Tales of Argosa: Sword & Sorcery Adventure pitches itself as a Swords & Sorcery roleplaying game designed for short, sharp adventures built around emergent play. There is no set story, or indeed setting in the roleplaying game, but the intention is that the story and the play will develop from the choices made by the players and the actions of their characters. The Game Master will present to her players the hooks and rumours that their characters will respond to and thus follow up, deciding where to go, what to do, what to investigate, what to explore, who to interact with, and so on. What the player and their characters will discover is a sandbox world full of savage wilderness, treacherous cities, murderous monsters, mysterious ruins, fierce battles, ruinous magic, fabulous treasures, and cosmic weirdness. Wherever they go and whatever they do, fights are fast and brutal and magic is dark and definitely dangerous, and their goal is fortune and glory rather than some heroic cause necessarily.

Tales of Argosa is published by Pickpocket Press, following a successful Kickstarter campaign. An updating of the earlier Low Fantasy Gaming—effectively a second edition—Tales of Argosa is an Old School Renaissance retroclone that draws from Dungeons & Dragons, Fifth Edition, but shifts mechanically back to some older editions of the venerable roleplaying game whilst maintaining some modern mechanics. In addition, there are some quite startling changes that make the tone and play of the game a whole lot grimmer than the average retroclone. What this means is that there is a lot that is going to be familiar about Tales of Argosa—attributes, Races, Classes, monsters, types of combat, monsters, and treasures. However, there is a lot in Tales of Argosa that is going to be different and unfamiliar. Much of it is good, but some of it is not so much bad, as irksome—and even then, not for everyone.

So, what are the changes in Tales of Argosa? They start with a level cap—Player Characters can only achieve Ninth Level before they retire. Hit Points are low and remain low in comparison to other Dungeons & Dragons-style roleplaying games, even at Ninth Level. The Saving Throw is replaced by a Luck roll every time the Player Character would be damaged by an effect or the environment, but Luck diminishes each time it is tested. Encounters are designed to be unbalanced and dangerous, forcing the Player Characters when to fight and when to run. Healing takes minutes, not seconds, so it always takes place at the end of combat, by which time, a Player Character could be dead… Magic is dark and dangerous and if it goes wrong can cause madness and mutations, unleash monsters from the Veil, and worse! On the other hand, at each Third Level, a player can design an ability unique to his character (or pick one of the options in the book), so there is scope for customisation. Exploits—Minor, Major, and Rescue—that work alongside damage inflicted enable heroic action upon the part of the Player Characters. There are Exploits too for combat, plus effects for ‘Nat 19’ and Critical rolls, which when combined with Fumble ripostes, Morale checks, and Trauma rolls, give a Player Character more choices and lend themselves to exciting and action-packed battles! Some damage dice can explode depending upon the weapon type and situation. These are not the only changes in Tales of Argosa, or indeed, the only features. They do, however, impart much of the tone of the roleplaying game.

A Player Character has a Race, Class, seven Attributes, and a Background. The five Races are Human, Dwarf, Elf, Halfling, and Half Skorn. Called halfmen or beastmen, Skorn are heavy set, pink skinned proto-humans, whilst Half Skorn are strong and hard-to-kill and inclined to war and conquest, but suffer from poor memory and analytical ability. The Classes are the Artificer, Bard,

Fighter, Barbarian, Monk, Ranger, Rogue, Cultist, and Magic User. The Cultist is the equivalent of the Cleric, with five suggestions given in terms of gods worshipped and the benefits and strictures of doing so, whilst the Artificer can be an expert alchemist, forge master, gear priest, or black powder savant. He gains access to alchemy and mechanica, inventions that he can use once per day per Level. The inventions include a Black Powder Weapon, Chaintooth Weapon, Breathing Mask, Corroding Spray, Ironward, Thunder Gauntlet, Truth Serum, X-ray Goggles, and more. He can also jury rig a device or concoct a mixture a number of times equal to his Intelligence modifier per day to bypass a current obstacle, disarm a trap, or assist the party in some other way. The seven attributes are Strength, Dexterity, Constitution, Intelligence, Willpower, Perception, and Charisma. Initiative is derived from Dexterity and Intelligence, whilst Perception is also used to determine ranged attack bonuses. A Background provides an attribute bonus, a skill, and an item. For example, the Rat Catcher Background improves a Player Character Dexterity by one and gives him a wedge of cheese, whilst a Hangman gains a bonus to his Willpower, the Leadership skill, and thirty feet of rope.

Notably, at Third, Sixth, and Ninth Level, a Player Character can have a ‘Unique Feature’, the equivalent of a Feat. These can be created by the player, but Tales of Argosa offers a set of off-the-shelf options. Many of these are ‘Cross Class’ Unique Features, enabling a Player Character of one Class to take an ability of another, such as ‘Alchemy & Mechanica (Cross Class)’, which grants a Player Character one invention from the Artificer’s list and limited use of it. Many also have multiple tiers, meaning that they can be selected three times. For example, with ‘Pilfer Pouch’, a Player Character has wandering hands and is always picking up things and putting them in his pouch. At Tier 1, the player rolls percentile dice to randomly draw an interesting—and hopefully useful item—such as a Skorn tooth or a jar of bees—from the pouch; at Tier 2, the player can reroll; and at Tier 3, the player can make a Luck check to pick an item from the table.

To create a character, a player rolls for his Race and Background. He then rolls three six-sided dice for his attributes, one of which must be fifteen or higher, and another thirteen or higher. He can raise stats to these values if necessary. He selects a Class and takes (or rolls) its options at First Level, and also rolls for a Party Bond, which explains why the Player Characters are together. Everything is either set or derived, notably Hit Points are equal to a Player Character’s Constitution, plus a modifier determined by Class. For example, the Barbarian’s Hit Points are equal to his Constitution plus twice his Level, whilst the Magic-User’s is only equal to his Constitution plus Level. Equipment is a mixture of Battle Gear Slots and Pack Gear, but each Class offers some equipment, including arms and armour, as well as some coins.

Donoso
Class: Magic-User
Level: 1 Age: 30
Background: Prisoner
Strength 14 (+1) Dexterity 07 (-1) Constitution 07 (-1)
Intelligence 16 (+2) Willpower 16 (+2) Perception 16 (+2)
Charisma 14 (+1) Luck 11

Armour Class: 10
Initiative: 12 (+0)
Attack Bonus: +1 Ranged Bonus: +2
Rerolls: 2
Hit Points: 8
Death Save: 12

Abilities: Spellcraft, Sense Magic
Spells Known: Hex of Volcanic Steel (Heat Metal), Whispers of the Watchers (Locate Object)
Skills: Animal Lore, Arcane Lore, Apothecary, Deception, Persuasion, Sleight of Hand
Battle Gear: spellbook, longsword (1d8), leather armour (+1 AC)
Pack Gear: torch, bedroll, rations (5 days), manacles, and tinderbox
Coins: 10 sp

Of the Classes, the Artificer is the outlier. It adds technology such as the Black Powder Weapon and Chaintooth Weapon—the latter effectively a chainsword—that the Game Master may not want in her campaign and do not necessarily fit the swords & sorcery genre. The option is given to make the Class more like the Alchemist, with Poison replacing both weapons, but why not do it the other way round? Make the Alchemist Class the default as it does more readily fit the genre and the Artificer the option?

