painting, or the piano, prepare herself for marriage, find a suitable husband—if one is not found for her and do so early, lest she become an old maid, and then devote herself to her children. It is these members of the landed gentry that players roleplay in Regency Cthulhu, going to tea, attending fancy balls, entering into chaste courtships, minding their manners—always, and perhaps, investigating the dark, unseemly presence of Cosmic Horror which hides behind the gentile façade of good society!

Regency Cthulhu opens with a good overview of the Regency period, including social interaction, the roles of both men and women in society, romance and courtship, transport, technology and weapons, as well as a detailed timeline. It also includes appropriate discussions on consent within the game, particularly on how to handle romance, as well as notes on sex and sexuality, and race and ethnicity, which both highlight how Georgian England was often more diverse than you might think, but in the case of sex and sexuality, usually behind closed doors, and if more public, then only because wealth allowed such indulgences by society at large. This enables some degree of representation in what is otherwise a highly stratified and conservative society, should the Keeper and her players want to include it.

In terms of what Investigators are available, Regency Cthulhu gives a lengthy list of Occupations, highlighting those appropriate to the setting. Artist, Author, Clergy, Doctor, and even Spy are included as suitable, whilst those such as Craftsperson, Criminal, Miner, and Shopkeeper are not, all being labouring or trade jobs. Some are also listed as ‘hobby’ careers that typically a gentleman can take up as a pursuit, but not pursue too zealously. In addition, Gentlemen, Gentlewoman, Nouveau Riche, and Servant—Housemaid and Footman are included as new Occupations. New skills are added too, whilst the technological ones of the future are forgone. Skills such as Dancing, Etiquette, and Fashion become important, whilst Mesmerism replaces the Hypnosis skill and the delightfully done Reassurance skill replaces the Psychoanalysis skill. Guidance is also given should the Keeper want to run Regency Cthulhu using Pulp Cthulhu: Two-fisted Action and Adventure Against the Mythos, as a well as an Investigator sheet for it.

The major changes in terms of the rules in Regency Cthulhu are both social in nature. The first, Occupational Bands, represent a person’s—and thus an Investigator’s—status in society. There are five Occupational Bands: Labourer/Servant, Shopkeeper/Craftsperson, Professional, Gentry/Nouveau Riche, and the Aristocracy. Which Occupational Band a person or Investigator belongs to is determined by a combination of his Credit Rating and what he does as an occupation (or Occupation). In Regency Cthulhu, the default is Gentry/Nouveau Riche and the Occupations Gentlemen, Gentlewoman, and Nouveau Riche, but the Professional Band and its Occupations of Accountant, Antiquarian, Architect, Clergy, Doctor, and so on, are also acceptable. It is possible to play members of the lower Labourer/Servant or Shopkeeper/Craftsperson Occupational Bands, but a combination of their lack of social mobility and the disdain in which they are held would preclude them from the type of events and soirees that members of the other Occupational Bands could attend. Of course, it could be possible to solely roleplay members of the Labourer/Servant or Shopkeeper/Craftsperson Occupational Bands and conduct investigations of their own, well away from the notice of the well-to-do (if they took the time to notice, that is). It is possible to move between one Occupational Band and another, but being upwardly mobile would, publicly at least, be seen not knowing one’s place and getting above one’s station.

The second, is that of Reputation. It is derived from the Investigator’s Etiquette and Credit Rating skills and measured as a percentile value. It can be lost for a mix of infractions, such as dressing inappropriately for a social event, making a false accusation against another, defaulting on one’s creditors, and serious loss in one day can lead to societal censure and both a Penalty die to social skills and invitations to events not being extended to the Investigator. A higher Reputation will grant an Investigator a Bonus die to social skills and invitations to more prestigious events. In general, it is easier to lose Reputation than it is to gain or restore it. The Reputation rules also handle gossip in the game. Reputation is, essentially, the equivalent of Social Sanity, both mechanically and thematically, and just like the Sanity mechanics it is eminently elegant and simple piece of design. It sets up not just a fantastic verisimilitude, but also a brilliant tension in the game between the need to investigate the Mythos and its dire influences and the potential cost in terms of an Investigator’s Reputation because he is being seen to act outside of societal norms. Consequently, any Investigator making enquiries as to the Mythos or the occult or the outré, had best do so away from the judgement of his peers.

In terms of setting and scenarios, Regency Cthulhu details one of the former and provides two of the latter. The fictional rural town of Tarryford, located in the county of Wiltshire between Salisbury and Bath, is described in some details as are its inhabitants. The latter in particular provide plenty of secrets, and story and roleplaying hooks that the Keeper can develop once the two scenarios, both set in and around the town, have been played through. The town feels very English and anyone from the region will recognise its feel. The first scenario is ‘The Long Corridor’ and is a short, two session affair that sees the Investigators invited to the annual Northlake Ball to be held at Northlake Hall by Lord and Lady Northlake. Set in 1813, the ball proceeds apace until the Investigators are intrigued by the activities of the Northlakes’ eldest daughter. She and her friends are investigating one of the corridors in the house—it has grown longer! Ideally, the Investigators look into this themselves and discover not only that the corridor is growing longer, but it also hides both monsters and a dark family secret. It does take some investigation to get to the truth of the matter and can leave the players and their Investigators with a moral quandary depending upon which possible solution to the mystery the Keeper has opted for. One of the appendices at the back of Regency Cthulhu details Tarryford in 1913 should the Keeper want to run a sequel to the scenario.

The second scenario, ‘The Emptiness Within’, is much longer and intended to be run as a sequel to ‘ The Long Corridor’. It takes place in 1814, as a rash of sleeping sickness besets the inhabitants of Tarryford. Initial investigation points to the town’s Four Feathers public house where the victims all regularly drank, so is there something wrong with the beer or has the landlord adulterated it? Discovery of ancient tunnels beneath the tavern lead to a temple complex, the ambitious inheritors of a nearby house with an unsavoury reputation, and a mystery thousands of years old! It is a good follow up to earlier ‘The Long Corridor’ with opportunities for both adventure and social faux pas aplenty.

Regency Cthulhu is rounded out with a quintet of appendices. The contains a set of six pre-generated Investigators, all of them interesting and accompanied by options for running them using Pulp Cthulhu: Two-fisted Action and Adventure Against the Mythos. These are designed for use with the two scenarios in the supplement. The second appendix covers ‘Equipment, Tables, And Miscellanea’, including a Regency costume glossary (sadly not illustrated); the third the town of Tarryford in 1913; and the fourth all of the handouts. The latter includes both an invitation of the Northlake Ball for ‘The Long Corridor’ scenario and ‘A Brief Introduction to the Regency Era’ intended to be given to the player who does not necessarily want a history lesson before he begins play! Lastly, the fifth appendix consists of a good bibliography.

Physically, Regency Cthulhu is as well presented as you would expect for a supplement for Call of Cthulhu, Seventh Edition. It is engagingly and enjoyably written, the cartography is decent, and the range of artwork, including one done in the style of James Gilray, is all period appropriate and in some cases, subtly disturbing. The handouts are also very well done.

One possible downside to Regency Cthulhu is that the supplement does not explore the Mythos or the occult during the late Georgian period. So, there is no discussion of what cults—Mythos or mundane—might be operating in England at the time or what their objectives are, what the various Mythos races might be doing, who the leading cultists or occultists might be, and so on. Nor does it address the wider world in anything more than passing detail. It is thus not a setting supplement in the fullest sense of the term, such as Cthulhu by Gaslight or Cthulhu Invictus. To be fair, its remit is quite narrow, in terms of both setting and of who and what you play, as is its primary source material. Further, this does leave a much wider canvas for the Keeper to create her own content, including for the Miskatonic Repository, as with Host and Hostility: Three Regency Call of Cthulhu Scenarios. In this, Regency Cthulhu does at least suggest different campaign possibilities set during the period such as one set during the Napoleonic Wars a la Sharpe or one involving the servants of the landed gentry rather than members of the landed gentry a la Upstairs/Downstairs or Downton Abbey, but a century earlier.
Another potential problem is the way in which women, members of what would be today called the LGBTQ+ community, and non-Caucasian characters, are portrayed. Not in Regency Cthulhu itself, but in the society of the period. It is difficult to get around the issue and the supplement does address the issue in a mature fashion and suggests ways in which it can be handled. Nevertheless, the setting and its society do place constraints on such characters and in some ways—especially for women—they are integral to the setting. Ultimately, whilst the Keeper and her players should make adjustments to Regency Cthulhu so as to alleviate any difficulties or discomfort they may have with the Regency period, the tension between what is proper and acceptable and scandalous or improper behaviour lies at the heart of the Regency Cthulhu setting. There is of course, nothing from stopping the Keeper and her players from taking their cue from Bridgerton for the tone and style of Regency Cthulhu that they want to play.

