RPGs

Future War is Hell

Reviews from R'lyeh -

Rogue Trooper is a standalone supplement for Judge Dredd and the Worlds of 2000 AD. Published by En Publishing it is based on the 2000 AD comic strip of the same name, set in the far future. Two great empires, the Greater Nordland Republic and the Southern Cross Confederacy constantly clash, in particular on Nu Earth. In the past fifty years, this has become a world war, the planet divided between the two factions, known as the Norts and the Southers, and turned in a nuclear, biological, and chemical ravaged wasteland. In order to break the stalemate, Milli-Com of the Southern Cross Confederacy develops elite clones known as G.I.s or Genetic Infantry. When they are deployed in the year ’86, most of the G.I.s are killed in the Quartz Zone Massacre. There would be only one survivor, Rogue, who accompanied by his former squad mates, Bagman, Gunnar, and Helm, downloaded onto biochips and slotted into his gear, would ultimately unmask the traitor responsible for the massacre. With obvious parallels between with the American Civil War, but also drawing on other modern conflicts, especially the First World War the Vietnam War, Rogue Trooper has been running as an ongoing if irregular series since 1981 and been developed into a board game from Games Workshop and a computer game. Like many series that appear in the pages of 2000 AD, there is an element of satire to many of the stories, though not as strong as that found within the Judge Dredd stories, and the humour in the stories veers towards the gallows. Rogue Trooper from En Publishing is the first roleplaying treatment of it and enables the players to take the roles of Genetic Infantry or ordinary conscripts and get shipped down to Nu Earth as part of the war effort. The blue-skinned G.I.s are designed to survive in the toxic landscape of Nu Earth. Anyone else will need to wear a chemsuit…

After an overview and introduction, the Rogue Trooper supplement begins with ‘Prior Service and Future Careers’, a guide to character types for the setting. Several options are given, most obviously G.I. Clones and Humans. The first of the others includes the Strigoi, the result of genetic manipulation by the Nordland Republic to create enhanced super soldiers, the strain for which escaped into broader Nort society, enhancing some, whilst others tend towards cruelty and murderous madness. Most carry a minor cosmetic mutation, but those suffering from severe mutations are hunted down by the Office of Genetic Purity. ‘Doll’ G.I. Clones are different to G.I. Clones and have to contend with Milli-Com’s sexist attitude and have only recently been assigned military missions. Blue Mooners are an early Souther genetic experiment, a hardy, short species typically used as cheap labour in mining operations, whilst some have joined travelling bands of entertainers. Semi-Mooners are the offspring of both Humans and Blue Mooners, whilst Sims are the result of another Nort genetic programme, this time creating a simian species typically used as trackers or expendable troops. Robots are also an option and are fully detailed in the Judge Dredd and the Worlds of 2000 AD core rules, though The Robot Wars may also be of use. Each of these species comes with their own Exploits and skill choices as per the core rules.

Character creation in Judge Dredd and the Worlds of 2000 AD involves a player selecting five Careers for his characters and Rogue Trooper includes new Origins, such as Military Brat, Orphan, Survivor, and War Droid, and a variety of Careers to choose from after the Origins. Most of these Careers are Military in nature, so Boot Camp, Fifth-Columnist, Officer, Snow Trooper, Space Marine, and more, but there is the odd Civilian and Criminal Careers too, like the Bounty Hunter and the Marauder. The Explosives Expert, Guerrilla, Medic, Priest, Prisoner, and others fall under the ‘varied’ category and can be civilian or military Careers. There are suggestions too on the Careers from Judge Dredd and the Worlds of 2000 AD which can be used in Rogue Trooper. G.I. characters have their own Careers, starting with G.I. Cadet or G.I. ‘Doll’ Cadet and going on Milli-Com Advanced G.I. Programs such as Basic Mechanics, Combat Range, G.I. Officer Training, Martial Arts, and Trauma First Aid. Notably, the included ‘Rest And Recuperation’ Career enforces the sexist attitude of Milli-Com towards ‘Doll’ G.I. Clones and a gaming group may want to discuss whether it wants to include this aspect of their setting in their campaign.

As a military Science Fiction setting, Rogue Trooper comes with a lengthy equipment chapter which details the huge range of equipment seen in the comic series and fielded by the Norts and the Southers, and the others. The most notable of these are the G.I. rifle, G.I. helmet, and G.I. backpack used by Rogue himself as well as the Biochips—and related technologies—whose personality matrices can be used to store the personality of a biochipped individual. Little all of the equipment, weapons, and vehicles are illustrated, and whilst this is disappointing, obviously, both Game Master and players will need to refer to the comics to get an idea of what they look like—and that is no bad thing in itself. Plus, illustrating all of that would have greatly increased the size of the book.

Where Rogue Trooper begins to feel a little underwritten is in its description of Nu Earth. From the Ab-Yss crevasses caused by subterranean atomic-biological weaponry, Acid Pools, and Chem-Jungles to Pueblo Pyramids, Prisoner of War Camps, and Refugee Camps, the supplement has to cover a lot, but does not always do so in detail. The degree of detail here depends upon the level of detail in the source material, and some entries are accompanied by suggestions as to how the Game Master might use them in play, sometimes more than the actual description. The same applies to specific locations, whether on Nu Earth or beyond, thus Cinnabar ‘The City of Dreams’ is described in some detail, whilst Fort Ant, a Southern outpost which suffered an outbreak of a plague is accorded a single sentence (but actually accompanied by a whole paragraph on how to use it in play). In general, the specific locations are given more attention then the generic, and the same applies to the locations beyond Nu Earth too. There is a timeline here as well, and it is surprising just how short this. Again, that is down to the source material rather than the authors.

In terms of campaign, Rogue Trooper understandably focuses on military campaigns and possible variants. Primarily this is as G.I. Clones, and this has several advantages. One is that such Player Characters can fight unencumbered by armour—unlike other forces on Nu Earth, and the capacity to download a Player Character’s to a Biochip provides a form of immortality. A scenario or even a small campaign could be run with several Player Characters actually surviving as Biochips, though this does have it limitations in terms of character agency. This is supported by Exploits such as ‘All Chip Together’ which enables a G.I. and his Chipped buddies to share LUC pools, and particular features of the backpack, helmet, and rifle which come into play when a Biochip with a personality is slotted into it. Also discussed is how to involve Nort characters in a campaign as Player Characters and the possibility of taking a campaign of Nu Earth or even into other dimensions, such as a crossover with Strontium Dog. All of this is supported by tables for generating military missions, encounters on and off Nu Earth, and rules for asphyxiation—the atmosphere of Nu Earth being toxic—and Nu Earth madness, the long-term reaction to serving on the hellhole that is Nu Earth.

Rogue Trooper comes with not only a short campaign, but two scenarios and a set of mission dossiers. ‘All Hell On The Dix-I Front’ is a detailed campaign outline based on the Rogue Trooper story of the same name and can be played with or without Rogue’s involvement. Over the course of its twelve episodes, the Player Characters attempt to prevent and then survive a surprise attack on the city of Nu-Atlanta by Nort forces. As with other supplements for Judge Dredd and the Worlds of 2000 AD, such as The Robot Wars or Lunar-1, each episode includes a synopsis of the actual story for the comic and then several suggestions as to how to run for the Player Characters. The mission dossiers several detailed outlines, as well as a full scenario, ‘The Perils of Bucky Aurora’ suitable for beginning Player Characters, who are tasked with rescuing an actor who is currently starring in a new and reimagined series based on a beloved space opera video series and who has been kidnapped. Options are included for running it with different groups and set-ups, such as bounty hunters, and the Game Master should definitely let the Player Characters wonder if the actor, Rab Custer, has actually been kidnapped or this is just a new episode being staged for his benefit… The two mission dossiers set off Nu Earth are also fairly detailed. ‘Spy In The Citadel’ is actually based on The 86ers comic strip, which though set in the same universe, is not about Rogue, and involves the Norts rather than the Southers. The mission involves extracting a spy from a Souther space station and requires fewer combat skills than other missions. The set-up, especially using Nort Player Characters, makes this scenario more difficult to use than others, but the Game Master could adapt it if need be. The other scenario, ‘Hunted By Nu-Oktober’, similarly involves fewer combat and more technical skills as the Player Characters are the crew or passengers aboard a Souther scoutship which is targeted by a Nort warship. This has the tension and claustrophobia of a submarine film and should make for a welcome change of pace. Lastly, Rogue Trooper comes with write-ups of the main characters from the comic series. Not just Rogue and his Biochip buddies, but also Brass and Bland, the battlefield scavengers, Major Magnam, the G.I. Officer who hunts Rogue, the Traitor General, and more, whilst an appendix has a glossary of the various terms from the comic.
Physically, Rogue Trooper is decently presented. It uses a lot of artwork from the comic and is in general, an easy book to read. In places it feels underwritten, but that is due to the lack of source material more than anything else. It does feel as if more of the background should have been upfront rather than necessarily leaping straight in with characters and careers, and so on, just to give a little more context for the reader.

Rogue Trooper provides everything that a gaming group would want to play a campaign set in the milieu of the 2000 AD comic strip. From Careers and Exploits to Allies and Enemies via details of both equipment and Nu Earth plus scenarios, Rogue Trooper is a comprehensive guide to taking your players and their characters to war on Nu Earth.

Solitaire: Apothecaria

Reviews from R'lyeh -

The two previous titles from Blackwell Games have been full of bombast and action and flame and more, all set underground. Both DELVE: A Solo Map Drawing Game and RISE: A Game of Spreading Evil are map drawing games played solo, the counter parts of each other, in which the player draws and builds, populates and defends, and explores and exploits a network of caves, tunnels, and chambers. In DELVE, this is as a Dwarven Overseer digging down to expand their hold, whilst in RISE, it is as Dungeon Keeper, digging and expanding upwards to reach the surface. Apothecaria: Solo Potion Making RPG is different. First, Apothecaria is a Journaling roleplaying game in which the player will write-up and develop the events as they occur during their play through of the game. Second, there is no map involved in Apothecaria. Third, Apothecaria is definitely set above ground (mostly). Fourth, the theme to Apothecaria is pleasingly rustic.

In the Apothecaria: Solo Potion Making RPG, the player takes the role of a Witch who has recently inherited the position in the village of High Rannoc, after the previous incumbent disappeared. The primary role of the witch in High Rannoc is to find cures for ailments and lift curses suffered by its often sickly, accident prone, or simply unlucky villagers. One might have a Magnetic Thumb due to an abundance of iron in their blood, be Frogified and have wartylips from kissing too many frogs in case one of them turned into a prince or princess, suffering from Druidic Madness after spending too much time in stone circles and become obsessed with them and want to build them everywhere to everyone’s annoyance, or be infected with Phodothropy and turn into a monstrous hamster at the full moon, constantly walls and fences. No matter the affliction, there is a cure and the Witch can find it and concoct it with some effort. Fortunately, the Old Witch left some rather rambling notes, which the new Witch is really going to need as they are new to the profession.

Apothecaria: Solo Potion Making RPG is thus a game about helping people. It is also a game about becoming a better Witch—mostly by have better equipment, facilities, and helpers; a game about exploration for many of the Reagents needed to mix up a potion, a poultice, or a salve, have to be found; and ultimately, a game about a mystery—what happened to the Old Witch and where are they now? All a player will need to become the new Witch of High Rannoc is a journal, a good pen, some scrap paper, and an ordinary deck of playing cards. Over the course of four seasons, each thirteen weeks in length, the Witch will be visited again and again by the inhabitants of High Rannoc (hopefully not the same inhabitant, because that would be, well, weird…) afflicted by a random ailment or injury, and the Witch will use Reagents to create a cure. Depending upon the season, the Reagents will come from particular regions and the Witch will need to forage for them. Travelling between regions and foraging takes time, which can be a problem as some ailments have a time limit. If the Witch cannot successfully forage for Reagents and mix up a potion in time, there will be consequences—and even if an ailment has no time limit and thus no consequences, if a Witch takes too long, their reputation suffers. The Witch should also check to see if the Reagents add Sweetness or Poison to the potion. They counter each other, but Sweetness increases the price a Witch can charge, whilst Poison reduces it.

To determine an Ailment, the Witch draws a card. Each Ailment has a name, Tags which refer to the type of Reagent required to make up the potion cure and a number of Stars which must be matched by the Reagents found in order to counter the symptoms. If the Ailment has a Timer value, representing the number of turns the Witch has to find the Reagents and mix up the potion, it will also have a consequence. The Witch then identifies Reagents which match the Tags for the Ailment and where they will be found. Once known, the Witch travels to the region and begins to forage. Each forging attempt reduces the Timer for Ailment by one and the Consequence will be triggered if it is reduced to zero. To forage, the Witch draws another card. This has a dual use. First, it refers to an event which happens before the forage attempt is made, and second, the value of the card is compared to the value of the Reagent being foraged for. If it is, the Witch is successful and can either look for the second Reagent (or another Reagent if the Ailment has no timer), travel to another region to forage, or return home to High Rannoc to mix up the potion.
For example, Herschel the Hound Master comes to the Witch with bad breath—very bad breath. In fact, Herbert’s mouth reeks like a tavern’s privy. The Witch diagnoses Cludgie Mouth, a curse laid upon him by a Bog Goblin! It is listed as a Curse and an Infection, and has a Timer of Six. The Witch consults the few books left behind by their predecessor and determines that the potion requires a Star Shard for the Curse from Moonbreaker Mountain and Slime Shell for Infection from Meltwater Loch.

The Witch travels to Moonbreaker Mountain. There she draws her first card—a five. Checking the event list for Moonbreaker Mountain, they discover that a hot air balloon lands beside them and the balloonist offers the Witch a lift to anywhere they want. This increases the Timer value by one to seven. The Witch then searches for the Star Shard. The value of the Star Shard that the card needs to equal or beat is five, and the card does that. The Witch is successful in her first foraging attempt and reduces the Timer back down to six. Next, the Witch takes the balloonist up on their offer and together they travel to Meltwater Loch. This reduces the Time to five.