Mechanically, Tales of Argosa uses a number of different systems. The first is Luck. A Luck roll is a roll against, rolling under the value, typically to resist serious adverse effects such as spells, traps, special enemy attacks, or major environmental hazards, or to perform a Major Exploit, Rescue, or Party Retreat, which rely on the Luck resource to pull off. Depending upon the nature of the situation, a Luck roll can be modified by an attribute. However, each time a Player Character succeeds on a Luck roll, his Luck attribute is reduced by one to a minimum of five.

As with the Luck roll, skill checks and attribute checks are rolled under an attribute. A skill increases the attribute value by one for the skill check. A Player Character has a number of Rerolls, determined by Level, which can be used on Attribute checks, Luck checks, Death saves, and so on. Humans have one more Reroll than other Races. It is possible to roll a Great Success or a Terrible Failure on an Attribute or Skill check. A roll that is equal to half or less of the Attribute or Skill is a Great Success, whereas, a roll equal to or greater than one-and-a-half times the Attribute or Skill is a Terrible Fail. Thus, for example, for Donoso’s Dexterity of seven, a Great Success would be three or less, but a Terrible Failure, eleven or more, whereas for Intelligence, a Great Success would be eight or less, a Terrible Failure, twenty only. Modifiers to skill checks and attribute checks, can be a few points either way, but instead of major modifiers, Advantage and Disadvantage is used instead. There are other difficulty mechanics present in Tales of Argosa which seem to apply to Montage rules, but these are not readily explained.

Combat in Tales of Argosa uses group initiative, rolled against one Player Character’s Initiative. If successful, the Player Characters attack before the enemy and on a Great Success, before any boss or heavy monsters or other enemy. The players take it in turns to roll it, so that it is not always the player with the character with highest initiative always rolling. On a round, a Player Character can act and move once. Most fights are not to the death, but rather to the point when one side’s morale breaks. Typically, an action is an attack, casting a spell, dodging, and so on. Where an Attribute or Skill check requires a low roll on a twenty-sided die, combat requires a high roll to equal or better an Armour Class. A natural twenty inflicts maximum damage plus half the attacker’s Level—rounding up, rather than rounding down as in most situations. A Fumble results on a roll of one, potentially opening the fumbler up to a free attack.

Most weapons have properties that can also be triggered on a roll of a ‘Nat 19’, that is, a natural roll of nineteen. For example, a light mace or hammer inflicts 1d10 damage on a ‘Nat 19’, instead of the standard 1d6. The result of a ‘Nat 19’ gives a player two choices, one is a roll on the ‘Blunt Trauma’ table, the other is pushing a defender back a short distance or knocking him prone. To this, a player can also add an Exploit, which can be Major or Minor. Both require a player to hit and inflict damage, but a Minor Exploit might be to knock an opponent off his feet, drive him backwards, throw him through a window, throw dirt in his eyes, and so on. A Major Exploit might be to shatter a foe’s weapon, grab an enemy in each hand and crack their skulls together to stun them both, cut off a dragon’s wing, or decapitate the head of an orc. A Major Exploit does not increase damage to a single target, but might affect multiple targets, and nor can a Major Exploit kill or incapacitate a target, unless they are particularly weak. Similar rules work for Rescue Exploits, but Exploits in general, bring a narrative element into play as well as the standard rules. Other situations covered under combat include chases—complete with a table of chase events, as well as different fighting styles, knockouts, flanking, and aerial and underwater combat.

Damage, from any source, is deducted from a Player Character’s Hit Points. A combatant who is reduced to half his Hit Points is regarded as Wounded. This does not affect the Player Character, but it does certain monsters. For example, the Banshee’s ‘Death Wail’ recharges when it is Wounded. When a Player Character’s Hit Points are reduced to zero, he is dead or dying, but he and his fellow adventurers only find out which after the battle. At this point, a Death Save is made. If failed, the Player Character is dead, if successful, he is merely dying. At this point, healing can be rendered from any source and the player must still roll on the ‘Injuries & Setbacks’ table to determine the effects of being brought to near death. This can be as simple as a sprained ankle that limits his movement and mobility temporarily or it could be a broken or even a lost leg! Non-magical healing requires Willpower checks for a Short Rest, typically only one Hit Point is recovered following a night’s sleep, and a Long Rest takes a week!

Sorcery requires an Intelligence (Arcane Lore) check to cast, followed by a ‘Dark & Dangerous Magic’ check. If the Intelligence (Arcane Lore) check results in a ‘Great Success’ result, the spell is extra potent, gaining an extra effect as detailed in the spell. For example, A Wisp Unseen, which grants invisibility, lets the caster make a second person invisible too. However, on a ‘Terrible Failure’, both the spell and the ‘Dark & Dangerous Magic’ check fails. A Magic-User cannot cast the same spell more times than his Intelligence modifier per day. A Magic-User casting a spell is not the only situation in which a ‘Dark & Dangerous Magic’ check is required. It is also made when a Cultist invokes a Blessing without Favour from his god, gained from adhering to his deity’s strictures. A Cultist either has Favour or he does not and he can gain it multiple times per day, but the more times he uses it, the harder it becomes to gain. Whilst a ‘Dark & Dangerous Magic’ check may be required due to some magical aspect of a scenario or situation, the other reason why it might be required for a Player Character other than a Magic-User or Cultist is when a magic item is used.

A ‘Dark & Dangerous Magic’ check requires a simple die roll. Initially an eight-sided die, but then a ten-sided and a twelve-sided die as the Magic-User or Cultist goes up in Level. Using a magic item necessitates the rolling of a twenty-sided die. Whatever the die type, on a roll of one, the ‘Dark & Dangerous Magic’ effect is triggered and a roll on the ‘Dark & Dangerous Magic’ table is required, or the ‘Divine Rebuke’ table if a Cultist. The result might be “Fell Fingers – Your fingers turn into tentacles, serpents, leeches or something similarly creepy for 1d6 minutes. You cannot cast spells during this time. You count as Two Weapon Fighting and cause 2d6 acid or poison-based damage on a hit.” or “Plague of Flies – Lingering in the open attracts an abundance of flies, gnats, mosquitoes, locusts, etc, to your person. Atonement ends the rebuke.” There is a table of Atonements for the Cultist. However, if the ‘Dark & Dangerous Magic’ check succeeds, its threshold rises by one until either it is triggered or a new adventure begins and it can be reset.

Tales of Argosa lists some fifty spells, from A Wisp Unseen, Abjure the Unnatural, and Arcane Aegis to Whispers of the Watchers, Wings of the Raven King, and Witchblade. Most of them are familiar, but are renamed. For example, Dark Slumber is Sleep and Riddle of Bones is Speak with Undead. This both adds flavour, but it also confuses somewhat.

Beyond adventuring, the Player Characters are given numerous options for their downtime. Of course, this includes advancement, but it also covers buying or constructing buildings, black market trading, carousing, gambling, training pets—including monstrous pets, brewing potions, recovery—from addiction, madness, and injuries, conducting research, inscribing scrolls, and rumour mongering. For the Game Master, there is guidance on running wilderness and dungeon adventures, supported by encounter tables for both, hireling creation tables, running mass battles, and handling madness. This is typically suffered after encountering monstrosities, aberrations, and demons, or reading forbidden lore and requires a Luck (Willpower) check to resist. Symptoms manifest in acute episodes once per symptom per adventure and cannot be cured by magic, only through recovery during downtime.