Of course, a less serious issue is the possible humour to be found in the setting primarily inspired by Blackadder III. There is no way around that except to agree not to involve it or get it out of the way as soon as possible. After, King Arthur Pendragon remains a superb roleplaying game despite the influence of Monty Python and the Holy Grail over the players. 

Regency Cthulhu presents a challenge in portraying men and women of good character in a highly conservative and stratified society by emphasising the roleplaying and storytelling possibilities within that challenge. It also contrasts this challenge against the drive to investigate the unknown horrors of the Mythos and suffering the consequences of doing so in such a society. By successfully doing so, through a combination of elegant mechanics, clear explanations of societal norms, and two good scenarios, Regency Cthulhu: Dark Designs in Jane Austen’s England brings alive the Regency period and its roleplaying potential to the fore, balancing tensions and expectations both.

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—

Gangbusters: 1920’s Role-Playing Adventure was published by TSR, Inc. in 1982, the same year that the publisher also released Star Frontiers. It is set during the era of Prohibition, during the twenties and early thirties, when the manufacture and sale of alcohol was banned and criminals, gangs, and the Mafia stepped up to ensure that the American public still got a ready supply of whisky and gin it wanted, so making them incredibly wealthy on both bootlegging whisky and a lot of other criminal activities. Into this age of corruption, criminality, and swaggering gangsters step local law enforcement, FBI agents, and Prohibition agents determined to stop the criminals and gangsters making money, arrest them, and send them to jail, as meanwhile the criminals and gangsters attempt to outwit the law and their rivals, and private investigators look into crimes and mysteries for their clients that law enforcement are too busy to deal with and local reporters dig deep into stories to make a big splash on the front page. In Gangbusters, the players take on the roles of Criminals, FBI Agents, Newspaper Reporters, Police Officers, Private Investigators, and Prohibition Agents, often with different objectives that oppose each other. In a sense, Gangbusters takes the players back to the explanation commonly given at the start of roleplaying games, that a roleplaying game is like playing ‘cops & robbers’ when you were a child, and actually lets the players roleplay ‘cops & robbers’.

There had, of course, been crime-related roleplaying games set during the Jazz Age of the twenties and the Desperate Decade of the thirties before, most notably the Gangster! RPG from Fantasy Games Unlimited and even TSR, Inc. had published one in the pages of Dragon magazine. This was ‘Crimefighters’, which appeared in Dragon Issue 47 (March 1981). Similar roleplaying games such as Daredevils, also from Fantasy Games Unlimited and also published in 1982, and Mercenaries, Spies and Private Eyes, published Blade, a division of Flying Buffalo, Inc., the following year, all touched upon the genre, but Gangbusters focused solely upon crime and law enforcement during the period. Lawrence Schick, rated Gangbusters as the ‘Top Mystery/Crime System’ roleplaying game in his 1991 Heroic Worlds: A History and Guide to Role-Playing Games.

Although Gangbusters is a historical game, and draws heavily on both the history of the period and on the films which depict that history, it does veer into the ahistorical terms of setting. Rather than the city of Chicago, which would have been the obvious choice, it provides Lakefront City as a setting. Located on the shores of Lake Michigan, this is a sort of generic version of the city, perfectly playable, but not necessarily authentic. Whilst the ‘Rogue’s Gallery’ in Appendix Three of the Gangbusters rulebook does provide full stats for Al Capone—along with innumerable notorious gangsters and mobsters and upstanding members of the law, Lakefront City even has its own version of ‘Scarface’ in the form of Al Tolino! To the younger player of Gangbusters, this might not be an issue, but for the more historically minded player, it might be. Rick Krebs, co-designer of Gangbusters, addressed this issue in response to James Maliszewski’s review of the roleplaying game, saying, “With eGG and BB eager to have a background in their childhood city (if you thought Gary’s detail on ancient weapons was exacting, so was his interest in unions and the Chicago ward system), TSR's marketing research leaned toward the original fictional approach.” 

Gangbusters was first published as a boxed set—the later second edition, mislabelled as a “New 3rd Edition”, was published in 1990. (More recently, Mark Hunt has revisited Gangbusters beginning with Joe’s Diner and the Old School Renaissance-style Gangbusters 1920s Roleplaying Adventure Game B/X). Inside the box is the sixty-four-page rulebook, a sixteen-page scenario, a large, thirty-five by twenty-two-inch double-sided full-colour map, a sheet of counters, and two twenty-sided percentile dice, complete with white crayon to fill in the numbers. The scenario, ‘“Mad Dog” Johnny Drake’, includes a wraparound card cover with a ward map of Lakefront City in full colour on the front and a black and white ward map marked with major transport routes on the inside. The large map depicted Downtown Lakefront City in vibrantly coloured detail on the one side and gave a series of floorplans on the other.

Gangbusters followed the format of Star Frontiers in presenting the basic rules, standard rules, and then optional expert rules. However, Star Frontiers only got as far as providing the Basic Game Rules and the Expanded Game Rules. It would take the release of the Knight Hawks boxed supplement for it to achieve anything in the way of sophistication. In Gangbusters, that sophistication is there right from the start. The basic rules are designed to handle fistfights, gunfights, car chases and car crashes, typically with the players divided between two factions—criminal and law enforcement—and playing out robberies, raids, car chases, and re-enactments of historical incidents. This is done without the need for a Judge—as the Game Master is called in Gangbusters—and played out on the map of Downtown Lakefront City, essentially like a single character wargame. In the basic game, the Player Characters are lightly defined, but the standard rules add more detail, as does campaign play. In this, the events of a campaign are primarily player driven and plotted out from one week to the next. So, the criminal Player Character might plan and attempt to carry out the robbery of a jewellery store; a local police officer would patrol the streets and deal with any crime he comes across; the FBI agent might go under surveillance to identify a particular criminal; a local reporter decides to investigate the spate of local robberies, and so on. Where these plot lines interact is where Gangbusters comes alive, the Player Characters forming alliances or working together, or in the case of crime versus the law, against each other, the Judge adjudicating this as necessary. Certainly, this style of play would lend itself to would have been a ‘Play By Post’ method of handling the planning before the action of anything played out around the table and on the map.

Yet despite this sophistication in terms of play, the crime versus the law aspect puts player against player and that can be a problem in play. Then if a criminal Player Character is sent to jail, or even depending upon the nature of his crimes, executed—the Judge is advised to let the Player Character suffer the consequences if roleplayed unwisely—what happens then? There are rules for parole and even jury tampering, but what then? The obvious response would have been to focus campaigns on one side of the law or the other, rather than splitting them, but there is no doubting the storytelling and roleplaying potential in Gangbusters’ campaign mode. Gangbusters is problematic in three other aspects of the setting. First is ethnicity. The default in the roleplaying game is ‘Assimilated’, but several others are acknowledged as options. The second is the immorality of playing a criminal and conducting acts of criminality. The third is gender, which is not addressed in terms of what roles could be taken. Of course, Gangbusters was published in 1982 and TSR, Inc. would doubtless have wanted to avoid any controversy associated with these aspects of the roleplaying game, especially at a time when the moral panic against Dungeons & Dragons was in full swing, and given the fact that it was written for players aged twelve and up, so it is understandable that these subjects are avoided. (The irony here is that Gangbusters was seen as an acceptable roleplaying game by some because you could play law enforcement characters and it was thus morally upright, whereas despite the fact that the Player Characters were typically fighting the demons and devils in it, the fact that it had demons and devils in it, made Dungeons & Dragons an immoral, unwholesome, and unchristian game.)