On the shores of Meltwater Loch, the Witch draws another card. This time it is an Ace and the Witch has discovered a set of strange footprints along the beach. This distracts them and so the Witch does not find any Slime Shell. One is added to their Forage value in this turn. If the Forage Value rises to the value of the Reagent needed, the Witch will automatically find it. However, the Witch does not have the time for that to happen as the Timer is reduced to four. They draw another card for their next Foraging attempt. This time it is a Queen. That is definitely high enough for the Witch to find the Slime Shell, but they also find a bottle containing a strange message, complete with instructions on how to reply. With the Timer reduced to three, the Witch returns to High Rannoc, where they use the mortar and pestle to crush the Star Shard and add the Shell Slime raw to the potion. The Witch hands the concoction, newly named the Potion of Orifical Serenity. Herschel the Hound Master burps once and with that the stench of the privy is gone. He readily pays the Witch the twenty silver pieces and vows never to get into an argument with a Bog Goblin again.In addition to attempting to cure an Ailment, a Witch also has a period of Downtime each week. This also has a Timer of six, so if the Witch spends too much time doing other things rather than curing the villagers, the Witch’s reputation also suffers! These downtime activities might include going to dinner with a friend, going on an adventure in a dungeon, or just going out foraging in readiness for the next week’s patient and their Ailment, whomever and whatever that is. The Witch can also visit High Rannoc, perhaps to hire an adventurer at the Copper Fox Tavern who will negate an event, visit the Lunar Tower to attune their equipment and make the next foraging attempt easier, or even purchase Reagents at the local store, Bits & Bobs. In the future, when they have earned enough silver, the Witch can upgrade their cottage and its facilities, such as installing a Hive for the honey to add sweetness to potions, building a Treatment Room which increase the price of any potion and the Timer for any Ailment, or install a Travel Stone so that the Witch can travel back and forth between two locations with reducing the Timer. The Witch can buy better equipment, such as a Wand necessary to forage for certain Reagents, or a coracle needed to travel to the Blastfire Bog. This opens up new areas to Forage and thus experience events in. Similarly, the Witch could also summon a Familiar who will help them.

A festival, such as the Flower Festival at the end of spring or the Frostfall Festival at the end of the year. These are worth participating in, as they can gain the Witch benefits which will last long after the event. For example, if crowned the King/Queen of Flowers, the Witch receives the Flower Crown and will find it easier to find Plant Reagents. In addition, if a Joker is drawn at any time, or not drawn at all during a season, the Witch learns a clue about the whereabouts of their predecessor. There are four tables of clue’s relating to the predecessor’s disappearance and the Witch will draw from all of these over the course of the game and its year.

Throughout this, the player not only takes notes, but develops a narrative based on the cards they have drawn, the efforts of their Witch, and events and all of their outcomes. It is not just a matter of how and where the Witch found a particular Reagent, but also what happened as the result of each region’s events. So for example, the player whose Witch encountered and travelled with the balloonist would describe the balloon journey and what happened on it, whilst when the Witch found the message in the bottle, they could have simply thrown it back into the lot, but also replied to the message. In which case, the player can write down the nature of the message and also what the Witch wrote in reply. The player is also free to ignore this or any aspect of the rules if it impedes the telling of the Witch’s story.

Apothecaria: Solo Potion Making RPG is a solo, procedural roleplaying with a lovely theme, that you can just sit down and play at your leisure. However, it is not that easy. Not necessarily because of the mechanics, but more due to the layout of Apothecaria: Solo Potion Making RPG. It is partly written in the character of the Witch’s predecessor and partly not, and it gives the game a slightly disjointed feel. Plus, it does not always explain fully how the game is played or indeed in the right place in the book. Perhaps clearer or fuller examples of play might have alleviated this. What it means is that the player will need to work back and forth through the pages of Apothecaria: Solo Potion Making RPG to really grasp quite what they should be doing.

Physically, Apothecaria: Solo Potion Making RPG is nicely presented. It is lightly, but decently illustrated, and barring the issues raised above, an enjoyable read.

Inspired by films such as Howl’s Moving Castle and Spirited AwayApothecaria: Solo Potion Making RPG possesses a warmth and cosiness which the designer’s other roleplaying games lack. With its feminine charm and relaxing play style, Apothecaria: Solo Potion Making RPG is a genuinely lovely little roleplaying game. Perfect with a fountain pen, a nice hot cup of tea, and a long afternoon in front of any prospective Witch.

Friday Filler: ALIEN: Fate of the Nostromo

Reviews from R'lyeh -

ALIEN: Fate of the Nostromo is the meeting of two trends. One is the development of games based on the Alien Universe, best typified by the Aliens: Another Glorious Day in the Corps and Alien: The Roleplaying Game. The other is the revisitation of older intellectual properties using modern game design and in the process create a playing experience that is true to the source material and far superior to anything which could have been done when those intellectual properties first appeared. Further, in the case of ALIEN: Fate of the Nostromo has been designed to be played by both a general board gaming audience and a fan audience. This is also the same with board games such as Jaws: A Boardgame of Strategy and Suspense and Horrified, and together the three also share a publisher, Ravensburger, and a play style in that they are co-operative board games.

Another interesting aspect of ALIEN: Fate of the Nostromo is that it is based upon Alien, the first film in the franchise, rather than on Aliens, which is the second. Aliens has been the property of choice to base a game, whether roleplaying game or board game or computer game. This is because Aliens combines action and horror, so that whilst the Xenomorphs are bent either grabbing their victims ready for implantation of eggs by the Facehuggers or simply ripping them apart, the protagonists and thus the players are armed and can fight back. As scary as Aliens is, it is not a subtle film in comparison to Alien where the atmosphere is one of isolation and of being hunted by something unknown, something alien, and something unstoppable. This is what ALIEN: Fate of the Nostromo has to capture in its play style.

ALIEN: Fate of the Nostromo is a co-operative game designed for one to five players, aged fourteen and up. They take the role of the crew of the USCSS Nostromo—Captain Dallas, Warrant Officer Ripley, Chief Engineer Parker, Engineering Technician Brett, and Navigation Officer Lambert—who must survive the invasion of their ship by a hostile alien long enough to perform a number of Objectives before performing one final Objective and successfully abandoning her. At all times, as they move around the Nostromo, they are stalked down its corridors and through its various areas by the creature, constantly thwarting the crewmembers’ efforts and effectively demoralising them. If the crew can complete both its assigned Objectives and the final Objective, the players will win the game, but if the morale of the crew is reduced to zero, the Alien wins and the players lose…

Open up the box for ALIEN: Fate of the Nostromo and the very first thing you see is a painting of Jones the Cat, frightened and hissing at something behind you. This is on the back of the board and so adds nothing to game play, but it is a great touch and adds to the atmosphere of the game if not its game play. Open up the board itself and it depicts the decks and rooms of the Nostromo connected by corridors and ladders. One of these, at the bottom of the spaceship, is the Nest where the Alien begins play, but look closely and there are some nice touches, such as the streaks of blood leading away from the table where the Chestburster burst out of Kane in the Galley and the holes in the floor burned by the Facehugger’s blood in both the Med Bay and the Lower Deck. The playing pieces of the crew—Dallas, Ripley, Brett, Parker, and Lambert, as well as the Alien—are decent depictions of the characters, such that Brett is actually smoking and you can imagine him saying, “Right, right…” and agreeing with Parker.

The other components consist of the eight-page rule book, five Crew Boards—one for each of the crew, five Player Reference Cards, a Morale Marker, thirty-six cards (twenty-one Encounter Cards, ten Objective Cards, and five Final Mission Cards), a Self-Destruct Track, fifty-five tokens (twenty Scrap Tokens, twelve Item Tokens, six Coolant Canister Tokens, six Concealed Tokens, a Self-Destruct Token, and four Countdown Tokens), and markers for both Morale and Ash, the Nostromo’s android Science Officer. All of these are of a good quality with fully painted artwork which really captures the feel of the film, the Nostromo, the Crew, and the Alien. Those of the crew on their Crew Boards are particularly good.

ALIEN: Fate of the Nostromo is quick and easy to set-up—and the rulebook takes the player through this step by step. The Alien begins in the Nest, the Crew in the Galley, Scrap, Coolant Canister, and Concealed Tokens are distributed throughout the ship, several random Objective Cards are revealed—equal to the number of players plus one, and a Final Mission Card is drawn and placed face down. It is only revealed when all of the Objectives have been completed. To complete an Objective, the Crew must bring particular Items to locations around the Nostromo. For example, ‘Where is it?’ directs the Crew to bring a Flashlight to the Med Bay and ‘Crew Meeting’ directs all of the Crew to assemble in the Galley with at least one piece of Scrap each. Scrap is a vital resource throughout the game because it is used to Craft Items such as a Motion Detector, Flashlight, Grapple Gun, the Cat Carrier, and so on. Many of the items have limited use and so may need to be manufactured more than once! The Final Mission Cards typically have several objectives, for example, ‘Escape on the Narcissus’ requires the Crew to take Coolant Canisters to the Docking Bay, have the Cat Carrier and Incinerator in their inventories, and then all assemble in the Docking Bay.

Each player’s turn consists of a Crew Action Phase and an Encounter Phase. In the Crew Action Phase, the Crewmember expends Action Points to move, pick up or drop Items or Scrap, Craft or Use Items, and Trade Items and Scrap with fellow Crewmembers. The Crew possess between three and five Action Points as well as a Special Ability. Ripley has four Action Points and can spend one to move another Crewmember one space; Dallas simply has five Action Points; Brett has three and reduces the Scrap coast when crafting Items; Parker has four and can spend one to add one Scrap to his Inventory from the pile beside the board rather than from the board; and Lambert has four and can spend one to examine the top card of the Encounter Deck and place it at the bottom of the deck.

The danger of movement is that the Crewmember will come across a Concealed Token. When revealed, this might be nothing and the Crewmember will be safe, it might be Jones the Cat who hisses at them and decreases Morale, or it might be the Alien in a Surprise Attack, who immediately moves to that location. The Crewmember then flees from that location and the player’s turn ends and there is no Encounter Phase.

If a Crewmember survives long enough to end the Crew Action Phase, the Encounter Phase takes place. An Encounter Card is drawn. Each indicates how many spaces the Alien must move towards the nearest Crewmember, how much Morale damage is inflicted if it encounters a Crewmember, and where new Scrap and Concealed Tokens should be placed, if any. As with a Surprise Attack Concealed Token, when the Alien encounters the Crewmember must flee three spaces, and whether fleeing from the Alien as the result of an encounter in the Encounter Phase or a Surprise attack, if the Crewmember runs across another Concealed Token, that too must be revealed. If that is another Surprise Attack, the Alien catches up with the Crewmember, who is forced to flee again, and so on and so on as the Alien stalks them through the bowels of the ship!

Throughout the game, the Items become really important as they provide the Crewmembers with an advantage, if only temporarily. The Motion Detector is used to reveal nearby Concealed Tokens, the Incinerator to drive the Alien back to its Nest, the Flashlight to reduce Morale loss, the Grapple Gun to drive off the Alien, and the Cat Carrier to contain Jones the Cat and stop him jumping out and scaring the Crewmembers when Concealed Tokens are revealed.

In addition to the standard game ALIEN: Fate of the Nostromo can be played solo and the challenge that the Crewmembers and their players face be made more difficult. Solo play is little different to the standard game except that some of the Final Missions are excluded, whilst the game is made more difficult with the ‘I can’t lie about your chances’ option, which adds the Science Officer and android Ash to the game. Ideally, solo play should be done with more than one Crewmember as this gives the player more options in terms of their Special Abilities, whilst when Ash is in play, he constantly confronts the Crewmembers, forcing them to drop Scrap or reduce Morale. He also picks up Scrap as he moves around the Nostromo. The lack of Scrap will make Crafting Items all the more difficult and thus Objectives harder to fulfil.

There is no denying the strength of the theme in ALIEN: Fate of the Nostromo and how it affects play. The tension never lets up, there is the constant chance of the Alien turning up, or Jones the Cat leaping out and frightening the Crewmembers, and yet… ALIEN: Fate of the Nostromo is perfectly playable and an enjoyable game to play, but it has a couple of issues. One is that it never fully follows through on its theme, which is that of something stalking the Crew Members throughout the Nostromo and killing them off a la Ten Little Indians. Nobody though, in ALIEN: Fate of the Nostromo the Alien does not kill anyone, instead its victims just flee and become further demoralised. Thus the ardent fan could complain that ALIEN: Fate of the Nostromo is not a true reflection of Alien at all, but would a true reflection actually be fun to play? Probably not, because Crewmember elimination would mean player elimination and not only make the game’s winning conditions harder to achieve, but also not fun for the players whose Crew Members have been eliminated. Then there is the audience to take into account because ALIEN: Fate of the Nostromo is designed for a family audience and a teenage audience, and a bloody horror game is not necessarily suitable for either.
This does not mean that the game ignores fans of the film. What it does mean is that the family can play this game without getting too horrified by the absentee blood or the missing gore, whilst the fans of the film can enjoy the still strong theme of game—especially in its look—as well as have chance to roleplay and table talk their Crew Members as much as they want and throw in as many of the quotes from Alien that fit.

As much fun as encountering and fleeing from the Alien is in ALIEN: Fate of the Nostromo, the actual Objectives, all ‘pick-up and deliver’ tasks are underwhelming and feel more like the means to hold off the actions of the Crewmembers until such times as they can tackle the Final Mission. And whilst each of the Final Missions does actually feel thematic, their phrasing is not always clear in meaning. What this means is that the players do need to make more of an effort to buy into the game—not much extra effort, but some…

ALIEN: Fate of the Nostromo is a solid, decently thematic lighter co-operative game. It takes a heavy horror theme and tone and builds as much of that as it can into a game that is suitable for the family. That is quite an achievement.