Tales of Argosa includes an extensive bestiary of monsters with guidance on customisation and set of templates that will turn a monster into a boss, demon, heavy, lycanthrope, and more. Again, most of the entries will be familiar from other Dungeons & Dragons-style roleplaying games, but many also have scope for customisation. Rounding out the roleplaying game are sample traps and an extensive list of magic items. There is also a set of Oracle Tools, intended for use as ‘quintessential improv enablers’ and which make use of The Bones or Deck of Signs. They work well, but they feel out of place in a retroclone, more so because they require a completely separate set of dice to the standard polyhedral dice or cards. Obviously, they are also available online, but that adds complexity when Tales of Argosa is played at the table. There are rules too for solo play and a dungeon generator to work with normal and solo play.

Physically, Tales of Argosa is cleanly, but occasionally, tightly laid out. In general, it is well written and apart from the occasional piece that feels out of place, the artwork—all black and white—is excellent, a mix of classic Dungeons & Dragons combined with swords & sorcery.

Tales of Argosa is an attempt to create a grimmer and more perilous version of Dungeons & Dragons-style play, and in this, it succeeds. This is primarily through the lower number of Hit Points, the lack of immediacy of healing in combat, reliance on a diminishing luck resource rather than standard Saving Throws, and spellcasting being ‘Dark & Dangerous Magic’. Yet this comes with a complexity that echoes Advanced Dungeons & Dragons more than it does any other edition. None of the roleplaying game’s various subsystems is necessarily complex in themselves, but the roll low for Attribute, Luck, and Skill checks versus the roll high for combat versus the roll low for ‘Dark & Dangerous Magic’ check is outmoded, counterintuitive, and adds unnecessary complexity. Similarly, the roll of a natural twenty versus a ‘Nat 19’ is counterintuitive and in the case of the latter adds further complexity, as well as forcing the question, “Which is the better result?” Or rather, which has the more interesting result? Invariably, it is the ‘Nat 19’ result because the player gets to roll on the various trauma, or critical hit, tables. The inclusion of Exploits add an extra narrative effect as well, and then the Oracle Tools seem to have been dropped into the roleplaying game from an entirely different game and age. And yet…

Not every player or Game Master is going to have an issue with the differing subsystems in Tales of Argosa, but there will also be those that do. It simply means that Tales of Argosa is not for them. Yet to be fair, they all add flavour and detail to play as well as enforcing the fact that adventuring is dangerous and for the foolish. Tales of Argosa: Sword & Sorcery Adventure is undoubtedly an entertaining roleplaying game, but Game Master and player alike are going to have to adjust to its complexities to get to the entertaining part of play.

A new life awaits you in the far reaches of the galaxy! A chance to begin a life of adventure and excitement in a dark region of opportunity and adventure! There is no future for you at the heart of civilisation, let alone on some backwater planet. You can take the government scrip and the government slop and live an existence of hopeless lassitude. Or you can sign up with the Extracsa Conglomerate and receive training that will make you useful to the corporation and to society, contributing to the future of humanity. The operations of the Extracsa Conglomerate are expanding into the far reaches of the galaxy, a bleak region of space, dominated by a golden scar-like object known as the Glitch. Having completed your training, you have been assigned to this expansion area for the period of your indenture. Rumours swirl about your assignment, that the region is somewhere where life, technology and reality can become twisted and wrong. This is the set-up for Cosmic Dark, is a game of weird space horror from the designer of Cthulhu Dark and the highly regarded Stealing Cthulhu.

Cosmic Dark is a storytelling game of cosmic and Science Fiction horror that is significant in three ways. First, it offers a complete six-part campaign that can be played through in roughly twelve or so sessions. Second, it provides complete guidance for the Director—as the Game Master is known—to create more scenarios of her own. Third, it is designed to be played straight from the page with a minimum of effort, using a very light set of mechanics. The players learn the rules of the roleplaying game as they play, including Employee generation, although the Director will still need to read the rules and the scenario beforehand to get the best out of the story. Thankfully, the core rules run to just seven pages, requiring no more than some six-sided dice, preferably of different colours.

A Player Character—or Employee—is very simply designed. He has a Specialism, such as Medical Officer, Mining Engineer, Geologist, Comms Officer, and Team Leader, and then a series of stats on a one-to-six range. Changed represents how much space affects an Employee. It is rolled every time an Employee is hurt or something weird happens to him, and when it reaches six, he is broken and their story is over. In addition, he has a Reality Die and a Specialism Die. These are rolled when the Employee wants to investigate something. The highest result determines the amount of information the Employee gains. This is the bare minimum on a roll of one and everything the Employee can be expected to discover on a four. In addition, the Employee can also gain access to Records from Extracsa’s databases on a roll of five, but on a six, the Employee learns all of this and worse, gains a glimpse of the Anomaly, which may trigger a Changed roll. (The Director can hold a five or six if there is nothing appropriate in a scene.) If someone—which can be another player or the Director—thinks the story would be more interesting if the Employee failed, they roll a Failure Die against the Employee’ player. If the Failure Die rolls higher than the Employee’s die, the Employee fails. Combat is handled in this way, failure triggering a Changed roll. However, it should be noted that the focus of Cosmic Dark and its campaign is upon interaction and exploration and discovery, and not on combat.

In the long term, it is possible for an Employee to reduce his Changed. This might be through surgery, drugs, Memory Anaesthetic, or something else, but it is not guaranteed to work. However, an Employee’s Changed does reset to one at the end of an assignment. He also gains a new attribute, Burnout. This starts at one and is gained between assignments and potentially from moments when his mistrust in Extracsa Conglomerate is triggered or grows. If an Employee’s Burnout reaches six, he is unable to work anymore, gains one more scene, and he retires.

Mechanically then, Cosmic Dark is fast and simple. Obviously, this means that it leaves space for the Director to focus on the narrative and presenting the story and the setting.

The campaign of Cosmic Dark consists of six parts. Each part consists of a different assignment by the Extracsa Conglomerate. The first assignment, ‘Extraction’, begins by establishing who the Employees are, where they all grew up together, and more, elements of which will be reinforced again and again at the beginning of each assignment, and then pushes the players to use the rules to Comic Dark. This is intended as a learning process, though the Director should read through the rules at the end of the book as it is more directly presented. The Employees are assigned to excavate a never before mined asteroid and find it strangely invasive. They also find signs that it is not as pristine as promised. ‘Time Murder’ is a weird murder mystery where the Employees are assigned to sister-company to help harvest energy, whilst in ‘Transparency’ they are given a twenty-four-hour window to salvage what they can aboard an Extracsa Conglomerate starship. To their surprise, the Employees find survivors, but ones with unreliable memories of what happened to the starship. This Assignment does get gory in places, but it is a decently cosmic twist upon the ship in peril set-up. The fourth and fifth Assignments—‘Every Sunrise’ and ‘Every Sunset’—parallel and mirror each other, and can be played in any order, although they work slightly better in the order given. They explore the same or similar planets from different angles, one a desperate evacuation mission, the other a terraforming mission. The campaign comes to a close in ‘The Invisible Hand’ in which past discoveries give a chance for the Employees to put their employer on a different path—or has that already happened?