In the Basic Rules for Gangbusters, a Player Character has four attributes—Muscle, Agility, Observation, and Presence, plus Luck, Hit Points, Driving, and Punching. Muscle, Agility, Observation, Luck, and Driving are all percentile values, Presence ranges between one and ten, and Punching between one and five. Punching is the amount of damage inflicted when a character punches another. To create a character, a player rolls percentile dice for Muscle, Agility, and Observation, and adjusts the result to give a result of between twenty-six and one hundred; rolls a ten-sided for Presence and adjusts it to give a result between three and ten; and rolls percentile dice and halves the result for the character’s Luck. The other factors are derived from these scores.

Jack Gallagher
Muscle 55 Agility 71 Observation 64 Presence 5 Luck 36
Hit Points 18 
Driving 68 Punching 3

At this point, Jack Gallagher as a basic character is ready to play the roleplaying game’s basic rules, which cover the base mechanic—a percentile roll versus an attribute, plus modifiers, and roll under, then fistfights, including whether the combatants want to fight dirty or fight fair, gunfights, and car chases. Luck is rolled either to avoid immediate death and typically leaves the Player Character mortally wounded, or to succeed at an action not covered by the attributes. Damage consists of wounds or bruises, gunshots and weapons inflicting the former, fists the latter. If a Player Character suffers more wounds and bruises than half his Hit Points, his Muscle, Agility, Observation, and movement are penalised, and he needs to get to a doctor. The basic rules include templates for things like line of sight, rules for automatic gunfire from Thompson Submachine Guns and Browning Automatic Rifles, and so on. The rules are supported by some excellent and lengthy examples of play and prepare the player to roleplay through the scenario, ‘“Mad Dog” Johnny Drake’.

So far so basic, but Gangbusters gets into its stride with its campaign rules. These begin with adding small details to the Player Character—age, height and weight, ethnic background, rules for age and taxes (!), and character advancement. Gangbusters is not a Class and Level roleplaying game, but it is a Level roleplaying game. As a Player Character earns Experience Points, he acquires Levels, and each Level grants his player a pool of ‘X.P. to Spend’, which can be used to improve attributes, buy skills, and improve already known skills. So, for example, at Second Level, a player has 10,000 X.P., 20,000 X.P. to spend at Third Level, and so on, to spend on improvements to his character. It costs between 2,000 and 5,000 X.P. to improve attributes and 20,000 X.P. to improve Presence! New skills range in cost between 5,000 X.P. and 100,000 X.P.

Thirty-five skills are listed and detailed, ranging from Auto Theft, Fingerprinting, and Lockpicking to Jeweller, Art Forgery, and Counterfeiting. Some are exclusive to particular careers. Each skill is a percentile value whose initial value is determined in the same way as Muscle, Agility, and Observation. When a Player Character is created for the campaign, in addition to a few extra details, he also receives one skill free as long as it costs 5,000 X.P. This list includes Auto Theft, Fingerprinting, Lockpicking, Photography, Pickpocketing, Public Speaking, Shadowing, Stealth, Wiretapping.

In addition to acquiring ‘X.P. to Spend’ at each new Level, a Player Character might also acquire a new Rank. So, a Rookie Local Police Officer is likely to be promoted to a Patrolman and then a Patrolman to a Master Patrolman, but equally, could remain a Patrolman for several Levels without being promoted.

Jack Gallagher
Ethnicity: Irish American Age: 25 
Height: 5’ 9” Weight: 155 lbs.
Features: Brown hair and eyes, crooked nose
Muscle 55 Agility 71 Observation 64 Presence 5 Luck 36
Hit Points 18
Driving 68 Punching 3
Skill: Auto Theft 89%

Rather than Classes, Gangbusters has Careers. These fall into four categories—Law Enforcement, Private Investigation, Newspaper Reporting, and Crime. Law Enforcement includes the Federal Bureau of Prohibition, Federal Bureau of Investigation (F.B.I.), and local city police department; Private Investigation covers Private Investigators; Newspaper Reporting the News Reporter; and Crime either Independent  Criminals, Gang members, and members of  Organized Crime Syndicates. In each case, Gangbusters goes into quite a lot of detail explaining what a member of each Career is allowed to do and can do. For example, the Prohibition Agent can make arrests for violations of the National Prohibition Act; can obtain warrants and conduct searches for evidence of violations of the National Prohibition Act; can destroy or confiscate any property (other than buildings or real estate) used to violate the National Prohibition Act; close down for one year any building used as a speakeasy; and can carry any type of gun. There are notes too on the organisation of the Federal Bureau of Prohibition, salaries, possibility of being corrupt, possible encounters, and notes on how to roleplay a Prohibition Agent. It does this for each of the careers, for example, how a Private Investigator picks up special cases, which are rare, and how a News Reporter gets major stories and scoops. The Crime careers covers a wide array of activities, including armed robbery, burglary, murder, bootlegging, running speakeasies, the Numbers racket, loansharking, bookmaking, corruption and more, all in fantastically playable detail. This whole section is richly researched and supports both a campaign where the Player Characters are investigating crime and one where they are committing it. Further, this wealth of detail is not just important because of the story and plot potential it suggests, but mechanically, the Player Characters will be rewarded for it. They earn Experience Points by engaging in and completing activities directly related to their Careers. Thus, a member of Law Enforcement will earn Experience Points for arresting a felon, when the felon arrested is convicted, for the recovery of stolen property, and more; the News Reporter for scooping the competition, providing information that leads to the arrest and conviction of any criminal, and so on; whilst the Criminal earns it for making money! This engagingly enforces a Player Character role with a direct reward and is nicely thematic.

Further rules cover the creation of, and interaction with, NPCs. This includes persuasion, loyalty, bribery, and the like. In fact, persuasion is not what you think, but rather the use of physical violence in an attempt to change an NPC’s reaction. There are rules too for public opinion and heat, newspaper campaigns, bank loans, and even explosives, and of course, what happens when a crook or gangster is arrested. This goes all the way up to plea bargaining and trials, jury tampering, sentences, and more. The advice for the Judge is kept short, just a few pages, but does give suggestions on how to prepare and start a campaign, and then how to make the game more fun, maintain flow of play and game balance, improvise, and encourage roleplaying. It is only two pages, but given that the rulebook for Gangbusters is just sixty-four pages, that is not too bad. In addition, there also ‘Optional Expert Rules’ for gunfights, fistfights, and car chases, which add both detail and complications. They do make combat much harder, but also much, much deadlier. Finally, the appendices provide price lists and stats for both generic NPCs and members of both the criminal classes and members of law enforcement. The former includes Bonnie Barker and Clyde Barrow, John Dillinger, and Charles Luciano, whilst for the latter, all of the Untouchables, starting with Elliot Ness, are all listed, including stats. Oddly, the appendix does not include a bibliography, which would have been useful for a historical game like Gangbusters.

The scenario, ‘“Mad Dog” Johnny Drake’, is a short, solo-style adventure that is designed to be played by four players, but without a Judge. It includes an FBI Agent and three local detectives, all pre-generated Player Characters, who are attempting to find the notorious bank robber, ‘Mad Dog’ Johnny Drake. It is intended to be played out on the poster map and sees the Player Characters staking out and investigating a local speakeasy before they get their man. The scenario is quite nicely detailed and atmospheric, but the format means that there is not much of the way of player agency. Either the players agree to a particular course of action and follow it through, or the scenario does not work. Nevertheless, it showcases the rules and there are opportunities for car chases and both shootouts and brawls along the way. If perhaps there is a downside to the inclusion of ‘“Mad Dog” Johnny Drake’, it is that there is no starting point provided in Gangbusters for the type of campaign it was meant to do.

Physically, Gangbusters: 1920’s Role-Playing Adventure feels a bit rushed and cramped in places, but then it has a lot of information it has to pack into a relatively scant few pages. The illustrations are decent and it is clear that Jim Holloway is having a lot of fun drawing in a different genre. The core rules do lack a table of contents, but does have an index, and on the back of the book is a reference table for the rules. Pleasingly, there are a lot of examples of play throughout the book which help showcase how the game is played, although not quite how multiple players and characters are supposed to be handled by the Judge. Notably, it includes a foreword from Robert Howell, the grandson of Louise Howell, one of the Untouchables. This adds a touch of authenticity to the whole affair. The maps are decently done on heavy stock paper, whilst the counters are rather bland.