Kickstart Your Weekend: Cthulhu Awakens Roleplaying Game

The Other Side -

This week Other Side Favorite Green Ronin is up with a new AGE game and a new Mythos game.  Lucky for me they are one and the same!

Cthulhu Awakens Roleplaying Game

Cthulhu Awakens Roleplaying Game

https://www.kickstarter.com/projects/greenroninpub/cthulhu-awakens-roleplaying-game?ref=theotherside

Funded in 40 minutes it is currently sitting at about 6x its funding goal. 

This game, powered by their A.G.E. system (ModernAGE, The Expanse, Blue Rose) covers "The Weird Century" from the 1920s til today.  And the mythos talked about in stories and tales are only a part of the picture.

Do we need another Cthulhu/Mythos game?  Maybe, maybe not, but I do like what I see here and I find this more exciting than some of the Mythos-related RPGs that have come out in the past. 

For my home games I can see us using this a lot. For starters there is all the new background details and I like having new life breathed into my Mythos every so often.  Sure I do my own stuff, but it is nice to get a fresh perspective.

My son plays FantasyAGE so I am sure I'll do something with that.

I have been trying out The Expanse (spoiler I love it) and I love mixing space travel with the Mythos (see BlackStar) so what if the protomolecule is related to the Old Ones?  It could be the start of my BlackStar game! Or at least give me some fun ideas. 

The design team for this looks great and I am looking forward to seeing what they can come up with.

Friday Fantasy: The Scourge of Olfindour

Reviews from R'lyeh -

The Scourge of Olfindour is an adventure for Dungeons & Dragons, Fifth Edition. Published by Critical Kit, it is designed for a party of four to five Player Characters of Fifth Level and is intended to be played in a single session, either as a one-shot or as part of an ongoing campaign. Like the earlier Lock-in at the Blind Raven it involves a strange night of gothic horror and mystery in a tavern on one dark night. The emphasis in the scenario is on interaction, roleplaying, and combat—primarily the latter. As with other titles in series from Critical Kit, this is easy to drop into an ongoing campaign.

The Scourge of Olfindour begins with the Player Characters on the road to Olfindour, a recently established hamlet on the border of the vast expanse of frozen land to the north known as Whiteweather. Deciding to stop for the night, they find the hamlet strangely deserted, a barricade roughly built across its single street, its houses boarded up, and the only signs of life to be found at its tavern, the Oakenhurst. They are quickly ushered inside and the door barred. With a beer in hand, the Player Characters are told that the hamlet has recently been subject to number of strange attacks and abductions, and that the fifty or so wary survivors have taken to holing up in the tavern for protection each night. Unfortunately, it proves not to be the refuge that the inhabitants of Olfindour had hoped it would be.

When Anders, one of the missing inhabitants comes knocking at the door of the tavern, plaintively begging to be let in, his father, Wulf, joyfully does—only for his joy to be undone as Anders transforms into a werewolf and bites his father! Amidst screams of terror and shouts of horror, the inhabitants of Olfindour panic and the whole of the tavern erupts into chaos. When the fight is over, the werewolf Anders is likely to be dead, but Wulf is gone, nowhere to be seen, although there is a trail of blood which can be easily followed. In fact, there is a trail of blood which can be easily followed whichever route the Player Characters decide to take, and the trail leads underground to a confrontation with the leader of the pack of werewolves and perhaps a solution to the threat facing Olfindour...

The Scourge of Olfindour has two potential problems. One is the letting of Wulf go to the door to let his son, Anders, into the Oakenhurst. The players may complain of a lack of agency, that their characters were unable to prevent this. Against this is the fact that without it happening, the plot to the scenario cannot progress. The other is that the finale to the scenario is underwritten and exactly what happens when the villain defeated is not presented. Ideally, the Dungeon Master should give some thought as to what happens when the villain is defeated what this looks like.

The werewolves in The Scourge of Olfindour differ from the standard take upon this type of Lyncanthrope. Primarily, they are not bound by the waxing and the waning of the Moon, but are driven by more primal urges. Otherwise, they are only affected by magical or silvered weapons, their bite transmits the curse, and so on. Full stats for these werewolves, their pack leader and their winter wolf allies are provided in the scenario. The Scourge of Olfindour is a horror scenario, but not as mild as that of Lock-in at the Blind Raven. Its horror is much more physical, much more bloody, which is reflected in the combative nature of the scenario and the threat the Player Characters will face.

Physically, The Scourge of Olfindour is decently presented, everything is easy to grasp, and the single map in the scenario is easy to use. The Scourge of Olfindour is an easy scenario to use and an easy scenario to use in any number of settings, for example Ravenloft also for Dungeons & Dragons, Fifth Edition. It could be adapted to other settings or roleplaying games with elements of horror, for example, Warhammer Fantasy Roleplay and Symbaroum would work for either.

The Scourge of Olfindour is designed to be played in a single session and would make for a decent interlude of combat and horror and mystery between longer adventures. The Dungeon Master will find it easy to adjust the nature of the horror up or down, depending upon the maturity of the Player Characters, making the encounters with the werewolves less or more bloody. If the Dungeon Master wants something brutal and bloody to run in between longer scenarios as the Player Characters make their way to colder climes, then The Scourge of Olfindour fits the bill.

I Am A Lying Liar from Liartown

The Other Side -

I was cleaning up my office on Wednesday, waiting for a meeting to start when I started going through a bunch of binders I have.  In particular a few for notes on my witch and necromancer classes (maybe I'll do a necromancer one day).  Anyway, I sorted through all my notes and I found many treasures.

3.5" Floppy disk.  What treasures await??

The fruits of that labor are:

More Monsters!

And...I dug up enough information for not just two new witch books, but three.

For the last year or more, I have been talking about "My Last Witch Book" the High Witchcraft Tradition.  The High Witchcraft book is very much tied up in organizing all my notes and sources project, so I knew I was going to find new material for it today.

I knew I had a lot for it, it was just all over the place on whatever I decided to take notes on.  I thought I had maybe enough for it and another, smaller, book.  Nope. I have enough for three different books now.

I am not really ready to reveal what these other books are/will be.  I reserve the right not to do them if push comes to it.  

So. Yeah.  I guess I do have more books in me.  Though I think I am going to keep the High Witchcraft book as the Last book.

Now I just need to dig up a 3.5" floppy drive.

AD&D Players Handbook

D&D Chronologically -

It’s exciting to be reading this. Growing up, I definitely read large sections of it and used it as a reference but I’ve never read it cover to cover.

Note that most of my comments will be about things I personally find interesting, not an extensive discussion of everything in the book. (That goes for all my reviews I guess.)

Introduction

Instantly the Introduction is of interest because, having read everything up to this point, it specifically describes some of the changes in AD&D compared to Original D&D – eg stronger Fighters and Clerics.

The overview of the Game is a great bit of visualisation. It’s not about the mechanics – it’s about the flavour, the feats, the adventure. Even after all these years of playing these games, I find this an exciting read – it makes my imagination soar.

Character Creation

So, character creation, and the obvious first odd thing is how to generate your ability scores – use a method given to you by the DM from the DM’s Guide – which at this point wasn’t published yet! Further to that – no combat tables either!

Huh, I remember there being class/race limitations but not to this extent. No Dwarven clerics or magic-users, no Elven rangers etc. And so many other limitations on min/max ability scores and max character levels attainable depending on race/class.

Another rule I’d forgotten about – the fighter and fighter sub-classes can attack once per level of their experience per round if fighting monsters of less than one hit die.

There are all sorts of small details for each class that we never made use of when we played as kids. The monk takes the cake for all its specific rules.

Hit Points, Weapons and Armour

Now here’s an interesting rule – the DM can choose to keep the hit points of the characters a complete secret and only describe roughly how they feel – eg very weak.

It’s nice how Gygax describes the rationale for the hit point system – that basically the increasing hit points gained per level reflect increasing skill at dealing with attacks and damage – eg while 8 hit points of damage may kill a 1st level character, a 10th level character with 50 hit points will have managed to use their skill to mean proportionally they’re not in such a bad way from those same 8 hit points of damage.

Another rule we overlooked – shields can only be counted against a certain number of attacks per round.

The weapon type armour class adjustment tables make sense but are a bit of a nightmare. I remember a friend of mine having the combat computer to do all the calculations.

Spells

Spells, so many spells…

You know, when you really study some of the spells, you find some that can be incredibly useful. For example, lots of people complain about how hard Tomb of Horrors is, especially things like the spoilers! … thing that completely annihilates you. And yet, there’s a simple second level cleric spell called Augury which will pretty much tell you it’s a bad idea to put anything in it.

Gygax obviously has a sense of humour – some of the material components for spells are quite funny – eg for Wall of Fog, you need some split dried peas (ie pea soup fog) and there’s even a fart joke – for Gust of Wind you need a legume seed.

Without knowing it, Gygax has also described a dance rave spell, the Hypnotic Pattern – where the illusionist uses a crystal rod fill with phosphorescent material to mesmerise creatures into dumbstruck awe by waving it around in fancy patterns.

Adventuring

Now we move on to a smattering of sections about Adventuring – time, movement, light, etc. It’s a long time since I’ve read this and even then, I’m not sure I ever read a lot of these sections – there are quite a few tips that Gygax gives for how to deal with things like traps and tricks.

Combat

And then we come to Combat. I’d forgotten that you’re supposed to roll for initiative each round. Seems a bit tedious besides being a bit odd. To tell you the truth, I am rather confused by the example combat given. Eg how surprise doesn’t give a full round of actions, just some extra segments to the surprisers. And how the illusionist at one point has initiative and goes to cast a spell but is then interrupted by the thief attacking. There’s definitely not enough information given to explain how all this works. It must have been a very frustrating wait for the DM’s Guide to clarify all this. This is a recurring pattern. Eg for saving throws – “Your Dungeon Master has tables which show the saving throw scores…”

Although come to think of it, with regards to combat, I don’t think we ever played strictly by the rules. We probably played more of a bastardised AD&D/Basic combination of rules.

I like how Gygax at numerous times points out that this is a game. When it comes to modelling hit points, how combat rounds work, how experience points are gained, he very clearly states that of course it’s not very realistic in some respects but then neither are 12 foot tall giants. To model those things in detail does not make for a fun swashbuckling adventure!

Appendices

Appendix I – Psionics

Huh, reading Appendix I, I think I’ve finally got a grasp on how psionics works. I was totally confused by the explanations in the OD&D Greyhawk supplement. This explains it much better. I still think it’s a totally unnecessary part of the game when there’s already a magic system.

Uhhhh, no. Wait. I still don’t get it. I understand the numbers and the Disciplines, but there are still things that are unclear. A Psionic Blast is the only thing that works against non-psionics, but it doesn’t actually tell you what it really does – like, are the recipients incapacitated for a round or something? I guess there’s more on this in the DMs Guide.

Appendix II – The Bard

The Bard is pretty much exactly the same as described in Strategic Review 2.1 with the exception that they now get Druid spells instead of Magic User spells.

Appendix IV

The known planes of existence finally get a very clear overview.

Overall

Commenting on the book as a whole, like the Monster Manual, the step up in quality is pronounced – the design, layout and organisation is fantastic.

In terms of what’s new, in some ways it doesn’t feel that there’s actually much that’s new conceptually. Rather, it’s a consolidation, distilling, refinement and extension of all the combined OD&D plus supplements plus extra bits from Strategic Reviews and Dragon mag. There’s also a notable culling of over-powered spells along with some other things that weren’t deemed good ideas like hit location.

Oh, and we get the new Wizard logo instead of the Lizard logo.

Oh, and I almost forgot to mention the art by DCS and Tramp – it’s all fantastic! (Except the picture of the races – that’s a bit how-ya-going.)

Date Information – June 1978

Acaeum says June, Of Dice and Men says it was available just in time for Gen Con in August.

The copyright says June, but to tell you the truth, I’m not so sure that it was actually available in June. Oddly, Dragon mag doesn’t mention the Players Handbook in its editorials or even Gygax’s Sorcerers Scroll column. The only place it gets a mention is in some ads saying it will be available at Gencon in August. And in the August issue, it says it’s available now. Oh well, I guess it was just widely available for most people at Gencon and available in small quantities in June. Also, as far as I can tell, the first printings have the G and D series modules in the catalog in the back. Which weren’t really available till July at Origins. I guess that was just forward planning. Also of note, the official copyright registered is August 15th (but it wasn’t registered until 1980). Oh and one other thing, they were already into a second printing in September! So all in all, it’s a bit tricky – it’s probably really July or August but I’m going with June anyway.

Mail Call: Night Shift, More Witch Queens and Rat Baby!

The Other Side -

Quick one today.  Yesterday's mail brought me some wonderful gifts.

Mail Call
Up first are the new books for the NIGHT SHIFT RPG.  The Night Companion and a new "Night Trip" A Faustian Dilemma.   These are both the babies of my co-author Jason Vey.  You can now get both at the Elf Lair Games store.

I do have a new "Nigth World" in Night Companion.  My "Weirdly World News" where you get to play tabloid reporters try to get that ever-elusive story that proves the supernatural is real, and hope there is a good paycheck in it. 

This book also introduces the world the everyone's favorite cryptid, Rat Baby.

Weirdly World NewsRat Baby Spotted!

 Kickstarter backers will be getting their books now. I knew I was on the end of the list for my copies.

Night Shift

I also got a new Witch Queen adventure in the mail again from Carlos A.S. Lising and casl Entertainment.

When Come the Witching Hour

As you can see, this one also features Iggwilv as the titular Witch.

The Witch Queen

I am going to give this one a review and hope it is as fun as The Witch-Queen's Lament was.  I think I am going to restructure my War of the Witch Queens adventures just a bit. 

The Witch-Queen of Yithorium

The Other Side -

I was cleaning up some links on my Witch Links page and I noticed a few I had from the Halls of the Mountian King, the blog of the recently passed Jason Zavoda. He posted a bit about Hyperborea, nee AS&SH, including the Witch Queen of Yithorium.  I also found a lot of material for his own Blackmoor Land of a Thousand Witches.