Cosmic Dark is a roleplaying game of weird space horror, in which life, technology, and reality break down, change, and go wrong. When not describing the situations that Employees find themselves and the outcomes of their actions, the Director is in many ways exactly that, someone who ‘directs’, and who does this through direct questions and prompts intended to provoke an emotional response, such as “What scares you most about space?” or “What is your most painful memory?” The advice for the Director suggests ways in which to do this and enhance the horror, building from the players’ answers to the prompts, but is also on how to write scenarios for Cosmic Dark as well as run it. Here the advice suggests creating situations that the Employees cannot correct and giving them choices where the only options are bad ones. Just as the questions to the players and their Employees are very direct, so too is the advice to the Director, pointedly telling her what to do as she takes the players and their Employees through the stages of a Cosmic Dark Assignment, first ‘Weird’, then ‘Dangerous’, before escalating into ‘Deadly’. All three stages are explored as are a variety of different situations, such as the Employees contacting the Extracsa Conglomerate, using the preceding scenarios as examples. What is clear from the advice throughout is that in each of the Assignments in Cosmic Dark there is a story to be told, one that the players and their Employees cannot easily deviate from or disengage from. In the case of the former, although the ending of any one story is not set in stone, there is still room to explore and investigate, and even add details to the world around the Employees, whilst in the case of the latter, the Director is told to make it clear when certain actions simply will simply not work. Conversely, where necessary—and especially if it enhances the horror—the Director is encouraged to work player suggestions into the story. Overall, the advice is strong and to the point.

Physically, Cosmic Dark is well presented with a clean and tidy layout. The book is black and white and lightly illustrated, but the artwork is starkly appropriate. As with previous books by the author, his voice shines through, especially in the advice for the Director.

To be clear, Cosmic Dark is in no way Lovecraftian in its cosmic horror. Its horror is environmental in nature, born of the clash between the alien spaces the Employees are instructed to explore and in the case of the Employees, the need to first understand them and then second, survive them, whilst in the case of the Extracsa Conglomerate, to exploit them. The Extracsa Conglomerate is not necessarily evil, but it is a corporate entity with all of the dispassionate, self-serving drive and scientific pride you would expect. The play of Cosmic Dark is interactive and investigative in nature, but also introspective given the number of questions that the Assignments and thus the Director is ordered to ask. Here it feels as if the author himself is asking them, but were it not for these questions, there would be an overwhelming sense of depersonalisation of each Employee by the Extracsa Conglomerate. What remains still serves to enhance the disconnection that the players and their Employees are likely to feel in the face of the Glitch as they are bounced from one Assignment to the next.

As a roleplaying game, Cosmic Dark is a simple set of rules combined with good advice and suggestions as to how to use prompts to elicit responses from the players and their Employees to drive good storytelling. As a campaign, Cosmic Dark depicts an uncaring universe and the consequences of Humanity interacting, unwittingly or not, with it. Together they showcase each other. Ultimately, Cosmic Dark presents a campaign of Science Fiction horror in which the only compassion belongs to the Employees and the real monsters might be humanity and its drive to explore and exploit.

—oOo—
Cosmic Dark is currently being funded via Kickstarter.

The year is 1395. The Hundred Years War has long been over, but neither Europe, or indeed, Christendom is stable. The Crusades continue in the Levant to the great cost of Europe’s great kingdoms. Outbreaks of the Black Death are all too frequent. The peasantry and the labouring classes bristle against the continued abuse of privilege and ill-treatment they suffer at the hands of both government and nobility, resulting in civil unrest and uprisings. Trade and production are held in the vice-like grip of mercantile and craft guilds, limiting scope for growth, enrichment, and improvement. And the Papacy is itself riven in two. In the past, unrest in the Holy See and Rome forced the Pope to flee to the French city of Avignon. Now there are two members of the church claiming to be the Bishop of Rome and thus head of the church. Pope Boniface IX sits in Rome, whilst Benedict XIII sits in Avignon. Which of the incumbents has the right to call himself the Holy Father? Which of the incumbents is ready to accept the other as the rightful Pope? Which of the incumbents is willing to resign, so that a new Pope can be elected and so reunite the church? It does not matter, for now Pope Benedict XIII fears the influence of the other Pope and outside influences, undermining his authority and that of the faithful. In the city of Avignon, made grand by his beneficence and that of his predecessors, all legitimate Popes, the paranoia of Pope Benedict XIII runs deep. The security and integrity of the Papal Court must be maintained in the face of continuing subversion, greedy priests, proud kings, angry mercenaries, lazy clerks, not said the neuroticism of the Pope, and so Papal Investigators must be deployed.

This is the set-up for Ship of Fools, a ‘Genre Set-Up’ for Sanction: A Tabletop Roleplaying Game of Challenges & Hacks. Published by Just Crunch Games, this is setting in which the Player Characters are members of the Office of Papal Investigation charged with finding peaceful—or at least the least disruptive—solutions to the issues that the Avignon papacy faces, ensuring the safety of the Pope, and enforcing the pronouncements and decrees made by Pope Benedict XIII. The setting is based upon historical research, its bibliography referencing The Name of the Rose by Umberto Eco and Ars Magica by Jonathan Tweet, let alone books on the Avignon Papacy and the Medieval world. In tone it suggests the setting is Father Ted meets Kafka’s The Trial, but add to that the roleplaying game Paranoia and the animated Dungeons & Dragons cartoon. The degree of research shows succinctly in the first few pages, which in turn describe the world of Avignon, the papal palace, the ladder of stations—from Pope all the way down to the Monk and the layman—in the Catholic Church, and its world in turmoil.
A Papal Investigator in Ship of Fools has three Resources, here called Influence, Eminence, and Passion, the equivalent of Charisma, Reputation, and Willpower (or faith). These are not necessarily physical abilities, although there is nothing to stop a Papal Investigator from applying them to physical situation, but rather ways in which a Papal Investigator can apply his standing and belief in his standing in the church—that belief being his own and that of the NPCs around him. He also has three Abilities, one for each of his three Lifepaths. One Lifepath is his Curia Role, what was his original assignment within the Avignon court before being appointed to the Office of Papal Investigations; one is from his Secret Order which gives him secret purpose; and one from his Papal Duties, the training that marks him as a Papal Investigator. There are eight orders of the Curia, which together run the church. For example, the Camera Apostolica, whose lawyers extract taxes, whilst their most devout examine and catalogue relics for signs of their divinity; the Hospitallers protect the church, but their lack of faith is  doubted by the Inquisition; and the Transitus maintains the Papacy’s means and lines of communication across Europe, leading to rivalry with the Supportare, which maintains the infrastructure of the Papacy and Avignon. The other Curia include the Chancery, Dominican Order, Roman Inquisition, Apostolic Penitentiary, and the Supportare. The Secret Orders consist of the Adminsitratum, Anarcho-Syndicalists, Black Friars, Clementines, Committee, Free Spirits, Gardeners, Knights of the Holy Ghost, Metéora, Mumblers, and Occamites, whilst the Papal Duties include Barber Surgeon, Cellarer, Lector, Sacrist, Almoner, Financial Steward, and Liturgist.
In addition to two devices and pieces of equipage, the Papal Investigator has Corruption. This is a measure of his lack of Piety. It begins play at one and can go as high as ten. When his player fails a Challenge, that is, rolling one or two on a Challenge, the Papal Investigator suffers doubts and his piety is tested, requiring a roll higher than his current Corruption score. Calling upon a relic for its divine power or making a confession—as every Papal Investigator must do at the end of a Calling—also requires a similar test. If failed, the Papal Investigator gives into a sin or Folly, such as pride, sloth, deceit, or petulance. One point of Corruption and its associated Folly can be expunged between adventures, but a Papal Investigator can also beg an indulgence of another Papal Investigator (though if this fails, both suffer more Corruption) or pay a penance to remove more.
Although the Camera Apostolica controls the vast archive of holy relics held by the papacy and access to them, each Papal Investigator has his own that he can pray on and draw inspiration from. He may even find more in play, though not all of them may be ‘holy’. A Papal Investigator’s Relic is supplied by his Secret Order. Each Relic grants a particular power, but the Game Moderator is encouraged to create and fully develop Relics to make them interesting and unique. Several sample Relics, all nicely detailed, are provided. (The Game Moderator might want to look at Burgs & Bailiffs: Trinity – The Poor Pilgrim’s Almanack for more information on Relics.)
Catalina the BenignantOrigins: ToledoInfluence D8 Eminence D4 Passion D6Curia Role: ChancerySecret Order: ClementinesPapal Duties: Barber SurgeonAbilities: Ciphers, Dance, Craft (Tailor)Pressure Track: 0Equipment: Vial, Medicinal Cordial, Scribe’s KitHits: 3Corruption: 1Relic: Candle of St. Thomas (Extinguish: Fervour)
An adventure or assignment in Ship of Fools is known as a ‘Calling’. There is a little discussion on what a ‘Calling’ is, as well as an example as a suggested opening. At the start of a Calling, one Papal Investigator is appointed the leader, or Prior. He has two Fortune which can be sued on anyone’s roll, but at the end of the Calling, his player assesses the other Papal Investigators and rates them. The Game Moderator then tests their Corruption on this basis. This adds a tense and slightly adversarial element to play, the feeling that the Papal Investigators are constantly being monitored. To balance this, the Papal Investigators can take turns being the Prior.
Rounding out Ship of Fools is a set of short, sample Calling hooks and five sample pre-generated Papal Investigators, some enemies, and a complete Calling. This is ‘The Relic, The Ruse, and The Ridiculous’ in which the Papal Investigators are tasked with locating a missing relic. It is an entertaining affair which can be played through in a single session, perhaps two. The final pages discuss what might happen in the future of the twin Papacy.
Physically, Ship of Fools is well presented, but lightly illustrated with nicely period artwork. The supplement is a pleasing read.
Ship of Fools is a thoroughly engaging and enticing setting. The idea of playing papal investigators in a world of apostolic bureaucracy, religious dogma, and papal perturbation is a delight. This setting definitely deserves more content and even a campaign, but in the meantime, Ship of Fools is a very good introduction to a world of papal paranoia and sacred shambles.