–oOo–

Gangbusters: 1920’s Role-Playing Adventure was reviewed by Ken Rolston in the ‘Reviews’ department of Different Worlds Issue 29 (June 1983). He identified that, “…[T]he model of the “party of adventurers” that has been established in science fiction, fantasy, and superhero gaming is inappropriate for much of the action of Gangbusters; private detectives have always been solitary figures (who would think of the Thin Man or Sam Spade in a party of FRP characters?) and if players variously choose FBI agent, newspaper reporter, and criminal roles, it is hard to see these divergent character types will be able to cooperate in a game session. At the very least, the Gangbusters campaign will have a very different style of play from a typical FRP campaign.” before concluding, “Gangbusters is nonetheless a worthwhile purchase, if only as a model of good game design.”

–oOo–

Although mechanically simple, Gangbusters shows a surprising degree of sophistication in terms of its treatment of its subject matter and its campaign set-up, with multiple Player Character types, often not playing together directly, but simply in the same district, and often at odds with each other. However, it is not a campaign set-up that the roleplaying game fully supports or follows through on in terms of advice or help. It represents a radical change from the traditional campaign style and calls for a brave Judge to attempt to run it. This would certainly have been the case in 1982 when Gangbusters was published. The likelihood though, is that a gaming group is going to concentrate on campaigns or scenarios where there is one type of character, typically law enforcement or criminal, and these would be easier to run, but alternatively the Judge could run a more montage style of campaign where different aspects of the setting and different stories are told through different Player Characters. That though, would be an ambitious prospect for any Judge and her players.

Gangbusters: 1920’s Role-Playing Adventure is a fantastic treatment of its genre and its history, packing a wealth of information and detail into what is a relatively short rulebook and making it both accessible and readable. For a roleplaying game from 1982 and TSR, Inc. Gangbusters combines simplicity with a surprising sophistication and maturity of design.

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—
SoloQuest was published in 1982. It is an anthology of solo adventures published by Chaosium, Inc. for use with RuneQuest II, a roleplaying not really known for its solo adventures, unlike, for example, Tunnels & Trolls. However, 1982 marked the beginning of a solo adventure trend with the publication of The Warlock of Firetop Mountain, the first Fighting Fantasy adventure which would introduce roleplaying and solo adventures to a wider audience outside of the hobby. SoloQuest presents three mini quests of varying complexity and storylines, but all playable in a single session or so. They are best suited to a Player Character who can fight, knows a degree of magic, and who also has a few decent non-combat skills. A Player Character with a weapon skill of 60% or more and the Healing and Protection spells, plus some Detect spells—which for RuneQuest II would have been Battle magic—will be challenged by these scenarios, but not overly challenged.

SoloQuest—now part of the SoloQuest Classic Collection—is written by Alan LaVergne, who also designed its sequels, SoloQuest 2: Scorpion Hall and SoloQuest 3: The Snow King’s Bride, and who also been a member of Steve Perrin’s Pavis campaign. It contains three scenarios, ‘DreamQuest’, ‘Phony Stones’, and ‘Maguffin Hunt’. The first of these is ‘DreamQuest’ in which the Player Character’s god sends him off on a mini-heroquest in which he will face four random opponents before an encounter with a foe that is definitely his equal. This is not an adventure for Rune Masters, but someone aspiring to that position, and success means that the Player Character is well rewarded. There is greater chance of skill improvement and raising the Player Character’s POW, and if successful on the first attempt, gaining favour with both god and cult such that an extra bonus is granted to becoming a Rune Master and learning a cult Rune spell. The fights themselves are to the death, but the Player Character is not physically harmed when he awakens since the combats take place in his dreams. For the same reason, any Chalana Arroy initiate on this ‘DreamQuest’ is not only allowed to participate, but also attack his opponents—although putting to sleep counts as a victory! The rules for adjusting to each fight are quite detailed, but essentially, the Player Character begins each fight alone, weapon in hand, and ready to assess the opponent. The set-up also suggests that the player keep a detailed record of the fights to track spell effects and the like, and avoid any confusion.

Where ‘DreamQuest’ shines is in its range of NPCs and combatants—all twenty of them! Infamously, they include Errol, a swashbuckling Manticore; Lucky the Human athlete against whom the Player Character must run an assault course; ‘Huey & Looie’, a pair of Death Ducks; and Elvis, a Centaur armed with bow and lance. All come with not just the full stats, but also their reaction to the Player Character and a detailed breakdown of their actions over the course of the melee. ‘DreamQuest’ is primarily an exercise in mechanics and working out how the combat rules of RuneQuest II work, one that can be both replayed by a Player Characters and played by different Player Characters. Yet it also serves as a showcase for the occasional weirdness of RuneQuest and Glorantha, as well as a source of NPCs for the Game Master.

The second solo adventure is ‘Phony Stones’. This begins with a lot more story. Someone is selling fake statues of Issaries in the city of Whitewall and the cult has brought in Zero, a Lhankor Mhy scholar who claims to be the world’s greatest living detective, but in a nice nod to Rex Stout’s Nero Wolf, never leaves the city. Fortunately, he has deduced that the culprit is hiding in one of ten houses on the same row in nearby Slime Haven. The Issaries cult hires the Player Character to do the physical investigation and the scenario begins with him outside the first house in the row. The Player Character can approach the houses in any order, each one mini-adventure in itself. Approaching each house follows the same procedure. First, casting spells such as Detect Life, Detect Enemies, Detect Magic, and Detect Gold, then entering the house and encountering the occupants. Most will be hostile towards the interloper, at least initially, and the Player Character will need to work hard to gain their trust. Once gained, the Player Character can begin to learn more about each of the inhabitants along the row as he moves from house to house, putting clues and facts together to determine who the culprit is.

Yet despite its story potential, ‘Phony Stones’ does not quite work as an investigative, mystery style scenario. To begin with, the Player Character has no real means of interacting with the NPCs other than fighting them or threatening them. Nor is he given any real means of actively hunting for clues. Effectively, this means that the Player Character cannot use the Spot Hidden skill or ask the inhabitants questions, so it feels more like the player is reading the plot of mystery which has been deconstructed on purpose and it is his job to put it back together. Neither does it help that the clues are not particularly easy to spot. Of course, building those elements into the scenario would have made each mini-adventure at each house all the more complex and difficult to design and present. Ultimately, it highlights the difficulty of designing a scenario of this type for solo play and just how close the designer got to creating an effective scenario. ‘Phony Stones’ is not without its merits. There is flavour and detail here if the player and his character can get to it, plus there is actually much more going on in Slime Haven than at first seems. If the Game Master was to extract this plot and then both develop and run it as a non-solo scenario for a single Player Character or a few, it would work very well.

The third and final solo adventure is ‘Maguffin Hunt’. The Player Character is hired by the Duke of Jawain to recover a ‘maguffin’, which has been stolen by some Dwarves. As the scenario opens, the Player Character stands outside their hideout, a small cave complex. Stealth is important as the player will track his character’s Noise level throughout the adventure. Amounting to just over one hundred entries, this cave complex consists of mostly tunnels plus a few rooms and barely a handful of encounters. The player will need to map his character’s exploration as it does involve a lot of going back and forth and trying one tunnel after another. The majority of the encounters are combat based and actually consist of multiple paragraphs that the player will need to work through as each fight progresses. The adventure itself is not that interesting nor is it that easy to keep track of the Player Character’s movement without drawing a map. Ultimately, what lets the scenario down is that the Player Character cannot succeed in locating the ‘maguffin’. This is because it simply is not in the cave and the dwarves do not have it. If there was some hint as to where it was or even a sequel scenario in which the Player Character could find, it would be another matter. As it is, ‘Maguffin Hunt’ is a disappointing end to the trilogy.

Physically, SoloQuest is cleanly written and presented. All of the paragraphs are organised into their own boxes which makes them self-contained and easy to find. Similarly, the various NPCs and monsters and enemies are neatly and clearly organised and presented. Bar the occasional silhouette, SoloQuest is unillustrated.

–oOo–
SoloQuest was reviewed several times in 1982 and 1983.