Jason was very well respected in the Greyhawk community and I thought it might be a nice tribute to expand on his ideas some, but more importantly, share his ideas all with you.  Up first, the Witch-Queen of Yithorium.

The Witch-Queen of Yithorium

There is not a lot of text on who the Witch-Queen of Yithorium is except for what she wants now.

The official Hyperborea forum has a little on her background.  She is a nod/homage to Howard's witch Salome in "A Witch Shall Be Born." She rules from a 100’ tower of alien origin that immediately reminded me of Clark Ashton Smith. She is immortal, ever young, and has ruled Yithorium for nearly 700 years.  She obviously knows what to do.  

Jason provides the most information about the Queen herself in his post.  He uses a picture of Judith from the Bible as his inspiration.  Much like Salome (the namesake of Howard's witch) Judith is known for her association with a decapitated man. John the Baptist for Salome, Holophernes for Judith.   We gather from his post (and others) she was a beautiful woman, small but voluptuous, with long raven tresses.  Naturally, I think of Sarah Douglas.  

We know she is a witch and uses a type of magic unknown to her lands. We learn it is blood magic and that no one in the City-State of Yithorium knows where she learned it.  I am going to say, given the work that Jason has done, that she learned it all in Blackmoor

There are no official stats for the Witch Queen of Yithorium in the Hyperborea books.  She doesn't even have a proper name really. 

The Witch Queen of YithoriumThe Witch Queen of Yithorium
Female Witch 12th level
Chaotic Evil

Race: Human
Secondary Skill: Torturer

Abilities
Strength: 12
Dexterity: 12
Constitution: 13
Intelligence: 18
Wisdom: 16
Charisma: 18

Casting Ability: 12
Fighting Ability: 5Saving Throw: 11

Hit Points: 36
Alignment: Chaotic Evil
AC: 9

Powers
Brew Decoction (x5), Familiar, Read Magic, Scroll Use, Scroll Writing, Sorcery, New weapons skills (3), Dance of Beguilement (5th level), Effigy (5th level), Enlist Henchment (6th level), Animate Broom (7th level), Lordship (9th level).   
Spells 
First: Alter Self, Charm Person, Detect Magic,  Shocking Grasp, Unseen Servant
Second: Darkness, Ghoul Touch, Infernal Tounges, Ray of Enfeeblement, Witch Fire
Third: Dispel Magic, Exploding Skull, Phantasm, Summon Dæmon I
Fourth: Black Tentacles, Mirror Mirror, Sorcerer Eye, Summon Dæmon II
Fifth: Anti-Magic Field, Summon Dæmon III, Summon Elemental
Sixth: Gelatinize Bones, Transfer Youthfulness


Hyperborea Witch


The Witch Queen of YithoriumThe Witch Queen of Yithorium
Female Witch, Blood Tradition 13th level
Chaotic

Abilities
Strength: 12
Dexterity: 12
Constitution: 13
Intelligence: 18
Wisdom: 16
Charisma: 18

Hit Points: 36
AC: 9

Occult Powers
Familiar: Raven
7th level: Evil’s Touch 
13th level: Detect Bloodline

Spells 
Cantrips: Black Flame, Chill, Daze, Ghost Sound, Inflict Minor Wounds, Object Reading
First: Bewitch I, Darkness, Feel my Pain, Ghostly Slashing, Glamour, Silver Tongue
Second: Alter Self, Disfiguring Touch, Ghoulish Hands, Scare, Share My Pain, Suggestion
Third: Clairaudience/Clairvoyance, Dispel Magic, Lifeblood, Summon Spirit, Witch Wail
Fourth: Divination, Phantom Lacerations, Polymorph, Spiritual Dagger
Fifth: Bewitch V, Dreadful Bloodletting
Sixth: Spiritual Dagger, Summon Nightmare SteedSeventh: Wave of Mutilation 

For this witch, I am using a combination of the Family, Maelific, and Mara Traditions. 

While I am perfectly happy to keep her nameless, or only as "The Witch Queen," I am thinking of giving her the proper name of Miriam, to keep with the Biblical theme I have established here. Of course, no one besides her would know that. 
 
The Witch Queen

Hyperborea has always been a large part of my plan for the War of Witch Queens, at least in terms of how witches are presented.  At one point it was going to be my system of choice for the campaign, but I have since settled on OSE.  Still, Hyperborea has a lot to offer me. 

I typically mix in a fair amount of Barbarians of Lemuria into my Hyperborea games. So it might be fun to have Miriam, the Witch Queen of Yithorium be the rival of Methyn Sarr, the Witch Queen of the Fire Coast.  Each thinking the other is the lesser witch while worried that the other might have access to some magic they do not.  They seem to be cast from the same mould, that of Salome of "A With Shall Be Born," but one taking to fire magic and the other blood magic.  I don't think they were/are sisters in the biological sense but maybe they are former coven sisters. Once allies or even friends and now bitter, hated rivals.  If Sarah Douglas is my model for the Witch Queen of Yithorium, then my choice for Methyn Sarr would have to be Emma Samms. Not too far of a stretch since she was the uncredited performance/body model for Princess Teegra in Ralph Bakshi's "Fire and Ice." 

Links

Monstrous Mondays: The AD&D 2nd Ed Monstrous Compendium (Overview & Review)

The Other Side -

I have been wanting to spend some time with the AD&D 2nd Edition Monstrous Compendiums.  I suppose now is as good of a time as any.

In the waning years of the 80s, AD&D took a new turn. Much of the original guard was gone from TSR and a new edition of its flagship game was on the way.  I was at University at the time, so for me, it was easy enough to move over to AD&D 2nd Ed.  I was not playing with my normal group anymore (they were 200+ miles away) and it seemed like a good place to move on.  

It was June 1989 and I was on what was to be my last family vacation to Harrisburg, PA.  We were doing a big Civil War tour and my dad was meeting up with a bunch of guys he served with during the Korean War.  I remember being on my own for a bit and I found a game and comic store not far from Gettysburg. I went in looking for anything new and anything to entertain myself.  Much to my shock they had copies, released that week, of the new AD&D 2nd Monstrous Manual.  I remember talking to them asking how business was for AD&D 2nd ed and they had said terrible that no one was buying yet.  I am quite certain that changed later on.  But that was also my first hint at anything like an "Edition War."

Monstrous Compendiums

I got it back to my hotel room and I read that book cover to cover.  I loved the idea of the 3-Ring binder and I loved how the monsters were all expanded to include the Habitats and Ecology.  My first RPG love was the AD&D Monster Manual.  This did not fill me with as much excitement (you never forget your first time) but it was close. 

As time went on and I bought more of the Monstrous Compendiums the weakness of the format began to show itself.  For starters you could never properly alphabetize the pages.  One monster per page is great, unless the monster on the back of the page is more letters down the line.  Also in normal use, the pages became tattered and torn; and that is if you removed the perforations right the first time. 

Still, I loved the idea and still do it today. 

Sadly, I sold my original MCs in a game auction about 25 years ago.  I needed room and I had the Monstrous Manual, the proper hardcover that came out later and I was in the process of moving on to other games. So I figured I didn't need these anymore.  Big Mistake...or was it?

I have since bought back a number of the Monstrous Compendiums. I have found them at garage sales, auctions, Half-Price books, and the PDFs on DriveThruRPG.  In fact for less than I sold my originals I have rebuilt my collection and then some.  And I have been expanding.

I have added DriveThruRPG pdfs I have printed.  Dragon Magzine Monsters I have also printed from my CD-ROM.

Dragon Mag Monsters
And since I have been doing my This Old Dragon feature I have had many Dragons that are falling apart.  So I have been adding material when and where I can.  Namely the wonderful Ecology Of... articles. 
Ecology of the Ettin
Ecology of the Piercer

I even find material online that others have done.

Centaurs, how do they work?

But many of the old issues remain.

loose pages

But now I have access to all the Monstrous Compendium PDFs.  So I can buy what I need and print them out as I need.

The extra data is still good and I am amazed about how much of it still works for me today.  I might not play 2nd Ed ever again, instead opting for 1st Ed, but I am likely to use the Monstrous Compendiums in place of the Monster or Monstrous Manuals.

If you wanted to rebuy your collection of AD&D Monstrous Compendiums there are 22 books for a total of 2,350+ pages (figure over 2,200 monsters) at a price of $141.66. (note I might not have all of them)  Then you could print out what you want, how you want and organize them as you like.  I have already done this with Demons and Devils.

I am going to spend time with these over the next few weeks.  

Monstrous Compendium MC1MC1 Monstrous Compendium Volume One

This was the first Monstrous Compendium to hit the market but not the first time seeing the new monster format.  That was published in the (then) new Greyhawk Adventures hardcover.  Originally this came with the monsters on printed, perforated sheets, cardstock color dividers, and the three-ring binder to put them all in.

This product covered some 130 monsters from Aerial Servant to Zombie. It had most of the "usual suspects" including orcs, all the PC races, goblins, and the greatly expanded dragons. The Dragons were the big star of this particular package. They were bigger, meaner, and a whole lot scarier.

The PDF from DriveThru helps this book live up to its promised potential. You can print the entries you want and organize them how you want.  The scans are of the original books/pages so you don't have to worry about a lot of color (you will burn through the cyan/blue though).

A note, like the original Monstrous Compendium this one still has the error on the Vampire page, with side 1 printed on both sides. The correction can be found in the October 1989 issue of Dragon magazine or the full Monstrous Manual.

Monstrous Compendium MC2MC2 Monstrous Compendium Volume Two

The second Monstrous Compendium package was released that to the horror of OCD Dungeon Master's everywhere, you could not properly alphabetize all the entries.  This one covers more monsters, the second tier ones, Aarakocra to Yellow Musk Creeper and Zombie.  It had a solid Fiend Folio vibe to it. 

Any hopes the rumors were false were soon dashed as this set also did not include the Demons and Devils of old.  We would get them, eventually, but not for a bit.

The weakness of the printed copy of 1989 is no longer an issue with the PDF of today.  Now you can reprint the monsters you want AND keep them to one page for fully proper alphabetizing.  You just a need a new binder that will hold 500 some odd pages.

Like the MC1 this PDF includes the dividers you can print.  For my use? I print them out, put them in a page protector and then put some card stock in with them.

Monstrous Compendium MC3MC3 Monstrous Compendium Forgotten Realms Appendix

For me, and many others I feel, AD&D 2nd Ed was synonymous with the Forgotten Realms. It was Ed Greenwood's "Ecology of..." articles in Dragon that gave us these expanded monster listings so the Realms and 2nd Ed are a perfect fit in my mind.  Even if 90% of my own 2nd ed gaming was in Ravenloft.

This gives us monsters from Ascallion to Wemic.  Some old favorites like the Eastern Dragons are here and lots of monsters appeared in the pages of Dragon and Forgotten Realms books, many as 1st Edition versions first.

The PDF makes good on the promises to allow you to organize things as your wish.  This is particularly nice for me since I took some of these monsters and placed them in with the ones above in one binder as all the "common" monsters and then mixed the remaining with the other Forgotten Realms MC (MC 11) for "Realms unique" monsters. 

The scan on this one is a little light, so printing might make some of the pages look washed out. BUT you can turn up your printer's settings a notch to make it darker. Not too much or the scanned paper will also show up as "background noise."  But you can also print them out and touch up what you like with a pencil and not worry about marking up a 30-year-old book from your collection. 

The PDFs from DriveThru are a fraction of the cost of the original and I can also buy a very sturdy binder to put them all in.  The big issue is of course my own printer ink.  But if I ever plan on running an AD&D game again I'll be using these and finally have them live up to the full potential that was promised to me back in Gettysburg, PA in 1989.

Miskatonic Monday #97: Yellow Death

Reviews from R'lyeh -

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


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

—oOo—
Name: The Yellow DeathPublisher: Chaosium, Inc.
Author: Batu Bozoglu

Setting: Waverly Hills Sanatorium, Kentucky
Product: Scenario
What You Get: Fifty-two page, 30.37 MB Full Colour PDF
Elevator Pitch: What if the terror of tuberculosis could be infected by something more terrible? Plot Hook: A brother dies too early and too crazy. The Investigators will have to follow in his footsteps to find out what happened.Plot Support: Detailed plot, staging advice for the Keeper, twelve handouts, one map, fifteen NPCs, and four pre-generated Investigators.Production Values: Decent.
Pros# Interesting historical setting# Self-contained hospital hell# Detailed plot# An expectorantly vile one-shot# Could be adapted to Cthulhu by Gaslight or any time up to the 1950s# Getting in is easy, getting out (and in what condition) is another matter
Cons# Needs a good edit# Illustrations do not always match the period# Potentially overly plotted?# No Sanity rewards?
Conclusion
# Interesting historical setting# Detailed period one-shot# Presents a vile vehicle for the King in Yellow in an expectorantly horrible hospital horror

Miskatonic Monday #96: Field of Screams

Reviews from R'lyeh -

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


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

—oOo—
Name: Field of ScreamsPublisher: Chaosium, Inc.
Author: Al Smith

Setting: Jazz Age Iowa for Pulp Cthulhu: Two-fisted Action and Adventure Against the Mythos
Product: Scenario
What You Get: Thirty-one page, 9.76 MB Full Colour PDF
Elevator Pitch: Sometimes the field of dreams is the end of them. Plot Hook: Ghosts on the field of play means the Investigators are going to dig deep.Plot Support: Detailed plot, staging advice for the Keeper, three chase worksheets for the Keeper, two NPCs, one Mythos Entity/Mob, one Mythos device, and six pre-generated Investigators.Production Values: Reasonable.
Pros# Interesting historical set-up# Engaging baseball-themed scenario# Uses the chase mechanics for Call of Cthulhu, Seventh Edition# Low investigation scenario# Nicely designed Investigators# Potential campaign set-up# Underground city cruelly described
Cons# Uses the chase mechanics for Call of Cthulhu, Seventh Edition# Underwritten NPCs (especially for campaign play)# Underwritten penultimate rescue scene# Focuses too much on the chase over the penultimate rescue scene# What if the Investigators fail?# No Sanity rewards
Conclusion
# Interesting historical set-up# Uses the chase mechanics for Call of Cthulhu, Seventh Edition# Physical, low-investigation one-shot into the cruel Earth

Jonstown Jottings #54: Black Spear

Reviews from R'lyeh -

Much like the Miskatonic Repository for Call of Cthulhu, Seventh Edition, the Jonstown Compendium is a curated platform for user-made content, but for material set in Greg Stafford’s mythic universe of Glorantha. It enables creators to sell their own original content for RuneQuest: Roleplaying in Glorantha13th Age Glorantha, and HeroQuest Glorantha (Questworlds). This can include original scenarios, background material, cults, mythology, details of NPCs and monsters, and so on, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Glorantha Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Glorantha-set campaigns.