In the late 1970s and early 1980s, the city of Stockton, California, was beset by a rash of strange deaths amongst its Hmong community. The Hmong were refugees from the Vietnam War and subsequent conflicts in southeast Asia. A total of one-hundred-and-seventeen immigrants and their descendants died under strange circumstances in their sleep, suffering from what doctors called ‘Sudden Unexpected Death Syndrome’ or ‘SUNDS’. However, the community did put these deaths down to medical causes, but to a supernatural creature that had accompanied individual families to the USA, continuing to prey upon the men of the families as they slept, literally pressing upon their chests and paralysing them in waking nightmares and feeding upon their terror, killing them in the process, whilst to outsiders making it appear as if they died in their sleep. The Hmong call this creature the ‘Dab Tsog’. That was decades ago, but now the city and its Hmong community has once again been beset by an outbreak of deaths due ‘sleep paralysis’. Could the Dab Tsog have returned to prey on the Hmong community? After losing one of her patients to these nightmares, Dr. Maria Vicente, who conducts studies at a sleep clinic, is beginning to suspect that something is stalking the sleep of her patients and so asks for help from anthropologists, folklorists, and investigators. Published by Yeti Spaghetti and Friends, The Nightmare is a short, one-night horror scenario, part of and third in the publisher’s ‘Frightshow Classics’ line. Ostensibly written for use with Chill or Cryptworld: Chilling Adventures into the Unexplained, the percentile mechanics of the scenario mean that it could easily be adapted to run with Call of Cthulhu, Seventh Edition and similar roleplaying games.

The Nightmare, like the first in the ‘Frightshow Classics’ line, Horror in Hopkinsville, before it, is inspired by a real incident, one that also inspired the Nightmare on Elm Street series of horror films. It returns to the story in Stockton and opens with the Player Characters attending Dr. Vicente’s sleep clinic where she is attempting to study the disrupted sleep patterns of a young boy. The Player Characters will have had the opportunity to conduct some research about Stockton, the deaths amongst the Hmong, and the community’s belief that a Dab Tsog was responsible. They will also have discovered that strange lights have been seen in the city as well, but most notably they will have made the link between the Dab Tsog and figure of the ‘Night Hag’ found in other cultures. Thus, the scenario really sets the players and their characters up with what they need to know right from the start. After an encounter in which Dr. Vicente’s young patient has his sleep interrupted in a frighteningly scary fashion and one, if not more, of the Player Characters are lured away, the narrative in the scenario is not to discover that there is supernatural threat abroad in Stockton, but rather to confirm what the Player Characters already think it to be. To do this, they will need to visit the Hmong and ask some questions of the not always trusting members of the community, calling for some good roleplaying.
The Nightmare is a three-act story. In the first, the Player Characters ‘witness’, or at least, experience someone suffering from the predations of the Dab Tsog and the second investigating the reactions of the community. The third brings the story to a climax back at the sleep clinic where, with local help, the Player Characters can lure the Dab Tsog into striking and thus revealing her presence and making her vulnerable. This will result in an intense physical battle in which the Player Characters have very little time in which to attack—so they had better be prepared. She is not the only threat that the Player Characters may face, but she is the toughest one.
In terms of support, the scenario includes a handful of handouts and eight pre-generated Player Characters. They represent a good mix of ages and backgrounds, several have the Investigation skill, others the Paranormal Folklore skill, and a couple the Sense Monsters Paranormal ability. The latter will be very useful, whilst one is a very dab hand with the dagger, which will be extremely useful in the final encounter.
Physically, behind its creepy cover, The Nightmare is decently presented. The artwork is decent and is dark and foreboding throughout, whilst the floorplans of the sleep clinic are nicely done (though oddly, there is no toilet on the floor where it is located). Although the handouts are plain, the pre-generated Player Characters portraits are good.
The Nightmare is short and direct, no surprise given that it is intended to be played in a single session. Like The Blood Countess before it, the scenario very much has the feel of an episode of a television series. For The Blood Countess, this was Kolchak: The Night Stalker, but for The Nightmare this is The X-Files, though a standalone episode, not one tied to the Series’ ongoing plot to do with UFOs and aliens. Overall, The Nightmare is easy to prepare and will provide a good sessions’ worth of creepy horror that might put the players, let alone the characters, off their sleep.