Forrest Johnson reviewed the anthology in The Space Gamer Number 55 (September 1982) in the ‘Capsule Reviews’ department. He described ‘DreamQuest’ as “[T]he first and best of the three.”; was critical of ‘Phony Stones’ and “[T]he frustration and futility of this scenario.”; and due to the fact that it was impossible to complete and suffered from difficult to identify paragraphs, described ‘Maguffin Hunt’ as a “[F]orgettable scenario.” He concluded with, “SOLOQUEST is not the best solo adventure booklet around, but if you play RuneQuest, there is not much competition. I hope Chaosium takes more care with future adventures.”

Writing in White Dwarf Issue 37 (January 1983) for ‘Open Box’, Clive Bailey was more positive, stating that, “Overall, I found this adventure pack easy and enjoyable to play.” He summed up the anthology, saying that, “The adventures are full of non-player characters ready for use in your own adventures and the ‘unusual’ encounter at the end of DreamQuest is an especially good idea. You can also run all three adventures as referee and player mini-scenarios (Phony Stones is even better played that way). Finally my rating combines playability and value for money.” He awarded SoloQuest a total of nine out of ten. (It should be noted, just as the review does, that at the time of the review’s publication, Games Workshop was printing RuneQuest and its various supplements, including SoloQuest, under licence from Chaosium, Inc.)

In the ‘Reviews’ department of Different Worlds Issue 27 (March 1983), Anders Swenson was also more positive. After initially explaining the nature of solo adventure books, he described ‘Phony Stones’ as being “[T]oo subtle”, whilst praising the other two scenarios. He finished with, “For a first book of solo adventures, SoloQuest is a great success. Alan Lavergne has demonstrated a good grasp of solo adventure design, and the layout and typography provide an excellent setting for the well-written text. This book is highly recommended for all RuneQuest players.”

Trevor Graver reviewed SoloQuest in the ‘Game Reviews’ section of Imagine No. 6 (September 1983). He was critical of the fact that “…RQ cults are referred to frequently, but the book carries no warning of this. If you haven’t got the Cults of Prax, it will lessen the entertainment value of this book.” However, he concluded that, “This apart, SoloQuest is a nice addition to the RuneQuest family. I look forward to the sequels.”

–oOo–
The adventures in SoloQuest can all be played using RuneQuest II, or if the player has access to it, a copy of RuneQuest Classic. The player will also need access to a copy of Cults of Prax. Armed with both, the player can happily play through SoloQuest without any issue. However, it is entirely possible to play through SoloQuest using the modern iteration of the roleplaying game, RuneQuest: Roleplaying in Glorantha. The mechanics are similar and there is a conversion guide, plus the player will not need access to a copy of Cults of Prax. If this is done, the player will need to adjust the opposition his character will face, at least for martial characters. Such characters are like to have double the skill of any opposition they face in the three scenarios, if not triple the skill in some situations, so will need to adjust accordingly. Less martial characters will be on more of an equal footing with the NPCs and monsters they will face in the trilogy of solo adventures.

In terms of the three adventures in SoloQuest, ‘DreamQuest’ is the most accessible and easiest to play, and it is replayable. ‘Phony Stones’ is the most interesting and has both the best story and plot, as well as the most potential for roleplaying. Consequently, it has the most potential for development into a proper scenario run by a Game Master. ‘Maguffin Hunt’ is the scenario most like a traditional solo adventure, but unfortunately not a very interesting one.

SoloQuest feels like an experiment in solo adventures for RuneQuest, one that almost works, but not quite. Even the ones that do not quite work have potential. After all, there is nothing to stop the Game Master from playing and then developing them, or the player just simply playing them. Plus, as part of the SoloQuest Classic Collection, both Game Master and player will more and bigger and better adventures to play than presented here.

When you die, your skeleton’s duty is ended and it hatches, leaving its fleshy, but rotting shell behind, and goes in search of both refuge and self. Some never make it. Some are buried too deep. Some are cremated. Some fall into the clutches of necromancers and some are destroyed by torch and pitchfork wielding villagers. Others though do find their consciousness and refuge, far away from the world of both Humanity and oxygen. Under the sea, on the ocean floor where they make new lives for themselves amidst the Sulphur Spires, along the Reef Roads, in the Final Shipyard, and at The Bottom of the Barrel. (It is a meeting place for undersea creatures specially constructed with an air half and a water half so that crabs, fish, wizards, witches, skeletons, and any other creatures can meet in safety.) They must deal with the mercantile Crab Cabal whose members always know what your credit rating is, Sleep Jelly (fish) that steals a Skeleton’s memories, and the oh so silent Cephalopods—so silent that they surely have to be planning something, as well as the occasional Wizard who descends into the ocean depths to continue his studies. In this strange world, the skeletons explore the ocean floor, walking, rather than swimming as they are no longer encased in the flesh which would give them buoyancy, climbing underwater mountains and ridges, absorbing the memories of those they touch to learn more about the oceanic world around them, making new memories for themselves. They are truly Bones Deep…
Bones Deep is a subaquatic setting for Troika!, the Science Fantasy roleplaying game of baroque weirdness published by the Melsonian Arts Council. Published by the Technical Grimoire Games following a successful Kickstarter campaign, it is a toolkit to run adventures on the bottom of the sea, sandbox fashion, in which Skeletons explore a whole new world, discover its secrets, get involved in the various sea factions and their feuds, and begin to make a new life for themselves. Inspired by real deep-sea life, it combines this with strange fantasy to present twenty locations, such as the Graveyard Lake or Kelp Forest; some fifty creatures, including Otters, Shark Hydras, and Witches; and some thirty-six spells, all ocean themed, like Air Bubble, Coral Shaping, and Undertow. It includes a handful of stories to help start a campaign, including finding out what the secret plans of the Cephalopods are, curing Wizards, repairing the Sunken Barge—a space barge which fell to the Earth and crashed into the sea, and is now occupied by a Necromancer! The Sunken Barge is one of the few mapped locations in Bones Deep.
Given that Bones Deep is written for use with Troika!, it should be no surprise that Skeletons in the setting are lightly defined, primarily by their Skills, Backgrounds, Abilities, and Drives. A Skeleton is first defined by his Background. There are six in Bones Deep. The Newborn is recently hatched, learns skills quickly, and is confused with flesh still clinging to his bones. The Carver turns to scrimshaw in pursuing the deepest of arcane secrets, channelling magic through the runes he carves into his bones. The Keeper misses the sensations of his former flesh and so offers his ribcage, skull, and the kelp on his arms as home for various creatures who will follow his commands. The Junker remains fascinated with technology and tools, so salvages debris from the seabed and tinker with gadgets it embeds into his bones. The Shifter has realised that just as his Skeleton is no longer limited by its former fleshy home, his bones are no longer limited to the humanoid form, so with effort shift into different forms which possess different skills. The Infested not only recalls his hatching with horror, he is also home to a squirming parasite that changes him, torments him, and wants it to consume him.
Skeleton creation itself is very simple. A player selects or rolls for a Background, notes down the details, and that is it. He can however, also roll on the ‘Skeleton Generator’ table at the back of the book to determine whether his Skelton is spooky or scary, and what Allegiances, Conditions, Past Life Memories, Clothing, Fleshy Life Skills, Drives, and Quirks he has. These are all optional, intended primarily for use with NPCs, but useful here.
WilfBackground: JunkerBase Skill: 4Stamina: 19Luck: 9Drive: To Salvage
SKILLS5 Taking Things Apart2 Inventing2 Spell – Torpedo Throw2 Spell – Protection from Rain1 Gadget Fighting
POSSESSIONSTinkering Tools, Flowlantern, 3 Flares, Old Coat Rack, Umbrella, Gadget – Bounding Shield, Gadget – Charged Wrench
Mechanically, Bones Deep makes only a few changes to Troika! Drives replace the standard means of healing Stamina and recovering Luck, whilst Stamina becomes even more important than usual. It represents a Skeleton’s energy, motivation, and will to keep going. Whilst a Skeleton no longer has the needs of his former fleshy coating—oxygen and food, love and intimacy—he can still suffer damage. Bones can be broken, crushed, burned, and fall under the influence of necromancy. Spells also cost Stamina to cast. The major ability that every Skeleton possesses is being able to absorb memories. This is a Luck test and if successful, the Skeleton can learn about an object’s past, a creature’s emotions, and the recent changes to an environment. He can also communicate with fish using the same method. However, if a Skeleton fails to absorb a memory, he suffers a Memory Mishap, which can lead to the loss of memories, spells, or other weirdness.
The bulk of Bones Deep can really be divided into two long sections. Almost a third is devoted to a lengthy bestiary of fish, cephalopods, cetaceans, crustations, and jelly fish, plus witches and wizards. Whereas over two thirds of Bones Deep is dedicated to various locations, which run from the Jungle and Silt Rivers and along the Shore Line to Sulphur Spires and Sargasso. Each location includes a description, an associated table of events or things which can be found there, plus nearby locations. For example, at the Graveyard Lake, the table is ‘2d6 Things Dredged from the Lake’. One location is mapped out in detail, the Sunken Barge, but there is a table of encounters too, plus several stories that the Game Master can develop into fuller scenarios.
Physically, Bones Deep is cleanly and tidily presented. All of the undersea creatures are very nicely presented and the writing never less than engaging or interesting. In the particular, the book is full of small details bring the setting to life. For example, the Air Bubble spell creates a bubble of air that can choke a water breather or drag someone to the surface because of its buoyancy or the Teleport spell that underwater that leaves behind a vacuum that causes a shockwave when the caster teleports and compression when he arrives at the desired location that forces him away from the intended destination. Both spells take into account the physics of the subsea environment. All of the creatures have a ‘Mien’ table which determines their behaviour, which for example would be practicing Swordplay, Practising Pacifism (Badly), Swordfighting (Angry), Swordfighting (Mating), Swordfighting (You), and “You talkin’ to me!?” for the Blade Eel, a creature created by the Necromancer “as a living pun”. These various tables lend themselves to a game designed to be run with a minimum of preparation—that is, once a game is got going.
Bones Deep does not have a starting point. There is no beginning scenario, and for all of its atmosphere and flavour and detail, instead of there being a way into the game and setting, the Player Characters just are. Which for a setting as odd as this is a potential problem for some players and their Game Masters. There are plenty of adventure hooks within its pages, but not an easy starting point. Similarly, there is no break between sections in the book. Flip over from one page and you find yourself in a completely different section of the book, going the section on spells to the one on creatures. It is disconcerting.
Bones Deep explores a brilliantly alien world brought to life. It could easily be adapted to the rules system of the Game Master’s choice, but as a Troika! supplement, it is pleasingly self-contained, but could work as a region for Player Characters to explore as part of a Troika! campaign. On its own, Bones Deep is a weird and wonderful and wet standalone campaign setting.