—oOo—

What is it?
Black Spear: A Hero Wars Saga for RuneQuest is a campaign for use with RuneQuest: Roleplaying in Glorantha.

It is a one-hundred-and-seventy-two page, full colour hardback.

It needs a slight edit in places.

Maps and illustrations are done in full, glorious technicolour.

Where is it set?
Black Spear: A Hero Wars Saga for RuneQuest begins in Apple Lane (as written), but is primarily set along the length of the Zola Fel River in the Valley of Cradles, as well as beyond.

Who do you play?Player Characters of all types could play this scenario as it involves a mix of social interaction, investigation, and action. Ideally (as written), they should have played through the scenarios in the RuneQuest Gamemaster Screen Pack and thus hold a position of power and trust. Player Characters who worship Orlanth or Yelm will find parts of the campaign entertaining, whilst Helerings will have a high old time of it.
Black Spear: A Hero Wars Saga for RuneQuest is set in 1627 ST after the death of Kallyr Starbrow.
What do you need?
Black Spear: A Hero Wars Saga for RuneQuest requires RuneQuest: Roleplaying in Glorantha, the RuneQuest: Glorantha Bestiary, and the RuneQuest Gamemaster Screen Pack.
Access to the campaigns and supplements, Borderlands, Pavis, Sun County, River of Cradles, and/or Pavis: Gateway to Adventure may also be useful, but are not necessary to run Black Spear: A Hero Wars Saga for RuneQuest.

What do you get?Imagine if you will that upon his retirement, Professor JRR Tolkien was chosen to adapt and direct Heart of Darkness rather than Francis Ford Coppola, but do so as a Bronze Age myth and do it for the small screen as a Saturday morning cartoon—a Saturday morning cartoon with all of the mythology and the naughty bits left in. If you can imagine that, then you have a pretty good idea quite what Black Spear: A Hero Wars Saga for RuneQuest is like. Black Spear is a truly epic campaign which connects the Dragonrise and the Hero Wars, and does so in two ways. Materially, it will see the Player Characters sent to Pavis to inform Argrath White Bull that now is the right time to return to Sartar. Mystically, it will see the Player Characters involved in the reverberating consequences of the Dragonrise, the ongoing confrontation between Orlanth and Yelm, chart Argrath’s ascent to power and prominence, and rescue him from Darkness—and more. Along the way, the Player Characters will have the wildest ride of their lives, get insulted by Baboons, go to the weirdest and wettest disco they could ever imagine, get involved in Sun Dome politics and heresies, confront themselves, attack and protect a dragon… and much, much more.

Which is not to say that the author of Black Spear: A Hero Wars Saga for RuneQuest is Tolkien in this analogy. Definitely not. Most obviously because in no way is his ego in need of such polishing, but also if we have to have a Tolkien figure, it would be Greg Stafford. Which would probably make the author of Black Spear: A Hero Wars Saga for RuneQuest here Christopher Tolkien. Which is enough of an ego buff. Anyway, let us put an end to this Tolkien talk.
As written, Black Spear: A Hero Wars Saga for RuneQuest is initially tied into the storyline established in the RuneQuest Gamemaster Screen Pack, in which the Player Characters defend Apple Lane and one of their number becomes its Thane. As trusted subjects with a reputation for being able to get things done, Queen Leika, leader of the Colymar Tribe, requests that they travel as quickly as they can to the far city of Pavis, and there call its King, Argrath White Bull, back to Sartar. So begins a rip-roaring ride that will take them by air, by river, and ultimately, by means mystical upon their very own journey into Darkness, as well as that of Argrath White Bull himself. In the process, the Player Characters—the majority of them likely to be loyal Sartarites—will be pulled far out of their comfort zone and up the Zola Fel river, as well as deep into the myths of Glorantha. Make no mistake, this is a deep dive into the mysticism of Glorantha.
Throughout, Black Spear is heavily annotated by the author. Here he adds both side notes and asides, references much of his personal library devoted to Glorantha (thankfully the Game Master does not need access to this to run the campaign), gives staging advice for particular scenes, tells you how his players tackled this situation and that, provides references to appropriate illustrations, and occasionally admonishes bad and/or reluctant players. The latter can come across as patronising, but this is a campaign which needs fully embracing by both Game Master and players if they are going to get the most of it and its weirdness. Accompanying this are pieces of poetry, sermons, music suggestions to be played at the appropriate time—everything from O Fortuna! from Carmin Burana and Sunrise from Also Sprach Zarathustra to Relax by Frankie Goes to Hollywood to Football Fight by Queen from the film, Flash Gordon, and more. There is even alternative staging advice for each of the campaign’s seven acts if the Game Master prefers not to use some or all of the author’s version of its events.
For the most part, Black Spear is relatively light in terms of stat blocks. They are there as is necessary, but in the main, the mechanics emphasise the Player Characters’ Runes and Passions and how they influence and interact with the story told through the campaign. In fact, Black Spear is fairly light in terms of combat too, mainly keeping it for the big set scenes. (If the players relish their combat, a corollary comes with the PDF version of the campaign, ‘Violence is Always an Option!’, which suggests possible combat encounters in each of its seven acts.)
After all that, if Black Spear is lacking anything, it is advice as to what to reward the Player Characters with. They have just gone on an epic journey, if only inadvertently, and if Queen Leika has no reason to reward them for actually completing a simple task that went awry, arguably, Argrath White Bull does because the Player Characters do much more than simply deliver a message. Another issue with Black Spear is the sheer amount of information and myth which the author splurges on the Game Master. In the author’s defence, he does his very best to make it accessible and entertaining. So whilst there are innumerable references to out-of-print books, these are asides and he always sticks to core sources that are in print or readily available. Further, when the inevitable wodges of exposition need to be delivered in order to impart the degree of detail and depth behind the events in Black Spear from the Game Master to her players, the author provides both staging advice and the means to break it up and make the delivery that much more palatable. 
Mention should also be made of the fantastic artwork in Black Spear. It matches and enhances the cartoonishly epic nature of the campaign, giving it much of its character.
Is it worth your time?YesBlack Spear: A Hero Wars Saga for RuneQuest is an unforgettably epic fabulation of  Gloranthan myth which takes a RuneQuest: Roleplaying in Glorantha campaign into the Heart of Darkness prior to the Hero Wars. NoBlack Spear: A Hero Wars Saga for RuneQuest is too fantastic a campaign, too much a case of ‘Your Glorantha May Vary’, and perhaps too much information for some, and not every campaign will be running a campaign which runs up to the Hero Wars.MaybeBlack Spear: A Hero Wars Saga for RuneQuest contains much that is ‘Your Glorantha May Vary’ and whilst the Game Master may not want to run it as a whole or a campaign set in Sartar, there are scenes and ideas here which can be explored or adapted as is her wont.

Pocket Sized Perils #1

Reviews from R'lyeh -

For every Ptolus: City by the Spire or Zweihander: Grim & Perilous Roleplaying or World’s Largest Dungeon or Invisible Sun—the desire to make the biggest or most compressive roleplaying game, campaign, or adventure, there is the opposite desire—to make the smallest roleplaying game or adventure. Reindeer Games’ TWERPS (The World's Easiest Role-Playing System) is perhaps one of the earliest examples of this, but more recent examples might include the Micro Chapbook series or the Tiny D6 series. Yet even these are not small enough and there is the drive to make roleplaying games smaller, often in order to answer the question, “Can I fit a roleplaying game on a postcard?” or “Can I fit a roleplaying game on a business card?” And just as with roleplaying games, this ever-shrinking format has been used for scenarios as well, to see just how much adventure can be packed into as little space as possible. Recent examples of these include The Isle of Glaslyn, The God With No Name, and Bastard King of Thraxford Castle, all published by Leyline Press.

The Pocket Sized Perils series uses the same A4 sheet folded down to A6 as the titles from Leyline Press, or rather the titles from Leyline Press use the same A4 sheet folded down to A6 sheet as Pocket Sized Perils series. Funded via a Kickstarter campaign as part of the inaugural ZineQuest—although it debatable whether the one sheet of paper folded down counts as an actual fanzine—this is a series of six mini-scenarios designed for use with Dungeons & Dragons, Fifth Edition, but actually rules light enough to be used with any retroclone, whether that is the Dungeon Crawl Classics Roleplaying Game or Old School Essentials. Just because it says ‘5e’ on the cover, do not let that dissuade you from taking a look at this series and see whether individual entries can be added to your game. The mechanics are kept to a minimum, the emphasis is on the Player Characters and their decisions, and the actual adventures are fully drawn and sketched out rather than being all text and maps.

An Ambush in Avenwood is the inaugural entry in the Pocket Sized Perils series. Designed for First Level Player Characters, the scenario has a simple set-up, plot progression, and denouement. It can be played through in a single session and will present the Player Characters with plenty of challenge for that session—perhaps too much challenge in the final scene?—whilst also allowing sufficient scope for the Dungeon Master to work the scenario into her campaign or just flesh out a few details as necessary if run as a one-shot. The set-up begins with the Player Characters about to ambush a prison cart. Inside the prison cart will be Lady Briarthorn, the leader of the resistance who has been captured by the Baron’s soldiers and is being transported to a secret location. As fellow members of the resistance, the Player Characters have this one last chance to rescue her! However, all is not what it seems.

The ambush itself is detailed on the first few pages of the fanzine, including a map and stats for the guards. Once the Player Characters defeat the guards they discover that Lady Briarthorn is not being transported in the prison cart, but rather a local healer, Bernard. Fortunately, he has overheard that Lady Briarthorn is being held in a nearby ruined tower which stands atop a flat-topped rocky outcropping. The tower itself is detailed—or rather drawn in full cross section—on the reverse of the first six pages of An Ambush in Avenwood, so essentially, the second part of the scenario needs to be unfolded and the sheet itself turned over. Here the designer has outdone himself with an entertaining illustration of the tower, its four storeys, and the camp outside, as well as in the rocky outcropping itself. The Dungeon Master can easily run the encounters in these few locations off the one page and barring the need to flip over for the stats for the guards, is given everything she needs to run the second part of An Ambush in Avenwood all the way up to the scenario’s climax.

The final scene for the adventure is quite tough. The Player Characters will need to contend with another, much more dangerous surprise—and no, it is not that Lady Briarthorn is the villain, though she does become a problem for the Player Characters—and perhaps the Dungeon Master might want to reduce or change the number of offensive spells wielded by the true villain of the piece, as a he is a tough customer. The scenario also takes a weird turn here as well, so the Dungeon Master may want to decide whether or not to include those elements if planning to use An Ambush in Avenwood as the basis of a campaign. If she does, then the Dungeon Master will also need to decide on the identity of the villain as this is left intentionally open.

Physically, An Ambush in Avenwood is very nicely presented, being more drawn than actually written. It has a cartoonish sensibility to it which partially obscures the degree of peril to be found within the walls of the tower. There is a sense of humour too in the details of the drawings, obviously more for the benefit of the Dungeon Master than her players. The combination of having been drawn and the cartoonish artwork with the high quality of the paper stock also gives An Ambush in Avenwood a physical feel which feels genuinely good in the hand. Its small size means that it is very easy to transport.

An Ambush in Avenwood is by no means a sophisticated scenario. It is simple, it is straightforward, and that means it is easy to run with very little preparation time. As the first entry in the Pocket Sized Perils series, An Ambush in Avenwood is an easy to prepare and run one-shot or campaign addition which has a charming physicality.

Aquatic Action

Reviews from R'lyeh -

A missing U-boat! A lost painting! A kidnapped journalist! Ex-Nazi villains! All classic ingredients for a mystery and an adventure set during the nineteen sixties, perhaps done as a film or an episode of an action television series made by ITC Entertainment. Or written and drawn as the plot of a French or Belgian comic, one of those bande dessinée or bédé titles starring Tintin, Spirou et Fantasio, Blake & Mortimer, or Yoko Tsuno. Or they could be the ingredients of a scenario for a roleplaying game inspired by those very same bande dessinée titles. The scenario is The U-Boat Mystery and the roleplaying game is The Troubleshooters. Published by Helmgast and Modiphius Entertainment, The Troubleshooters is the roleplaying game of action, adventure, and mystery set in an alternate nineteen sixties. This is an age of international travel, optimism, and co-operation, in which the Player Characters will solve mysteries, investigate crime, and thwart the evil plans for world domination by the secret organisation known as The Octopus. The U-Boat Mystery is the first scenario to be released for The Troubleshooters.

The U-Boat Mystery is designed to be played by between three and five Troubleshooters. Between them, they should have some decent combat skills and one of them at least, should have the Diver ability, if not the Divemaster ability, as the scenario does end in a dive on a submarine. One option might be to let the Troubleshooters have the opportunity to train before the dive itself and spend any Experience Points at that stage of the adventure rather than afterwards.