Dreams of a beautiful dark-skinned woman asking to be returned to the ocean and a temple hidden within its depths. A local coastline being beset by deadly storms and attacks by monsters and spirits which rise from the deep. A scholar wanting to visit an ancient subaquatic site as part of his research and asking the adventurers to help him locate it. A strange bleaching is spreading along the coast, destroying ships, marking fish stocks, and spreading panic, and merchants want to hire some to determine the cause and put an end to it. An ancient, underwater temple is said to be home to a great jewel called the Ocean Jewel, said to grant great powers to the user when at sea or under the water. One, more, or all of these are reasons to visit the ‘Temple of the Forgotten Depths’, an ancient temple said to have collapsed into the sea decades ago and become a beacon for drowned souls and those who would turn upon any and all seafarers! They are also the hooks for Temple of Forgotten Depths.

Temple of the Forgotten Depths is an adventure written for use with ‘5E+’, so Dungeons & Dragons, Fifth Edition and Dungeons & Dragons 2024. It is a playtest adventure, the first, in an anthology of scenarios published by No Short Rests! called One Room One Shots. Each entry in the collection is a short adventure themed around a single room or structure and intended to be slotted readily into a campaign or more readily, played in a single session with either no preparation or preparation required beforehand. This might be because some of a group’s players are unable to attend; because they want to play, but not want to commit to a longer scenario or campaign; or because a group wants to introduce new players to the roleplaying game. Temple of the Forgotten Depths is written for a group of Player Characters of Fifth Level. The scenario has no other requirements beyond this and its setting, but knowledge of the Aquan language will be useful or any ability to speak other languages.

However they are drawn to the ‘Temple of the Forgotten Depths’, the Player Characters begin the encounter after having swum down from the surface, having imbibed a Potion of Water Breathing. However, once inside the temple, apart from certain locations, they will not need this as there is air. The temple is a giant dome constructed of stone and coral that is no longer as magnificent as it once was. This is due to the coral having been bleached through exposure to corruption and this bleaching has not only affected some of the inhabitants of the temple, it can also affect the Player Characters like a cosmetic curse. The location of the temple’s treasure, the Ocean Jewel is easy to discern, but getting to it is less obvious. Although they will receive some hints from an intriguing variant of the mermaid drawn from African mythology, the Player Character’ progress will be hampered by the temple itself corrupted as it is from dark influences and that dark influence’s attempts to stop them. Throughout the scenario there are some encounters with some nicely thematic monsters like the Drowned Ones, the spirits of those who died at sea, and the malign influence behind the temple’s corruption. In this, any Warlock should beware. Contact with this malign influence may result in the Warlock’s pact suddenly shifting, though this is not explored in the scenario.

Penultimately, the Player Characters will get within sight of the Ocean Jewel, but to get to it with any ease, they will need to solve three highly thematic and decent puzzles. This will enable access to the Ocean Jewel, but not before the threat at the heart of the scenario and the threat to the temple reveals itself. The climax of the scenario is a big boss fight against the Hydra of the Deep, a huge monstrosity with multiple Hit Points per head, its own Mythos Actions, which escalate into Legendary Actions if it loses two many heads! It is an appropriately challenging fight for both the environment and the scenario. Once the creature is defeated, the Player Characters can decide what to do with the Ocean Jewel. Several options are given for this and they are discussed in detail. Temple of the Forgotten Depths comes to a close with full stats and descriptions for all of its monsters and creatures and details of the magical items that can be found in the adventure.

However, one option not discussed in Temple of the Forgotten Depths in detail is what happens if a Warlock Player Character is forced into a Pact of the Deep through prolonged contact or another Player Character is affected by a Pact of the Deep. It is suggested that there is the possibility of such a pact turning that Player Character—Warlock or not—against the other Player Characters. These are only suggestions though and it would have been useful to have been given advice and mechanics on what has the potential to be an exciting turn of events.

Physically, Temple of the Forgotten Depths is well presented. It is lightly illustrated, but the artwork is excellent, and the maps of the temple are clear and easy to use. If there is an issue with Temple of the Forgotten Depths, it is that the text is small, making it a challenge to read!

Temple of the Forgotten Depths delivers a solid, enjoyably thematic scenario for a good session’s worth of play. It is presented as a playtest adventure, but in truth, Temple of the Forgotten Depths is ready to play, whether that is as a one-shot for an evening or an encounter for a campaign, and ready to play with a minimum of effort.

When you are called into to investigate a violent assault at an address in Putney, Southwest London, it sounds like any other day on the job in Putney, let alone London. When it turns out that that the assailant is described by an eyewitness as looking like, “… [S]omething straight out of one of those pirate films.”, then you know this is no ordinary case. It is, instead, a case for The Folly. Or rather, the ‘Special Assessment Unit’ of London Metropolitan Police Service, which in particular deals with magic and the Demi-Monde, and under the command of Detective Chief Inspector Thomas Nightingale, registered practitioner of Newtonian magic, is increasing the number of its operational staff as crimes involving magic also rise. Which includes the Player Characters, who are then assigned to investigate the affray at the house in Kingsmere Close. Whilst the victims of the assault are not saying much, it quickly becomes clear that they are up to no good, as they have turned the house into a cannabis farm and are not the actual owners of the house. Further, once an Initial Vestigium Assessment has been conducted, it confirms that magic was used in the assault, and that very definitely means that this is a case for the Folly. So where is the owner of the house? Who is the man dressed like a pirate, quite likely an unlicensed practitioner of magic, and why did he attack the operators of a cannabis farm in a quiet corner of Southwest London? All pressing questions in Jimmy’s Last Dance: A Swashbuckling Case File of Family Intrigue.

Jimmy’s Last Dance: A Swashbuckling Case File of Family Intrigue is an investigation and case file for Rivers of London: the Roleplaying Game, based on the Rivers of London novels by Ben Aaronovitch. Published by Chaosium, Inc., this is a lengthier case file than previous releases for the roleplaying game, one that will probably take two or so sessions to play through. Or it can be added to campaign, perhaps run after ‘The Bookshop’ from the core rulebook or the case files, Going Underground – A Case File for Rivers of London: the Roleplaying Game and The Font of All Evil: Murder and Mayhem Besides the Thames. One issue perhaps with the scenario is that it set in a specific year and that it involves a political scandal that was at its height at the time. The year is 2016 and the scandal is The Windrush Scandal. Of course, the authors advise the Game Master to handle the issue with care and it is certainly not a problem that The Windrush Scandal is part of the scenario—in fact, it is actually woven into the plot of the case file—but rather that the timeframe is quite specific and thus difficult to shift the case file to another year.

There are multiple plot strands to the investigation, ones that will lead the Player Characters to a criminal gang, a solicitor with less than ethical standards, a rotten son-in-law and a bare-suspecting daughter, and an old lady with interesting secrets of her own. Then ultimately to the ‘pirate’ who attacked the cannabis farm and who has his own agenda throughout the scenario. Sometimes that and his movements will intersect with those of the Player Characters and their investigation. Although they can return to the Folly to conduct research, most of the investigation is confined to the borough of Putney itself and involves lots of Police dogwork—interviews, surveillance, and so on. Over the course of the investigation, the Player Characters will be conducting multiple interviews, all of which nicely presented to help the Game Master answer their questions and portray the various NPCs. In addition, there are some decent handouts that the Player Characters will be able to find through various research avenues.