Lots of little things going on here during this time between 2022 and 2023.  I am not sure what day it is or even the time, but hey, here we are.

Hastur, Ifrit Princess, and 3 Goblins in a trenchcoat.
Painted by my wife.

Year of the Monster

I have made some oblique references to this, but 2023 is going to be my Year of the Monster. Going back to my earliest roots of this hobby and talking more about monsters and monster-related topics. So more monsters for NIGHT SHIFT, more Monstrous Maleficarum, and a few other projects I have in my back pocket.

#Dungeon23

So this is one I just found out about. The idea is neat. Detail a new room every day for a 12-level mega-dungeon in 2023. I have never really been a fan of mega-dungeons, BUT as a writing exercise, I can see how it would be fun.  I would want to have a theme and do it for Old-School Essentials. Though I have not made up my mind just yet.

New Year, New Character

I have done this for the past two years, and it was fun.  I had an idea for this year but have run out of time to do it right. Have to think some more about this one.

OGL 1.1 and One D&D

Well. Once again, people are freaking out. Here is exactly everything we know for sure about the new OGL coming out when the next version of D&D is released.

• It will be called "The Open Gaming License 1.1."

And that is it. 

Everything else is, at best, speculation and, at worst, Chicken Little style running around fear mongering.  My personal plans are not changing. I will still publish under the OGL 1.0a, and still use the 3.5, Pathfinder, and 5e SRDs as I see fit.

Other Items

More "This Old Dragon" and other regular features. I am undecided on The April A to Z Challenge yet, and I am pretty sure I will not do another 100 Days of Halloween. But who knows.

Hope everyone is having a great Holiday Season.

Hope everyone had a wonderful Christmas who celebrates. 

Around here, we give (and receive) a lot of geeky gifts, thought I might show off a few.

I got the new Dungeons & Dragons Trivial Pursuit game.  No idea what is in it, but we might be playing it this New Year's Eve.  OR maybe I'll just read the questions and quiz myself.

Victorian? Horror monsters? England and Ireland? Yes, please!  Got this from my oldest.  My youngest printed off a bunch of demons and devils for me on their 3D printers too.  Expect a review for this one!

My oldest ended up with multiple copies of the new Dragonlance book. So I got this one! ;)

AND after 40 years, I finally got a copy of Steve Jackson Games' Undead!

I am planning a larger review of it, and it's counterpart from TSR, Vampyre.

Both mini-games deal with the hunt for Dracula. So looking forward to playing them both and seeing how they compare. 

I should also point out one other gift.

My wife got me a new photo rig for taking all these pictures.

Still experimenting with lighting, angles, and settings. You will see all the results here.  All the pictures above were taken using this. I even have a spare phone I could use as a permanent mount if I desire. 

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

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. Another popular choice of system for fanzines, is Goodman Games’ Dungeon Crawl Classics Roleplaying Game, such as Crawl! and Crawling Under a Broken Moon. Some of these fanzines provide fantasy support for the Dungeon Crawl Classics Roleplaying Game, but others explore other genres for use with Dungeon Crawl Classics Roleplaying Game.

Black Powder, Black Magic: A ’Zine of Six-Guns and Sorcery is one such fanzine. Published by Stormlord Publishing, it takes Dungeon Crawl Classics to the Wild West and the Weird West of the 1880s. The discovery of ‘Demon ore’ in the Dakota Territory in the 187os leads to the establishment of the town of Brimstone in South Dakota, conflict with Lakota and other Plains Indians, and a rush to work the mines soon built under the town and the Dark Territories surrounding it, to strike it rich! With it came graft and corruption and Demon Stone and Hellstones. Since Black Powder, Black Magic: A ’Zine of Six-Guns and Sorcery is published as a series of fanzines, its secrets and details are revealed issue by issue rather than in one go. Black Powder, Black Magic: A ’Zine of Six-Guns and Sorcery Volume 1 introduced the setting and got a Judge and her players playing with a ‘Character Funnel’. A feature of the Dungeon Crawl Classics Roleplaying Game, this is a scenario specifically designed for Zero Level Player Characters 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. What those Classes are, are not revealed in Black Powder, Black Magic: A ’Zine of Six-Guns and Sorcery Volume 1, but they are in Black Powder, Black Magic: A ’Zine of Six-Guns and Sorcery Volume 2.

Black Powder, Black Magic: A ’Zine of Six-Guns and Sorcery Volume 2 was published in 2015 and picked up where Black Powder, Black Magic: A ’Zine of Six-Guns and Sorcery Volume 1 left off. It includes new rules and new Classes, changes to existing Classes, magical items, a patron, and more for running a Black Powder, Black Magic campaign under the Dungeon Crawl Classics Roleplaying Game. These begin with ‘Armour and Armour Class’ which removes armour from the setting, which would be useless against firearms anyway, in favour a Defensive Bonus based on Class and Level. It represents a Player Character’s combat awareness, use of cover, and simple luck when comes to being in a gun fight. It is a simple solution, more of a fudge to account for the fact that Black Powder, Black Magic is not a realistic Wild West setting, but a pulp horror Wild West setting. Alongside the new rules are a couple of pieces of magical armour, or rather magical items which provide a bonus to Armour Class. A nice touch is that they have their downsides too. For example, the Moonstone Spectacles both protect the wearer from the effects of the midday sun and grant a +2 bonus to Armour Class because they distract opponents, but they also occasionally distract the wearer and force him to attack someone other than the intended target. This combination of a benefit and a penalty makes these magical items more interesting and gives them more than the singular effect within the game.