The U-Boat Mystery opens with a discussion of the Plot Hooks which will get the Troubleshooters involved in the scenario’s mystery. The four are Arch-Enemy: The Octopus, Do-Gooder, Looking for a Case, and Media Darling, and one or more of the Troubleshooters have these as one of their two Plot Hooks, enabling them to get pulled in from the start. This is a feature of The Troubleshooters and each of the Plot Hooks can be used in two ways. Either as a handout which relates the events of the Plot Hook and can be easily shared with the other Troubleshooters, or as a scene in their own right which can be played out as a prequel for each of these Player Characters, ideally before the opening credits roll… For the Troubleshooter with Arch-Enemy: The Octopus, a widow, Mrs Wallhaus gives him a map of the Sitomeyang archipelago in Southeast Asia, before she is suddenly shot and injured; for the Do-Gooder, he helps evacuate the tenants of a burning apartment block and learns that someone heard shots before the fire and that the only person missing is a widow; the Troubleshooter Looking for a Case receives an anonymous bundle of clues, all seemingly unconnected; for the Media Darling, the journalist—Pierre Martin—mentions that he is off to New York and then the Far East to cover a German marine expedition, but is then kidnapped. The Game Master does not use all four, but picks two to tie in two of the Troubleshooters cast and then their players should do their best to pull in the others into the mystery. Of the four Plot Hooks for The U-Boat Mystery, all of which are set in Paris, one of them should definitely involve Pierre Martin.
Once the Troubleshooters are on the trail of Pierre Martin, a journalist for La République, they will find further clues. These include a u-boat lost at the end of World War 2 on a long journey from Germany to Japan, a painting influenced by Wagner and said to be liked by Hitler on display as part of an exhibition in New York, a marine biology expedition being mounted by the University of Hamburg to South East Asia, and more… It should be relatively easy for the Troubleshooters to put these clues together and follow them to the island kingdom of Sitomeyang. There are side clues which though not key to solving the mystery, will help the Troubleshooters and better prepare them for events later on. These will take the Troubleshooters to Hamburg and possibly Berlin, but whether they travel to either city, or indeed to New York, their ultimate destination is Sitomeyang.

In Sitomeyang the Troubleshooters will need to track down the final resting place of the missing u-boat and then make the dive. The final scenes of The U-Boat Mystery involve them diving down to, gaining access to the submarine, and exploring it, perhaps after having sneaked aboard the marine biology (or not) vessel for further clues and probably during a confrontation with the rival dive crew. The dive and the exploration of the submarine is described in some detail and will require some careful planning upon the part of the Troubleshooters as it is technically challenging and could get them into serious trouble if it went wrong. The confrontation is excitingly staged and makes for a great climax in the mode of the underwater scenes from the James Bond film, Thunderball. Throughout the whole of the adventure, the Troubleshooters will find themselves watched, harried, and even attacked, only adding to the tension and excitement of the adventure.

In terms of support for the Game Master, The U-Boat Mystery comes with eleven NPCs and sixteen enemies—one of whom is weird indeed! Besides the four start-up handouts, The U-Boat Mystery includes seven clues and handouts, as well as deck plans for both the enemy ship and the submarine. Details of the city of New York—including such information as Fiddler on the Roof having just opened, and the fictional kingdom of Sitomeyang are provided in the same format as the city descriptions in the core rulebook, meaning that they can be revisited again and again. Similarly, the new gear kits can also be used elsewhere.

Physically, The U-Boat Mystery comes as a handsome hardback, presented in full colour, with some fantastic artwork done in the bande dessinée style. The handouts are very nicely done—the book actually comes with a handful of tourist visas for Sitomeyang!—though the deck plans of the submarine and the boat belonging to the rival marine biology could have been clearer. However, the scenario does feel as it could have been better organised to be a clearer read for the Game Master, certainly in the opening stages when explaining the various clues. One aspect of The U-Boat Mystery which is optional is its Science Fiction elements. The mystery does involve Nazi fringe science and its side effects as written, although neither is crucial to the plot, and they do send the scenario off in a slightly wacky direction.
The U-Boat Mystery is overall, a very nicely done scenario. Neither its mystery nor its clues are particularly complex, meaning that the players and their Troubleshooters can concentrate on the action and the roleplaying as they round them up and put them together. Every Game Master of The Troubleshooters will want to grab The U-Boat Mystery for her campaign because the scenario is exciting and fun, and the players and their Troubleshooters will thoroughly enjoy themselves.

The OTHER Old School Gaming

The Other Side -

I love my old school games. No shock, spend any time here at all and you can see that.  I enjoy a good retro-clone. Especially if someone puts a little spin on it as well.  Well, that feeling extends to my computer gaming as well.

Brief history and many of you have read this before. I bought my first computer, with my own saved up money, back in 1985.  It was a TRS-80 Color Computer 2 and I plugged it into a TV.  It had 16k of RAM, and ran at about 900 Kilohertz.  No disk drive. I had to save everything to cassette tapes.  It did have color though and that to me made it better than the TRS-80 Model IIIs we had at school.  In fact it was very much like this computer.

TRS-80 Color Computer 2

This particular computer was given to me by my brother.  He got it from my old High School DM.  We had the same computer, only his was 64k and had a floppy disk drive.  I would upgrade to the Tandy Color Computer 3 with 128k of memory, running at a whopping 2 Megahertz and a floppy drive.

The computer above though was in sad, sad shape.  In addition to a lot of yellowing it had, according to my brother who is an engineer, a broken pin on one of the epromms.  He tried fixing it, but it was DOA.

So I decided to build my own Tandy Color Computer Retro-clone!  But first I needed some supplies and that case needed work.  A lot of work.

Step 1.  Cleaning and Bleaching

The case was a mess and the insides were not much better.

Autopsy of a CoCo2
Autopsy of a CoCo2
Soapy water does wonders
Soapy water does wonders

With some of the grime gone I got out some plastic restore bleach and set it all up under some UV light.

Yellow. The bane of computers
UV light
UV light
UV light

Honestly, I kept it under the light for about a week.  But I can't argue with the results.

Like New!

Part 2. Proof of Concept 

While that was taking a bath in bleach and getting some fake sunlight I worked on my proof of concept.  I had my youngest print out a mini Color Computer case for a Raspberry Pi B.  I also began ordering everything I would need.  Keyboard, USB cables, new case badges, HDMI cables, a USB 3 port, and of course a new Raspberry Pi 4.  

Mini CoCo

While waiting on everything to come in I played around with my proof of concept computer.

Proof of Concept
Boot
CoCoPi
BASIC. I still got it!
COLOR!
CoCo emulator

The CoCoPi emulator even allows me to switch out which classic CoCo processor I can use the MC 6309E or the MC 6809S (my preferred choice).

Got the keyboard and the USB 3 port so those also got tested with the Pi B.  I was able to get the USB 3 port fitted into the old CoCo cartridge slot.  So that was one thing out of the way.

USB 3 port
USB 3 port
Port repicator
Port repicator

I felt that bit came together rather well.  The next part was a little more involved.

Part 3. The Miracles of 3D Printing

I needed to replace all the joystick, cassette, and serial ports with the 21st-century equivalent, USB. My plan was to route high power draw USB 3 to the side port and keep the back for USB 2.  I also needed to replace the TV Out with HDMI.  Unlike the Pi B, the Pi 4 has two HDMI ports, so I needed to work that out.

gotta have a plan

The keyboard is a great size, just a touch too small, and no way to get it into the case and have it stay in place.  Plus I am hard on keyboards, so I needed to make sure it was sturdy.  So the first task, 3D print a keyboard tray.  This is FDM print. Our resin printer is acting up and the bed for it is way too small for this size print.

FDM printed keyboard tray
Keyboard

Not bad.  Now to print the ports.

In addition to printing the ports that go in the back of the computer I got some new male-to-female cables for USB (with splitters), and micro HDMI.  Since they were going to plugged in and out a lot I needed to be sure they were secure.  So I also broke out the resin.  Before fitting the new ports to the computer, I fit the new cables to the ports.

3D Printed Ports
USB
curing the resin
curing the resin
inside

USB went in like a charm.  Next the HDMI ports and power cable.  Sadly though, I had to cut the case of the full-sized HDMI.

had to cut the case
HDMI
power

Though all took a bit to dry and cure.  I was getting close now!

Part 4. Putting it all Together

I knew the hardest part was going to be getting all the cables in.  It was easier than expected except the HDMI kept coming undone.  Still not 100% happy with it.  I had to abandon my plan to also have an ethernet port. It doesn't need it since it has built-in WiFi, but it would have been nice.

Cables stuffed into the case, case screwed back up, time to boot up!

Keyboard lights up!
DOS box works
PC Dragon emulator works

The keyboard lights up (it is a Color Computer after all!) and the DOS box and CoCo emulators work! With that time to put on the new case badge.

case badge
case badge
back

Grab some more emulators from my Pi B and fire up my new retro gaming machine!

DOOM!!!!
Adventure!
Yar's Revenge!

The computer is running Raspbian which is a stripped-down version of Linux Debian for the Raspberry Pi.  I prefer Ubuntu for my Linux, but this is working out fine. 

To match the spirit of the CoCo my side USB 3 port also has an SD Card reader.  So I rummaged through the house to collect all the old SD cards we have laying around.

SD cards
Inserting software on the side

I'll load some programs on these and I'll be able to load software on the side of my CoCo just like the old days!

I spent a long time on this, and maybe way too much money. BUT now I want to do another one! I mean, I already have two, the proof of concept model with the Pi B and the full case with the Pi 4.  There is a micro Windows computer out there that would fit into this case and there is another keyboard that also glows red, green, and blue (proper CoCo Colors) but it is white instead.  Maybe I should wait though.   I have always wanted to gut out a TRS-80 Model 4 and make that into my own version of the proposed, but never produced, Color Computer 4.

In the language of the OSR movement, this is retro-clone.  It uses new mechanics/hardware to simulate/emulate an older experience.  I am not running OS-9 (the OS for the Color Computer) and I am not sure I want to at this point.  While the CoCo is my love, I also enjoy the ability to run an Atari 2600 emulator on it and DOS Box.  So I guess my next step is to grab the Gold Box AD&D PC games and play them on this.

One last look at the before and after.

Before
Before

And After

After
Facebook on a CoCo!

I am very, very pleased with how it turned out.

Now to start trolling some auction sites for a TRS-80 Model 4 and figuring out what keyboard and monitor I can fit into that case.  I already have some old external drives I could fit into it.

A B-movie Quick-Start

Reviews from R'lyeh -

Party Beach Creature Feature! A Jumpstart for They Came From Beneath the Sea! is a quick-start for They Came From Beneath the Sea!, the roleplaying game by the B-movies of the fifties and sixties in which the small-town beaches of America are imperiled by Communist crustaceans, aquatic agitators, and tentacular terrors. This is a roleplaying game of bad acting, no-budget budget breaking special effects, inspired by The Creature from the Black Lagoon, It Came From Outer Space, The Beast From 20,000 Fathoms, Them!, Monster From the Ocean Floor, and many, many others! Published by Onyx Path Publishing, Party Beach Creature Feature! A Jumpstart for They Came From Beneath the Sea! provides everything necessary for a gaming group to give the roleplaying game a try and perhaps even use it as the starter scenario to a campaign set on the cheapest, schlockiest film sets of the nineteen fifties. This includes a basic explanation of the rules, a nine-scene scenario—the ‘Party Beach Creature Feature!’ of the title, and six pre-generated Player Characters or Survivors, plus Trademarks for all of the Player Characters, Quip Cards, and Cinematic Cards.

Party Beach Creature Feature! A Jumpstart for They Came From Beneath the Sea! employs the Storypath system. A distillation of the earlier Storyteller system, it is simpler and streamlined, designed for slightly cinematic, effect driven play. The core mechanic uses dice pools of ten-sided dice, typically formed from the combination of a skill and an attribute, for example Pilot and Dexterity to sail a boat, Survival and Stamina to cross a wilderness, and Persuasion and Manipulation to unobtrusively get someone to do what a character wants. These skill and attribute combinations are designed to be flexible, with a character’s preferred method being described as a character’s Favoured Approach. So a character whose Favoured Approach is Force, would use Close Combat and Might in a melee fight; if Finesse, Close Combat and Dexterity; and if Resilience, then Close Combat and Stamina.

The aim when rolling, is to score Successes, a Success being a result of eight or more. Rolls of ten count as two in They Came From Beneath the Sea!, rather than the capacity for the player to roll again for further Successes. Typically, a player only needs to roll one Success for a character to succeed at a task, though it can be as many as three, and ideally, he will want to roll more. Not only because Successes can be used to buy off Complications—ranging between one and five—but also because they can be used to buy Stunts which will impose Complications for others, create an Enhancement for another action, or one that makes it difficult to act against a character. Stunts cost at least one Success and a range of stunts is given in the pages of Party Beach Creature Feature! A Jumpstart for They Came From Beneath the Sea! These include ‘Government Trained Sharpshooters’, which for one Success lowers the Degree of Difficulty when attacking a specific target; ‘Always Another Way’, which enables a Survivor to get out of a tight spot or around difficult situation for two Successes; and ‘Forensic Eye’, which grants clues about the aliens involved in the mystery for two Successes. Instead of adding to the number of dice rolled, equipment used adds Enhancements or further Successes for a player to expend, but the player needs to roll at least one Success for equipment and thus the Enhancement to be effective.

Under the Storypath system, and thus in They Came From Beneath the Sea!, failure is never complete. Either a player can spend a Rewrite to reroll; accept the failure, accept its consequences and a Consolation; or if the roll was a failure and a one was rolled on the die, suffer the consequences of a Botch and earn two Rewrites for the Writer’s Pool.

Party Beach Creature Feature! and They Came From Beneath the Sea! uses a number of mechanics which help enforce the genre. Every Survivor has access to a number of Trademarks, each tied to a particular skill, for example, ‘Big Stick’ for the Persuasion skill or ‘Subaquatica’ for Athletics, which can be used once per story. These typically grant the player two extra dice on a related roll per Trademark, but when activated and there are some Successes left over from the completed task, a player can actually gain Directorial Control of the film. In this case, the player can add or remove one detail from a scene for each Success spent in this fashion. A Survivor also has Quips, like ‘I’ve seen some aquatic nightmares before, but this takes the caviar…’ or ‘Not to be nosy, but… do those eyes belong to you?’ When used, they require everyone around the table to vote whether or not their use is appropriate, but if a Quip is successful, it earns a player another die to roll. Further uses of it can gain a player more dice. If the roll resulting from a Quip consists of three or more Successes, that Quip is considered Award-Winning and gains the player an additional Quip and the immediate use of a Cinematic without using Rewrites.