There is good advice for the Game Master throughout the scenario. This starts with suggested Player Character types and roles, how to portray a pirate without sounding like Robert Newton, and continues with notes from both Peter Grant and Ben Aaronovitch. It is recommended that at least one Player Character be a police officer or detective and that one be a Newtonian apprentice or hedge wizard. Suggestions are given too, if the players want to roleplay pre-generated characters from the core rulebook. The oddest advice is on various pieces of British vernacular, such as the meaning of the term ‘old bag’ when used as a pejorative to describe a woman, old or not. Whilst a British audience will find this amusing, for a non-British Game Master, it explains the vernacular and gives alternatives where necessary. This gives her the choice of enforcing the verisimilitude with the given terms or using less pejorative ones. The structure of the scenario is nicely supported with both a relationship map and a plot progression chart, to help the Game Master keep track of the investigation and more importantly, the location of the ‘pirate’.

Physically, Jimmy’s Last Dance: A Swashbuckling Case File of Family Intrigue is clean, tidy, and easy to use. The maps and plot progression diagram are easy to use, the advice is good throughout, and the portraits of the various NPCs are excellent.

Jimmy’s Last Dance: A Swashbuckling Case File of Family Intrigue is a richly detailed investigation that combines parochially British charm and menace, backed up with good advice for the Game Master—and if things go right, a cozy ending.

—oOo—

Chaosium, Inc. will be at UK Games Expo which takes place on Friday, May 30th to Sunday June 1st, 2025.

Escape the Dark Sector: The Game of Deep Space Adventure is about survival. About making a break from the cell of the detention block of a vast space station where they have found themselves incarcerated. They have an opportunity to escape their imprisonment, but the route they must take, between the detention block and their spaceship, is fraught with danger. The escapees must find their way out of the Detention Level, through the Heart of the Station, and then the Forgotten Zones to their impounded spaceship—and escape! Published by Themeborne Ltd., Escape the Dark Sector is the Science Fiction sequel to Escape the Dark Castle: The Game of Atmospheric Adventure, which was inspired by the Fighting Fantasy series of solo adventure books and also the dark fantasy artwork of those books. As with its fantasy predecessor, Escape the Dark Sector can be played solo or collectively and offered plenty of replay value and variability with six Character Cards, fifty-three Chapter Cards—fifteen of which form the encounter deck, and five Boss Cards. Then of course, there are game’s three expansions: Escape the Dark Sector – Mission Pack 1: Twisted Tech, Escape the Dark Sector – Mission Pack 2: Mutant Syndrome, and Escape the Dark Sector – Mission Pack 3: Quantum Rift. Each of these provided players with new characters to play, a new mechanic—which meant a new challenge to overcome, new equipment, and of course, a new Boss standing in the way of the players’ escape. However, when it came to death—and there is no denying that Escape the Dark Sector is definitely about death, as well as escaping, if not more so—what neither Escape the Dark Sector, nor any of its expansions, or even Escape the Dark Castle, could offer was much mote than a mechanical outcome whenever a player’s character dies in the game.

The solution is Death in Deep Space, the Science Fiction equivalent of The Death Book for Escape the Dark Castle. This is a book of over one hundred death scenes, each corresponding to a particular Chapter or Boss. It is very easy to use. Whenever a character dies as a result of the events in a Chapter or the showdown with a Boss, he checks the relevant entry in the pages of The Death Book. This is made possible because every card in Escape the Dark Castle as well as in all three of its expansions is marked with a unique code. Cross reference the code with corresponding entry in the book, whether for a Chapter or a Boss card, read out the description provided, and so provide an unfitting, but final end for your character, followed by that of everyone else.

For example, the details on the Boss card, ‘The Alien Queen’ reads as follows:

“Die, humansss!”

The Alien Queen was lying wait! Jets of venom fly towards you as she pounces—YOU must roll two HIT DICE now.

If a player should die in the course of this final confrontation before he and his companions, always a strong possibility in Escape the Dark Sector, he picks up Death in Deep Space and after finding the entry for ‘The Alien Queen’, he reads aloud the following:

The Alien Queen

Once it enters your bloodstream, the paralysing venom of the Alien Queen works quickly – a spreading rigidity coursing through your entire body, locking your joints one by one until you are all but paralysed. Even your eyelids cannot close, and you are forced to watch in horror as the terrible creature captures your fellow crew with equal ease.

With a series of hissed commands to her countless, scurrying servitor spawn, you are all dragged back her vast, deck-spanning nest. There, a slick, black, fleshy membrane covers the walls and beneath the vaguely humanoid shapes of her decomposing victims are still recognisable. Their shallow breaths rise and fall in eerie synchronicity, an indication that their suffering is yet to be ended. Soon, you and your crew join them.

Once in place, your spines are sliced open. The shimmering spools of nerve fibre that spill out are intertwined with those of the other captives suspended around – the connection sealed with a sticky, mucus coating. In this way, you become part of the fabric of the hive, a sensory node in a living web, lining the walls as far as the eye can see, warning the hive of approaching threats and passing the news back through the biotic chain in an instant.

For the rest of your days, your pain is theirs and theirs is yours; you see what they see and hear what they hear, your collective existence painfully prolonged in service to your bestial captor.

Your adventure ends here.

Physically, Death in Deep Space is a neat and tidy, if plain affair. A page of introduction explains how to use the book and contains the book’s single illustration which shows where the unique code for the Chapter or Boss card is located. Then each entry has a page of its own. There is a degree of repetition to the entries, but only a little, and it really only becomes apparent when reading the book from end to end, which is not its intended use. A small and relatively slim book, Death in Deep Space fits easily into Escape the Dark Sector: The Collector’s Box Set.

Death in Deep Space is book of endings, but one that provides a final narrative and some context to that death. Escape the Dark Sector is an enjoyable game, but character deaths can feel little, “Is that it?”. With Death in Deep Space, it is no longer the fact that you died, but very much how you died. Grim and ghoulish, The Death Book brings the death of every character, and with it, the game of Escape the Dark Sector to a nasty and unfortunate, but fitting end.

—oOo—

Themeborne Ltd. will be at UK Games Expo which takes place on Friday, May 30th to Sunday June 1st, 2025.

It could be the seventies. It could be the eighties. It could be nineties. It could be now. Whatever the decade, the world is in danger and refuses to believe it. Creatures of the night stalk the darkness and only you have the knowledge and bravery to face their danger head on. So ready your UV torch, sharpen your stakes, bless your holy water, and load up the mystery wagon, because tonight you are going monster hunting! Are you ready to save the world and have nobody notice? Then that makes you a vampire hunter—fearless or otherwise! This is the simple set-up to Bite Me!, a scenario and mini-supplement for ACE!—or the Awfully Cheerful Engine!—the roleplaying game of fast, cinematic, action comedy, published by EN Publishing, best known for the W.O.I.N. or What’s Old is New roleplaying System, as used in Judge Dredd and the Worlds of 2000 AD and Level Up: Advanced 5th Edition. Some of the entries in the series have been expansive, such as Orcs & Oubliettes and Strange Science, providing a detailed setting and an scenario, whilst others in the series have tended to be one-shot, film night specials. Bite Me! falls into the latter category.