‘Core DCC Classes in Black Powder, Black Magic’ gives the alterations necessary to make them fit the setting. For the Cleric, there is a choice of Clerical Traditions to chose from, including Protestant Preacher, Catholic Priest, Native Shaman, Chinese Mystic, and Cultist of the Old Gods . These primarily provide choice of weapons and the unholy creatures that each Clerical Tradition acts against, and they are bare bones. Enough to get started, but the Judge may want to add detail to really flesh them out. The Thief distributes points to its Thief Skills according to player choice rather than Alignment as per the Dungeon Crawl Classics Roleplaying Game, allowing an element of specialisation. The Warrior is the least changed, being the only Class to be proficient in Buffalo Guns, Cannons, and Gatling Guns. The Wizard is the most changed since magic was but absent from the world until the discovery of Demon Ore. A Wizard in Black Powder, Black Magic requires a Patron, much like the Cleric does, and needs to know or use a True Name when casting magic. This is often the caster’s own name, which becomes woven into the effects of a spell when cast. There are some fun suggestions such as having it appear in the flames of a Fireball spell! The single spell given is True Name Ritual, which enables the caster to learn the True Name of a demon, devil, summoned creature, or even another Wizard. However, the use of the True Name in Black Powder, Black Magic is really only a narrative hook, being required to cast magic, rather then providing any mechanical benefit, that is until the True Name Ritual spell comes into play provides that benefit.

The two new Classes in Black Powder, Black Magic: A ’Zine of Six-Guns and Sorcery Volume 2 are the Gambler and the Prospector. Gamblers vary according to Alignment, Lawful being rare and mostly working licensed establishments, whilst Chaotic Gamblers are common, willing to take big risks for big rewards. The Class has Luck like the Halfling in the Dungeon Crawl Classics Roleplaying Game, several Thief skills, and in a nice nod to The Maverick always go first in round when drawing a concealed weapon. The Prospector is typically Lawful in Alignment, methodical and practical when extracting the difficult mineral, whilst Chaotic Prospectors often align with dark powers. The Class is used to working in cramped conditions, so can fight close in with the Warrior’s Mighty Deeds of Arms with mêlée weapons, have bonuses to skills related to mining, and with ‘A Nose for the Infernal’, can sense the presence of Demon Ore. The Prospector’s Luck modifier also applies to mining and hunting for Demon Ore, and for mêlée weapons used in mining. The Class can also spend it to negate the negative effects of Demon Ore. Both Classes are fairly lightly done, but come with detail and mechanics changes enough to make them interesting to play as well as fit the setting.

‘John Henry: Steel Drivin’ Patron’ is the only Patron given in the second issue of Black Powder, Black Magic: A ’Zine of Six-Guns and Sorcery. This article does reveal a minor secret to the setting, but primarily provides the folk legend and hero as a Patron. There is a pleasing physicality to the details of the Patron, such as channelling past exertions into the Steel Drivin’ Man Patron spell to gain bonuses to physical abilities for the caster and his allies and the Shake the Mountain Patron spell which with a stamp of the caster’s foot, knocks people and causes buildings to collapse. Unfortunately, having only the one Patron severely restricts player choice when it comes to selecting the Patron for their character, exacerbated by the fact that the Wizard Class also needs a Patron.

Rounding out Black Powder, Black Magic: A ’Zine of Six-Guns and Sorcery Volume 2 is the first entry in the ‘Varmits!’ series. This describes creatures suitable for the setting, and for this issue, it is the Mine Wight, an undead humanoid creature when a miner dies in the presence of Demon Ore or is killed by a Mine Wight. Quiet and cunning, the deadly claws of the Mine Wight leech Luck from a victim when struck. The description is accompanied by a table of folklore to roll on—the article actually begins with how to handle folklore and research in the game—and a basic plot hook. Overall, the monster is decent, the folklore rules useful, and the hook something for the Judge to develop. 

Physically, Black Powder, Black Magic: A ’Zine of Six-Guns and Sorcery Volume 2 is done on pale cream paper with a fittingly buff cover. It is lightly illustrated in black and white, but the illustrations are good and the issue is also well written and overall, everything feels right about this issue. Except of course, it leaves the reader, just as it will the Judge and her players, very much wanting more. There are four issues of Black Powder, Black Magic: A ’Zine of Six-Guns and Sorcery in total as well as the Brimstone Census and Fire Insurance Atlas of 1880, so there is yet more of this setting to explore. However, the actual issues of the fanzine are limited, so are difficult to find and purchase.

Black Powder, Black Magic: A ’Zine of Six-Guns and Sorcery Volume 2 is a solid continuation from Black Powder, Black Magic: A ’Zine of Six-Guns and Sorcery Volume 1. The changes to the Classes make sense to fit the setting and the new Classes good too, but where the issue comes up short is in including only the single Patron. More would have been very useful. Black Powder, Black Magic: A ’Zine of Six-Guns and Sorcery Volume 2 picks up where the first issue left off and delivers more of the same entertaining flavour and feel of a ‘Weird West’ suitable for the Dungeon Crawl Classics Roleplaying Game, but both Judge and players will be left wanting more.

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.
Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. Then there is also Old School Essentials.
Carcass Crawler Issue #1 is ‘The Official Fanzine Old-School Essentials zine’. Published by Necrotic Gnome, Old School Essentials is the retroclone based upon the version of Basic Dungeons & Dragons designed by Tom Moldvay and published in 1981, and Carcass Crawler provides content and options for it. It is pleasingly ‘old school’ in its sensibilities, being a medley of things in its content rather than just the one thing or the one roleplaying game as has been the trend in gaming fanzines. Carcass Crawler Issue #1 is primarily about character Classes and new options in terms of the Player Character. So it includes six new Classes and three new Races, and rules for black powder weapons, Fighter combat talents, d6 thief skills, and Adjudicating thief skills.
The six new Classes follow standard Old School Essentials rules in that it allows for ‘Race as Class’, whilst the three new Races support the separation of Race and Class as per Old School Essentials: Advanced Fantasy. The six entries of ‘Character Classes’ begin with the Acolyte, a priestly or religious Class which switches out the spell memorisation of the Cleric with percentile skills as per the Thief Class. Although the Acolyte can cast Cleric scrolls from scrolls, it cannot cast spells otherwise. Instead, the Class has Bless, Detect Magic, Know Alignment, Purify, Rally, and Turn Undead as percentile skills. In addition, the Acolyte can Lay on Hands to heal. Designed as a thought experiment, Class is surprisingly untraditional, less divine even, and moves towards a modern presentation of the Cleric. The Gargantua is the opposite of the traditional demi-humans in Dungeons & Dragons—big humanoids rather than small. The Class is a Fighter type, capable of wielding two-handed weapons in one hand, opening doors with ease, and throwing rocks. The opposite of the Gargantua is the Goblin, which with its Defensive Bonus, Infravision, Stealth, and Wolf Affinity is very traditional adaptation of the demi-human race.
The Hephaestan are another Race of demi-humans, tall, thin with angular features and pointed ears. They are not another version of Elves. Instead, they have mental powers including ESP, Gestalt, Healing Trance, Mind Control, Mind Shield, and Telepathy, which can be used twice per day per Level and require activation. However, they also have the Neuropressure ability, a non-lethal combat technique involving the gripping of the back of the neck, which indicates the inspiration for the Class—the Vulcans of Star Trek. The Kineticist are monk-like, but employ mind over matter to manipulate and control kinetic force. The given mental powers include Control density, Crush Life, Kinetic Fist, Kinetic Shield, Throw Weapon, and more, and the Kineticist is obviously inspired by the Jedi of Star Wars. The Mage is the arcane equivalent of the Acolyte. The Class can only cast spells from scrolls, and again, Detect Magic, Open/Close, Rally/Fear, Read Magic, and Suggestion are skills rather abilities. The Mage’s staff can radiate light once per day and can be used to harm monsters that are otherwise invulnerable to mundane attacks. In comparison to the Magic-User, the Mage is more of a physical interpretation of the arcane Class and inspired by Gandalf of The Lord of the Rings, is suitable to low magic settings.
The Acolyte, Kineticist, and Mage are designed by Gavin Norman, the designer and publisher of Old School Essentials, whilst the Gargantua, Goblin, and Hephaestan are designed by James Maliszewski of the Grognardia blog. Of the six Classes, the Gargantua and Goblin will fit easily into a standard fantasy campaign, whereas the others will change the feel of a campaign. The Acolyte and Mage feel suited to a low-powered campaign, notably because they do introduce the possibility of failure in their abilities, rather than the automatic success of casting a spell like the Cleric and the Magic-User. Whereas the Hephaestan and the Kineticist would push the campaign in a Science Fiction direction. Gavin Norman and James Maliszewski collaborate in ‘Character Races’ which present the Gargantua, Goblin, and Hephaestan as standard Races and give the available Classes and maximum Levels for each for use with Old School Essentials: Advanced Fantasy.
‘Black Powder Weapons’ by Gavin Norman and Donn Stroud provides rules for early firearms such as matchlocks, wheellocks, and flintlocks in Old School Essentials. Provides the stats for these weapons, suggests which Classes can use them—non-martial Classes can only use pistols, semi-martial Classes all firearms bar the heavy musket, and martial Class can use all firearms—and describes the specialists, the Gunsmith and the Assistant Gunsmith, who can make and maintain. It also includes the rules for their use with optional rule of their being able to penetrate armour.
Lastly, Gavin Norman’s ‘Optional Rules’ adds three new ways of handling aspects of the Fighter and Thief Classes. For the Fighter Class there is a ‘Combat Talents’ such as Cleave, Defender, and Slayer, which allow the Class to specialise a little further, whilst d6 Thief Skills which scale the Class’ skill down from a percentile range to that of a six-sided die. The Thief gains Expertise Points which the player can assign to the skills, raising each skill from a one-in-six chance on a point-for-point basis. This version offers flexibility and simplicity, as well as a degree of specialisation in how the player assigns the points. If there is an issue here, it is the missed opportunity for to take this means of handling Thief skills and applying it to the earlier Acolyte and Mage Classes to give them the same flexibility. Lastly, Adjudicating Thief Skills is for the Referee, offering suggestions how they can be handled and ruled in play. So for the Climb Sheer Surfaces skill, it suggests that non-sheer surfaces do not require a skill roll, whilst non-Thief Classes will require specialist equipment for sheer surfaces and a Dexterity check under difficult situations. It does this for each of the Thief Skills and expands and explains their use in game to make the Referee’s job easier.
Physically, Carcass Crawler Issue #1 is well written and well presented. The artwork is excellent. 
Carcass Crawler Issue #1 is a pleasing collection of options and ideas, some new, some old, but here presented for Old School Essentials. They present means for the Referee to adjust her campaign and to make it what she wants—at least mechanically in terms of the Player Characters. Some of the content is too different for a standard fantasy campaign and would warrant more of a Science Fantasy setting than is traditional. Carcass Crawler Issue #1 is an enjoyably old school-style fanzine for Old School Essentials.