Rewrites are another genre-enforcing mechanic and are drawn from the Writers’ Pool, which is a group resource. They require all players to agree to their use, but with that agreement, a Rewrite can be used to make rerolls or add dice to a roll, as well as to active Cinematics. Five such Cinematics are included in Party Beach Creature Feature!—there are more in They Came From Beneath the Sea!—and these are ‘Call the Understudy’, ‘Cheap Set’, ‘Deleted Scene’, ‘Scene Missing’, and ‘Summon the Stuntman’. One last genre-enforcing mechanic is the Death Scene in which a Survivor gets to make one last chance to impart wisdom, make a request, give a soliloquy, and so on…

The rules in Party Beach Creature Feature! A Jumpstart for They Came From Beneath the Sea! are in general clearly explained and all easy to use in play. They are specifically designed to encourage and support cinematic play, even badly cinematic play, and whilst they are genre-enforcing, there are quite a few of them. So as much as the players need to lean into the genre and their Survivors, they also need to lean into the genre-enforcing mechanics—the Rewrites, the Cinematics, the Trademarks, and more—to get their full effect. This is not an impediment to play as such, but more of a requirement than players might expect of the roleplaying game.

A Survivor in Party Beach Creature Feature! and They Came From Beneath the Sea! has nine Attributes—Intellect, Cunning, Resolving, Might, Dexterity, Stamina, Presence, Manipulation, and Composure; a range a skills, some with associated Trademarks; and Connections, Quips, Tropes, and Favoured Stunts. Attributes and skills range in value between one and five dots, each dot adding a die to a dice pool. Trademarks are equivalent of advantages and Quips wisecracks, both of which grant a player extra dice, whilst Tropes are more personal advantages, such as ‘Hand-to-Hand Fighting’, which grants an extra die when in melee combat or ‘Eureka!’, which means the Survivor is good at putting clues together and can gain an in-depth understanding of a clue once per session. A Survivor also has a Path each for his Archetype, Origin, and Ambition, but these do not play a role in the jump-start, whilst of his three Aspirations, or goals, only the two short term Aspirations really count in Party Beach Creature Feature! A Jumpstart for They Came From Beneath the Sea!

The five characters included in Party Beach Creature Feature! A Jumpstart for They Came From Beneath the Sea! consist of an Everyman Department Store Clerk, an Adventuring Psychologist, a Disgraced Cop from the local police force, an Everyman Beach Bunny, an Investigative Girl Next Door Journalist, and a Preparation Enthusiast. Each is presented in full colour over two pages with the character sheet on one and an illustration and background on the other. The character sheets are easy to read and the background easy to pick up.

The scenario, ‘Party Beach Creature Feature!’, is set on a hot summer’s night in Darien, Connecticut. The Director will need to decide if the budget of the movie is low, big, or art, and to what degree Exploitation plays a role in its filming. Involving nine scenes over three acts, the scenario begins with everyone on Weed Beach before several fearsome fishmen rise from the waves and attack! The Survivors must not only hold off the attack but discover why the fishmen are so interested in the ‘jazz cigarettes’ which local small-time dealer, Sonny McGee, has been selling. This will lead the Survivors in a most unexpected direction. ‘Party Beach Creature Feature!’ is a short mystery, though with decent opportunities for inaction and investigation, combat and stealth, and it is supported with staging advice for the Director throughout. Each of the nine scenes is very clearly organised with explanations of how the Survivors got there, what they need to accomplish, the opposition they face, and the goal of the scene all laid out for the Director, making them easy to run. The plot is linear, but that is not really an issue in a Jump-start which is intended to introduce both setting and mechanics of They Came From Beneath the Sea! It should take a session or so to play through, which will mean that each player is only likely to get to use one or two Quips or Trademarks at the most. The short length means that, barring the adult element of ‘jazz cigarettes’, ‘Party Beach Creature Feature!’ could also be run as a convention scenario.

Physically, Party Beach Creature Feature! A Jumpstart for They Came From Beneath the Sea! is a slim softback, done in black and white bar the Survivor backgrounds and illustrations. The artwork is decent and captures a little of that beach party giddiness before something walks from the waves and wreaks havoc! It could have benefited from a little better organisation so that all of the content for the players and their Survivors could have been placed together, but if there is a real issue with Party Beach Creature Feature! A Jumpstart for They Came From Beneath the Sea!, it is that above and beyond the Storypath system, the rules in the Jump-start do add a handful of new moving parts. As good as those new rules are, and as much as they help enforce the genre, what the Jump-start could have done with is a cheat sheet explaining all of them for the benefit of the players, rather than having to explain them more than is necessary.

Although it needs a little more preparation than perhaps is necessary to ready the players for the rules, Party Beach Creature Feature! A Jumpstart for They Came From Beneath the Sea! has everything the Director and her players need for one night’s session of seaside scares, aquatic agitation, and B-movie budget beastliness. Anyone looking for chills on the cheap and scenery scrunching stagecraft should get ready to ham it up to the horror that comes ashore in Party Beach Creature Feature! A Jumpstart for They Came From Beneath the Sea!

This Old Dragon: Issue #113

The Other Side -

Dragon Magazine #113Reaching into the box of musty old Dragons I keep under my desk I find this little gem from September 1986.  I was a senior in High School and dying to get out.  I had just auditioned for the part of Dr. Seward in our school's performance of "Dracula."  Steve Winwood and Chaka Khan were singing about Higher Love.  It's fall of 86 and this is This Old Dragon issue #113.

My copy does not have a cover, but thankfully I still have my trusty Dragon CD-ROMs.  And this is one of my favorites.  I had just rolled up a cavalier from the Unearthed Arcana and I figured this was a good representation of him.  This particular cover was painted by Robin Wood.

Given the mustiness of my copy I might be sticking with the CD.

Kim Mohan talks about how he spent his summer, working on the new Wilderness Survival Guide, a follow-up to the Dungeoneer's Survival Guide.  We ate those books up in our group.  I remember going back and trying to retcon proficiencies for all my AD&D characters in play, some had gotten to fairly high levels.   These days prefer a much simpler skill system.  D&D 5 is a good example. And many "cinematic" point-buy systems.  In my OSR games, I more or less let my players tell what they are good at and leave it at that.  For example, I'll mention Erky Timbers below. He is a gnome who is an expert on cheese. He gets a +2 on any rolls involving cheese.  It comes up more often than I expected.

Letters cover something timely for me, responses to the Hooves and Green Hair article from Dragon #109

The Forum covers questions about HD and quibbles about the Unearthed Arcana.

A nice big colorful ad for the Dragonfire II Dungeon Master's Assistant software.  There is a review in Dragon #116, so I think I'll get into the details of it then and there.

Out big section for this issue is all about Hades, the Land of the Dead.  It looks to square the mythological Hades, a place of gloom but not really evil with the D&D Hades, a land of Neutral Evil.  Bruce Bauer gives us the treatise and his bibliography is top-notch for the time.   Like the nature of the planes in AD&D 1st ed, the article spends a lot of ink on how spells work or don't work, in this land.  There is a bit on the land itself and the various rulers.  This is sort of the problem I ran into in One Man's God, there is mythology here based on real-world myths mixed all together that don't always work out.  Still, though it is a fascinating read and a topic that often gets lost when dealing with the Lower Planes.  The material is still good today and not entirely incompatible with newer games. 

An old friend of the Other Side Vince Garcia is back with A Capital Idea. Vince covers how the PCs can make money becoming business people. I go back to this article every so often because every so often I get a player that wants to go into business.  Currently, my youngest's character, Erky Timbers, wants to hire a legion of gnome artificers to build magic items.  Erky is taking all his treasure and putting it to this goal.  Gods help me if he figures it all out.

Nice ad for the Dragonbone dice roller and the Dragonskin book covers.  They looked cool, too bad they tended to melt onto the covers of books and ruin them.  

John C. Brunnell is up with The Role of Books. Covered are Janet and Isaac Asimov's The Norby Chronicles.  Janet Morris takes a break from Thieve's World to go to Hell in Heroes in Hell. The one I read back then was Diane Carey's Dreadnought! about the Dreadnought class starship in Star Trek. 

Folklore is the topic in Thomas M. Kane's The Tales People Tell.  This is the backstory part of world-building that so many of today's gamers love. It gives examples of tales from our world and how they are used and then provides some examples.  Though to really use this article well you should read Kane's examples, but make up your own.  

Computers are all the rage in the 80s and Mike Gray reviews Ultima IV in Magic and Morality. Gray mentions he hates giving rave reviews since they are rarely accurate, but he raves about Ultima IV: Quest of the Avatar.  He talks a lot about the morality of the game and even mentions that *shock* you can get through it without a lot of combat!  He makes the claim that this is the closest that anyone has gotten (so far) to a full-fledged RPG experience on a computer.  

Clout for Clerics is a good article to expand the role of the Cleric and give them some followers.  James Yates gives us lesser clerics and man-at-arms followers for clerics and explains why, out of all the classes, they should have them. 

A Saddle's Not Enough by Mike Albers covers the historical importance of the stirrups. This actually helped me on a history exam later in life. 

William Carlson covers combat in the Conan RPG from TSR in Combat Complexity.

Our centerpiece is a cut-out cardboard dragon that my issue does not have.  The CD-ROM has it, but no idea if it is complete or not. 

Ah, now time for a bit of a look into the Way Back Machine.  First is TSR Previews with what are going to be the hot new titles from TSR in November 1986.  The Wilderness Survival Guide is coming out for AD&D. The Creature Catalog for Basic D&D is on the way and wait, what's this a SEQUEL to Ravenloft?  Ravenloft II: The House on Gryphon Hill? Sign me up!  We also get the Convention Calendar for September/October 1986.  

TSR Creator Profiles feature the late great Keith Parkinson and the still great Bruce Heard. 

A Difficult Undertaking is our fiction bit from none other than Harry Turtledove. 

Easy as 1, 2, 3 from Rick Swan talks about how to make NPCs more interesting.  This article largely focuses on how to make the best use of tables on pages 100-102 of the Dungeon Master's Guide. 

Larry Church tries to tempt me with better math in One Roll, To Go.  Using his binomial tables he has you reduce the numbers of rolls you need to make.  Nice idea, bad concept though.  Why? People love dice and love to roll them.  While rolling less might mean a faster game it doesn't mean a more fun game. 

Top Secret gets in on the Top Gun craze with military aircraft in Top (Secret) Guns.  My first college roommate was Air Force ROTC. Nice enough guy, but fuck I never want to see Top Gun again. Though that soundtrack by Berlin was quite good. 

Mike Sitkiewicz is a triple threat with his Minimagic article where he painted the minis, built the dioramas, and took the pictures.  See for yourself.

Minimagic

Like many of us, Scott A. Hutcheon loved the Terminator movie (there was only one still) so he gives us Cold Steel, various hunter and killer robots for Gamma World 2nd Edition, with 3rd Edition notes promised.  I can't throw stones really. I even wanted to try out a "Terminator" like future in Gamma World of the last of the pure strain humans vs killer robots I called Machine World, gleefully stolen from the Queen song of the same name

Ah some Traveller goodness. Here we get Star Cops! from Terrence R. McInnes.  It is still three years before COPS hits the Fox Network, but if you start humming Bad Boys no one is going to stop you.  This article is also one of the reasons why I don't have a Dragon CD-ROM for issues past 250.  This article is copyrighted by McInnes, so likely there were never any second-run or reprintings allowed.   Anyway, this article deals with character creation for police forces. It actually looks rather fun.  

We get to the small ads. You can cast your own metal minis for just pennies! Get your own custom full-figure character from Avil Enterprises (always wanted one) and ads for various game stores including the legendary Wargames West. 

Tramp was making some news again on social media so it is a bit bittersweet to see Wormy here. Dragonsmirth has the normal silliness, but this issue has extra black mold. Not happy.  And three pages of Snarf Quest.

All in all not a bad issue. Not a completely memorable one. But not bad.  Though I am going to need to double up on the Benadryl after this one. 

Dragon #113

Review: The Witch-Queen's Lament (OSRIC Adventure)

The Other Side -

The Witch-Queen's LamentA couple of weeks back I noticed a posting in one of the Greyhawk groups on Facebook about a new adventure. It was called The Witch-Queen's Lament so you know it immediately had my attention. The adventure was designed for OSRIC and had an old-school module look and feel to it.  I didn't know much about it to be honest, but I was sure I was going to get it.  I went over the publisher's website, casl Entertainment, and bought a copy of the PDF and perfect bound softcover.  While I was predisposed to like it, getting the PDF made me quite excited for it.

The Witch-Queen’s Lament

An adventure for character levels 6-9 (70,002 total experience points) for OSRIC or compatible games. PDF and softcover available, 95 pages.

This adventure is "compliant" (I think "compatible" is the word they want, it is "compliant" with the OGL) with OSRIC.  This really means it can (read should) be used with AD&D 1st Edition.  It will work with other games too, but more on that.

This adventure is designed for Tournament play. That is why we have the 70,002 XP value on it and there is a tournament scoring sheet.  IF you wish to play this adventure with tournament rules and scoring my advice is do not change anything about it.  I have run a few tournament adventures with scoring and this one feels like it put together well. My concern would only be can you fit it into the four-hour time slot?  I am 100% certain that author Carlos A.S. Lising has and has done so many times.  I am not sure *I* could do it.  That all being said I want to look at this from the point of view of a campaign, and my War of the Witch Queens campaign in particular. 