I am starting off my 2023 Year of the Monster this week with something I have been planning for a while. 

So please allow me to announce the publication of Monstrous Maleficarum, Issue #0 Christmas Special.

From Issue #0:

My goal is to publish a regular series of monsters for the 5th Edition of the World’s First Fantasy Role Playing Game via the Open Gaming License. 

These will be monsters from my regular series “Monstrous Mondays” from my blog The Other Side.  I will be taking what I have learned from my own monster creation over the years and from my reviews on what works well.

This Issue #0 will feature some Christmas-themed monsters and replaces the fifth edition version of Krampus I published years ago. 

Each issue will cover a theme. Sometimes a closely linked set of monsters, or other times other similarities.  The themes will largely be around the myths and legends of our world and other creatures I have found or made in my readings. In particular, the readings around the myths and legends of witchcraft. Thus the “Maleficarum” part of the title.

I will also endeavor to keep each monster to one or two pages so they can easily be printed out for use in your games. Also, my personal goal is to lay out these pages so you could, in theory, print them out and use a 3-hole punch to add them to a three-ring binder like editions of old.  Collect what you want, and ignore the others.

Presently I have nearly 500 monsters ready to go. How many of them will see publication and get into your hands is unknown, but it will be an adventure for us all. 

There will be framing text for each issue brought to you via various NPCs I have used over my 40+ years of gaming experience. Some, like my witch Larina and my undead-hunting cleric Johan will be familiar to readers of my blog. Others, like Jassic here, are maybe only known by name. 

I hope you enjoy this adventure with me. 

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.
Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. Not every fanzine is dedicated to particular roleplaying games.
The What on the Border Where? is quite possibly the oddest fanzine possible and either the weirdest or most basic treatment of B2, Keep on the Borderlands possible—if not both. What it is not, as written, is a gameable product. None of the constituent parts of the module appear in the fanzine. Not the Keep on the Borderlands itself, not the Caves of Chaos, not the river or the wilderness. None of it. So if it is not a new treatment of the classic Basic Dungeons & Dragons module that so many of entered into the hobby by playing, then what exactly is The What on the Border Where?
The What on the Border Where? is really two things. First, it is an exercise in memory, and second, via that exercise in memory, it is a way of revisiting old modules and making them playable again. The result is a tool for the Dungeon Master that she can use to create new adventures out of old ones, a way of combining the solo play of journaling with the preparation the Dungeon Master has to do in order to ready a scenario. The example used throughout The What on the Borde Where? is based on B2, Keep on the Borderlands, since it is already familiar to so may Dungeon Masters. Hence the name. However, the process can be applied to other adventures too.
So what does The What on the Border Where? involve? It starts by suggesting two exercises. First, going to the kitchen, opening the cutlery draw and memorising what is in there. Then closing the draw and listing everything in the draw. The second is get both the prospective Dungeon Master of The What on the Border Where? and a friend to think about a film, quickly write its plot on a sheet of paper, and then compare notes. When both done, compare the list with the cutlery draw in the first case and the friend’s description of the plot and yours with each other’s, and also with the actual plot. There will be differences, and the comparison is not correct them, but to highlight them, to see what that is new and how that is interesting. Once those exercises are complete, The What on the Border Where? asks the Dungeon Master to do exactly the same with B2, Keep on the Borderlands. Look at the map of the wilderness in the module which surrounds the Keep and the Caves of Chaos. Do that for two minutes. Then put B2, Keep on the Borderlands aside and draw the map from memory. Then do it again for the Keep. And again, for the Caves of Chaos.
Once done compare the maps and begin to populate them. If the same, use the original entries for the locations. If different, then create something new, whether using wandering monster tables and taking something from other sources. However, The What on the Border Where? does have monster tables of its own, this its only actual gaming content. Then play. Options included in The What on the Border Where? suggest ways in which the Dungeon Master can turn the process from a solo process into a collaborative one with tasks being swapped round from the Wilderness to the Keep to the Caves of Chaos, and so on, so that none of the players are fully aware of what the created adventure contains.
Physically, The What on the Border Where? is cleanly and tidily presented. Much of it consists of plain map pages with notes on how to draw the maps from memory and the appropriate map symbols as you would expect for a Basic Dungeons & Dragons module from TSR, Inc.
The The What on the Border Where? never explores the obvious issue between the playthrough of the original module and the playthrough of what is a simulacrum of the original module. Just how far does the new memory-based simulacrum of the module have to deviate from the original before it is no longer what was played? How many exercises does the Dungeon Master have to conduct on new simulacra after the first, before what she is left with is not really based on her memories at all and almost exactly unlike B2, Keep on the Borderlands?
The What on the Border Where? is about nostalgia, a big feature of the Old School Renaissance. Essentially, it is not replaying the adventure that you first played forty years ago, but about recreating your memories of it and what you think you played, and playing that. It is also playing with and upon our memories of doing so, but in a way that leads to the creation of something potentially different, whether because our memories are wrong or we have forgotten things about the module. Ultimately, it is telling the Dungeon Master that the details of what was played do not matter, but the memories of what was played do. Yet, is that achieving anything, except delving into memories of what was and reliving them once created? Is that a viable alternative to reobtaining the module, in this case, B2, Keep on the Borderlands, and simply replaying again? Will that not trigger those same memories with a playthrough decades since the last or first, along with new ones based upon the playthrough again of what was originally played, rather than what might just be an idea of it?
The What on the Border Where? is at best an interesting idea in memory recreation that is never really explored and is reductive is what it creates. At worst, it is a complete waste of time, one that adds nothing to B2, Keep on the Borderlands as a module and does not guarantee that Dungeon Master will have anything worth running at the end of it. Ultimately, it might just be simpler to order a copy of B2, Keep on the Borderlands and play that and so create new memories.