So let's start back at the beginning.  This adventure was the official Tourneyment adventure for GrogCon 2021.  Looking over their catalog it looks like they have run a few adventures at other old-school cons as well.  This bodes well.  The adventure was written by Carlos A.S. Lising, with cover and interior art by Daniel Govar, and cartography from Glynn Seal.  Carlos A.S. Lising is a huge fan of module S4 The Lost Caverns of Tsojcanth which is also one of my favorites. This makes me optimistic for this adventure.

Now when this was announced for sale there was a little bit of wailing from the usual suspects in regard to the module code, G2, on the cover.  With many complaining that this was not really G2.  Sorry but the TSR G2 The Glacial Rift of the Frost Giant Jarl is over 40 years old now and neither TSR nor Gygax owned the letter G.  I am sure the G, in this case, stood for "GrogCon."  If this bugs you, be like Elsa and let it go.

On to the adventure proper.  We learn right away that the eponymous Witch-Queen is none other than "Natasha the Dark" aka Tasha, aka Tashanna, aka Zyblina, aka Iggwilv herself!  Ok. You now have my undivided attention.  We get a bit of backstory on Natasha the Dark including her becoming a Daughter of Baba Yaga, and her sisters Vasilisa (Elena) the Fair and Anya the Plain.  Anya is going to be our focus here since she has gone missing with Natasha's matryoshka doll. This was no ordinary doll, this nesting doll held a bit of Natasha's soul/life force and has kept her immortal for centuries.  Natasha, it a bit uncharacteristic token of love, gave the newly enchanted doll to Anya for safe-keeping, knowing her sister would love it and cherish it. The side effect has been that as long as Anya has the doll she will also be immortal, just stuck in the form of a 12-year-old girl.

The doll, and Anya, has now been stolen and IggwilvNatasha needs you all to get it back.

As far as adventure hooks goes this one is a good one.  The doll is in the hands of an evil Wizard named Andrei Anazinov who knows it is special and knows Anya has never aged. He trying to discover its secrets.  So get the doll before the wizard figures out Natasha's immortality.  The adventure overtly makes it about saving Natasha's immortality, but as you read it the real reason is also uncovered, the ancient Witch Queen still loves her little sister. Undoing the immortality would be bad for Natasha, but it is also likely she has many safeguards in place.  It would however kill Anya outright.

I don't want to go too much deeper than this in case potential players read this.  It is a MacGuffin search, but a fun one and a chance to interact with one of the more notorious characters in D&D lore.

Comments on the Adventure

A few comments.  I can completely understand why Natasha wants the doll and Anya back.  I even understand why she wants good adventurers to do it.  I am not sure why someone of Natasha's caliber would a. let the adventurers know who she is and b. what the doll is.  It seems to me that good or evil the party might want to hide or destroy the doll to stop an evil witch queen.  When I run this I am going to need another reason.

The maps are great. I am glad I have to PDF to print them out on my own.

There are some cool new monsters (a must in any adventure) and magic items.  There is even a pronunciation guide. 

New Monsters

One nitpick. None of the pages have page numbers on them. Seems a touch odd, but I can deal.

Sixteen pages are given over to the 8 pre-gen characters.  So that is nice.  There are also tournament scoring sheets.

Adapting for War of the Witch Queens

I bought this adventure with idea of adapting it over to my War of the Witch Queen campaign.  This is not the first "Witch Queen" adventure I have bought, nor will it be my last I am sure.   The fact that it includes Natasha/Iggwilv just makes it more perfect to be honest.

War of the Witch Queens

So here are my changes.

I am not running this as a tournament since I am going to be using OSE-Advanced Fantasy for it. There will be some more tweaks for the rules, but I think it is going to work out just fantastic really.

Natasha/Iggwilv is not going to let the adventurers know who she is or why she wants the doll back.  I am going to have her disguise herself as Elena the Fair and "Elena" will be hiring them to rescue her sister Anya. This way she feels she is not lying about her mission.  In the end, Anya will out "Elena" as Iggwilv, but the terms of their agreement will remain.  Maybe Vasilisa the Beautiful will show up to take Anya.  I have Elena and Vasilisa as two separate characters. 

I love the whole Russian feel to all of this, but I am going to take out Andrei Anazinov and replace him with Kelek.  Kelek has had some dealings with Iggwilv already and he is the "big bad" of the War of the Witch Queens.  I need an adventure to get him in front of the PCs instead of making him a behind the shadows guy.  Andrei is a 14th level wizard. I made Kelek a 15th level magic-user/necromancer.  Also in my games Kelek is looking for ways to make himself ever young, he thinks Anya (not the doll) is the answer.  Kelek is a misanthrope, so kidnapping and experimenting on a little kid is kinda on-brand for him So this all fits.  

Plus I have these great minis to use

There might be other little tweaks along the way. More winter wolves and worgs to be sure. I am certainly going to steal ideas from the newer 5e versions of Iggwilv and Kelek and I am also going to steal ideas from the Pathfinder Witch War series.

The Witch Queens at War

There are more adventures on the casl Entertainment website. Including one, C11 - When Comes the Witching Hour, that looks like it could be Iggwilv on the cover.  So I am going to need to check that one out as well.  Just watched this video and yup, looks like it is! I have to go get it now.

Shopping Mauled: Revisiting ‘The Mall: An Attempted Escape from Everyday Life’

We Are the Mutants -

Ty Matejowsky / February 9, 2022

By now, dead shopping malls are as much a part of the popular imagination as they are blighted fixtures of suburban landscapes: sprawling vestiges of a bygone era when droves of consumers flocked to self-contained hubs of retail commerce, embracing late stage capitalism’s aspirational promises, seeking distraction from the inertia of edge-city ennui. Today, abandoned shopping malls haunt spaces of modernity in ways both real and notional, leaving baby boomers and Gen-Xers to confront varying levels of nostalgia and angst as memories of frequenting the enclosed facilities during their halcyon heyday collide with the stark realities of their prolonged and seemingly irreversible decline.

Doubtless, part of the sentimentality surrounding this emergent “mallstalgia” is the conspicuous foregrounding of multi-tier shopping centers in recent popular culture, including Stranger Things Season 3 (2019) and Wonder Woman 1984 (2020). Such depictions—what with their gleaming chrome surfaces, pastel-tinged aesthetics, and requisite new wave needle-drops—exert an outsized influence over how we (mis)remember indoor malls, never mind the commercial primacy and unique subcultures (e.g., mall rats, mall walkers) they once engendered. Amid such vivid renderings, it’s instructive to revisit contemporaneous accounts of mall life published at the height of their 1980s popularity, if for no other reason than to avoid overly romanticizing or essentializing these prevailing generational touchstones.

Notable among these is sociologist Jerry Jacobs’s slender 1984 monograph The Mall: An Attempted Escape from Everyday Life, which makes for some curious if occasionally vexing reading nearly 40 years after its initial publication. Boasting perhaps the least inspiring cover image of all time—a blurry black and white photo of a giant concrete planter sitting amid the half-shadows of a nondescript mall interior—the book came out as part of Waveland Press’s Case Studies, a multivolume academic series familiar to most ‘70s and ‘80s anthropology students.

In The Mall, Jacobs trades the indigenous societies and far-flung research locales of his series peers for the apparently pseudonymous Oldtown Shoptime Mall, an L-shaped, 750,000 square foot retail venue built in 1975, housing some 115 individual stores, and presumably located in upstate New York near his home institution of Syracuse University. Like most other early ‘80s malls, the Oldtown featured a healthy mix of retail and entertainment offerings: video arcades, banks, restaurants, department stores, and specialty shops selling jewelry, music, shoes, men’s/women’s/children’s apparel, sporting goods, books, greeting cards, and gifts. Local teenagers, housewives, and retirees are among those Jacobs identifies as frequent mall-goers, their comings and goings overseen by management staff and minimum wage-earning security guards.

Jacobs’s stated aim is to present “a documentary and ethnographic study of shopping malls in the United States and their profound influence on transforming our urban and suburban landscapes.” He largely achieves this objective when discussing things like tenant composition, mall security measures, and crime statistics (it is employees and not shoplifters who inflict the most “shrinkage,” or store inventory losses). More effective is when he documents the attitudes and behaviors of mall denizens, capturing in sometimes granular detail the ephemera of their casual conversations and social interactions. To wit, Jacobs records some bored high schoolers detailing what they find “weird” in other mall guests (“people who do their hair weird, wear dumb clothes, or wear ‘high waters’”).

Less productive are Jacobs’s attempts to situate his findings within established theoretical concepts. For example, he argues that the social life of shopping malls approaches Durkheim’s “society of saints.” That is, since “nothing unusual is happening” at malls, any untoward teenage or adult behavior, however slight, is unduly magnified and labeled deviant. Unlike the aberrant behavior that he associates with downtown business districts and their various “stigmatized persons” (“vagrants, drunks, prostitutes, street people, ex-mental patients, the retarded, or many blacks and ethnics”), the threshold for appropriate shopping mall behavior is so high, according to Jacobs, that any misstep can invite serious reprimand or sanction.

He further critiques malls by arguing that those frequenting them indulge in what he terms a “shrinking world,” a place where people seek out “a wide range of diversions, e.g., T.V., video games, the ‘walkman’ craze, alcohol, drugs, transcendental meditation, mental illness, art, science or rubic [sic] cubes” to avoid interpersonal interactions and escape the tedium of everyday life. For Jacobs, shopping malls remain places where the tacit promises of social transcendence and personal gratification ultimately go unfulfilled. If these assertions seem a bit tentative or lacking rigor, then readers had best brace themselves for the gratuitous editorializing and anecdotal asides that Jacobs deploys throughout The Mall. The book is chock full of strange digressions that only tangentially relate to its stated research aims.

For instance, when theorizing why shopping malls lack adequate restrooms, Jacobs suggests that they not only serve as potential sites of “crime against persons” but also “other sorts of offences such as ‘tea room trades’ (casual homosexual activities in public restrooms),” adding, inexplicably, that “the author [Jacobs] inadvertently blundered in on a situation of this sort in the restroom of an upper-class department store that anchored one end of a large shopping mall in Northern California.” Similarly, he devotes considerable pages to the perceived socio-psychological effects of coin-operated arcade machines on impressionable ‘80s youth. When addressing the future implications of adolescents spending so much time in mall arcades, Jacobs assumes the moral panic posturing of then U.S. Surgeon General Dr. C. Everett Koop, who said in 1982: “Their body language is tremendous and everything is Zap the enemy. There’s nothing constructive in the video games.” As if to further challenge the legitimacy of video games, Jacobs then relates how an Oldtown Shoptime Mall arcade was moved from its original location near a mall entrance to a less accessible area within the shopping center’s basement owing to the actions and threatening presence of “lower class black and white teenagers,” “dope dealers,” and other “undesirables.”

Such finger-wagging gives way to hyperbole and heavy-handedness in the book’s final section. Here, Jacobs drops any pretense at understatement, arguing, for example, that the “promised safety, comfort, and entertainment” of malls are on a “scale [that] has not been seen since the court at Versailles.” No less excessive is the book’s curveball ending. On the last two pages Jacobs warns against seeking escape in things like shopping malls by abruptly recounting the tragic 1983 news story of a 13-year-old California boy who killed himself after his father removed a bedroom television to prevent him from binging soap operas.

So, what to make of this obscure bit of academic ephemera? How should 21st century readers approach what is arguably the first in-depth account of American mall culture compiled by a social scientist, never mind one that inexplicably ends with a teen suicide note. Does this flawed account of a once novel topic of ethnographic inquiry add any new dimension or counterweight to the generalized and deepening nostalgia gaining currency nowadays across popular culture? In considering such questions, it may prove useful to juxtapose this on-the-ground snapshot of early ‘80s mall life with another critique of American modernity, one also suffused with an underlying sense of dread that showcases the ultimate emptiness of Reagan-era consumerism and media information overload. That is to say, The Mall can and maybe should be read as an addendum or companion piece to Don DeLillo’s darkly comic novel White Noise (1985), the story of Hitler Studies professor Jack Gladney and his fourth wife Babette searching for meaning amid a stitched-together family of children from previous marriages, a drug that suppresses the fear of death (Dylar), and an “airborne toxic event” that completely upends their middle-class existence.

A central setting of White Noise—a book itself with no shortage of digressions and seemingly pointless anecdotes—is the ten-story Mid-Village Mall (“a vast shopping center out on the interstate”) where, encouraged by his wife and (step)children, Jack spends an evening roaming fugue-like from store to store buying stuff he doesn’t need, and then driving home in contemplative silence. So immense is the Mid-Village Mall, in fact, that an elderly couple gets lost for two days among its vaulted interior spaces, eventually taking refuge in “an abandoned cookie shack,” before finally being discovered “alive but shaken.” As a sociological primer for the themes DeLillo more trenchantly explores in White Noise, The Mall provides some real-life observations grounded in ethnographic fieldwork. Read together, these nearly 40-year-old books work to demystify some of the idealized trappings retroactively projected onto enclosed shopping centers. More readily, they emphasize inchoate or latent existentialism characterizing mall-going at the height of its ‘80s popularity, as well as the gaping void that persists within so much of our consumerist lifestyle. Jacobs’s The Mall hints at many of the same issues as White Noise, now considered among DeLillo’s most popular and enduring works, albeit with much less eloquence and intentional humor, perhaps leaving some to ponder just how this curious retail ethnography got greenlighted, much less published.

Either way, the malls that Jacobs and DeLillo variously documented in the 1980s no longer wield the same cultural cachet they once did. As resonant reminders of time’s forward lurch and the impermanence of all things once ascendant, the ubiquity of dead shopping malls—analogous to “ghost” or “zombie” malls, which still operate but at much diminished capacity, scattered with mom and pop vape shops and nail salons—elicits visceral pangs of wistfulness even as Amazon buys them up to serve as massive fulfillment centers

Ty Matejowsky is a Professor of Anthropology at the University of Central Florida in Orlando.  He is a Libra who enjoys sunsets and long walks on the beach.
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