As with other supplements for ACE!, both the genre and inspiration for Bite Me! are obvious. However, there is a twist. The genre involves vampires and vampire-hunting, so the obvious inspiration is Buffy the Vampire Slayer. It is not though, the only inspiration for Bite Me! and the other adds very tongue (or is that fang?)-in-cheek tone to the whole affair. That inspiration is the Hanna-Barbera cartoon series, Scooby-Doo. So, this injects an extra dose of cheesiness into the play of the Awfully Cheerful Engine!. The bulk of Bite Me! is dedicated to a single adventure, ‘Darkness, BITES!’ and to that end, it provides four pre-generated Player Characters. However, it also gives the means for the players to create their own characters. These include suggested Roles such as talking Animals, Clerics, Druids, Slayers, Vampires, and Werewolves. To these are added the new Roles of Fortune Teller and Paranormal Investigator. The Fortune Teller gains the Power stat and can cast magic, but to begin with, does not know any spells. The Role also grants a bonus when using a tarot deck and knows if spirits are harmful. The Paranormal Investigator begins play never having encountered the supernatural, but has unveiled a lot of hoaxes. The Role gains a bonus when looking for clues and interacting with the authorities, and starts play with the Mystery Wagon, a mid-sized van.
In addition, various items of equipment are listed as being of use. These include garlic, holy symbol, tarot deck, EMF meter, pure salt, and more. In addition, there are stats for various things that the Player Characters might encounter, such as devil, mummy, poltergeist, and wolfman. The most amusing of these are the Crooked Property Developer (all together now, “And I would have gotten away with it too, if it weren't for you meddling kids!”) and the Pirate Ghost.
The four pre-generated Player Characters consist of Fluffy Winters, reluctant vampire slayer; Lilo Thornberg, witty fortune teller; Rooby Roo, faithful dog; and Ted Bones, cheery paranormal investigator. All of whom are very knowingly tongue-in-cheek in being drawn from their sources.
The adventure, ‘Darkness, BITES!’ begins with news reports of strange occurrences at a rundown amusement park. It could be ghosts or it could be something else! In fact, it is both, because the adventure really leans into both of its inspirations. So, if the players are expecting there to be a Crooked Property Developer, they will not be disappointed, and if they are expecting ghosts, they will not be disappointed either. That though, is not the end of the scenario. The Crooked Property Developer is hiding something and that tips the Player Characters into a much darker storyline, which will see them race around town to find signs of occult and even vampiric activity—helped by a local psychic and chased by another classic monster—before finally tracking the evil down and confronting it in its lair. Not so much Transylvania, as Transylvania USA! The scenario is nicely detailed and plotted out and easy to run. It is not set in a specific city, so can be set anywhere the Game Master decides. It just needs to be big enough to have an abandoned amusement park. The play of it should take two sessions or so to play through.

Physically, Bite Me! is well presented with reasonable artwork. It needs a slight edit in places.
Bite Me! is very light in terms of its treatment of its inspirations—but then it has to be. The aim is to make those inspirations easy to grasp by Game Master and player alike and enable the players to engage with them as little or as much as they would like. Which is all part of making the main focus of Bite Me!, the adventure ‘Darkness, BITES!’, just as easy and as quick to prepare. Bite Me! should provide the Game Master and her players with a session or two’s worth fang-tastic and snacka-licious fun. All they have to is provide the snacks.

—oOo—
EN Publishing will be at UK Games Expo which takes place on Friday, May 30th to Sunday June 1st, 2025.

The last two weeks you have spent in the city of Venice have been amazing. You have visited the Doge’s Palace, St. Mark's Basilica, and the Bridge of Sighs, as well as taken a gondola ride on the Grand Canal, explored the Rialto Market, and taken a day trip to the island of Murano to discover its unique glassblowing tradition. The food and wine have been good too, but now your holiday is nearly over. Your flight home leaves tomorrow, but you have one left one last thing you have to do to the last minute—gifts to take home for your friends and family. In fact, you are not really sure that you have enough time to search the shops for right gifts and get to Marco Polo International Airport for your flight home. It is not helped by the fact that the three friends you are buying for, hate it when they are not treated equally, but you have hired a gondola and you are going to search high and low for the right gifts for the right people—or miss your flight trying!

This is the set-up for Souvenirs from Venice, another game from Oink Games, the Japanese publisher best known for Scout. It is a set-collecting game designed for two to five players, aged eight and up, that can be played in thirty minutes, and it is from the same designers who did Deep Sea Adventure. The aim of the game is three sets of matching souvenirs and get to the airport. At the end of the game, each matching set of souvenirs will score points, whilst souvenirs that do not match will lose a player points. The players have to find the right souvenirs, make sure they do not have wrong souvenirs in their hands, and get to the airport. Only a player who gets to the airport in time will have a chance of being the winner.

Besides the rules in French, German, and Spanish as well as English, Souvenirs from Venice consists of forty-eight Souvenir Tiles, thirty Money Tokens, five Summary Cards, an Airport Card, a single die, and five Gondolas. The Souvenir Tiles range in value from five to ten and in turn depict Venetian Glass, Venetian Masks, Leather Goods, Gondolier Shirts, Squid Ink Pasta, and Fridge Magnets. Each Souvenir Tile is actually a shop and items are the goods they sell. Two depict the ‘Pigeon’ and ‘The Pigeon Feed Seller’. The die is marked one, two, and three, rather than one to six, and the gondolas are done in brightly coloured wood. The Summary Cards are reference cards for the play of the game.

Game set-up is simple. Each player receives a gondola, six Money Tokens, and a Sun. The Souvenir Tiles are laid out in a seven-by-seven grid, or five-by-five if two players, all face down, whilst the Airport Card is placed in one corner instead of a Souvenir Tile. The grid is open as the spaces in between represent the canals of Venice where players’ gondolas will travel, moving from intersection to intersection. All of the gondolas are placed on the Airport Card where they start play.

On his turn, each player must do three things in strict order. These are ‘Research’, ‘Move’, and ‘Buying or Selling’. In the ‘Research’ step, the player flips over any tile face down so that everyone can see it. In the ‘Move’, the player rolls the die and moves his gondola that exact number of spaces, hopping over any other player’s gondola in the way. ‘Buying or Selling’ gives a player two options. If he buys, it can be done in secret, looking at a Souvenir Tile adjacent to his gondola, but keeping it hidden from the other players, or he can buy any face up tile. Either way, he replaces it with Money Token. If he sells, he places a Souvenir Tile in his hand on the table face down, replacing a Money Token which he takes.

If the ‘Pigeon’ and ‘The Pigeon Feed Seller’ are both revealed—and they have to be revealed face up when discovered, they force each player to pass a Souvenir Tiles (or a Money Token if they have no Souvenir Tile) to the player on his left. This can mix things up, forcing a player to scramble to find matching Souvenir Tiles with the ones he has in his hand. However, this really comes into play later in the game rather than earlier, as the earlier it happens, the lower the chance it has of mucking up a player’s hand.

Souvenirs from Venice is a primarily a push-your-luck game, although it does have a memory element in that a player may need to remember the Souvenir Tiles he has looked at and where they are. However, what a player is mostly doing is pushing his luck to three sets of Souvenir Tiles, ideally of a higher rather than lower value. Of course, there are more of the latter than the former. Thankfully, a player can choose to sell to get rid of a poor value Souvenir Tile if he knows where one with a better value is or if he simply wants it out of his hand. The latter may be necessary because the other push-your-luck element of game is the timer element. Once all of the Souvenir Tiles have been bought or flipped over and face up, the flight leaves the airport. Anyone not at the airport by then, cannot score any points for the Souvenir Tile sets they have collected and automatically lose. Any player with sets of Souvenir Tiles at the airport gets to score, and the player with highest score wins.

Souvenirs from Venice is decently presented, if as with every Oink Games title, packed tightly into its little box. The quality of the components is good and the rules are clearly written.

Souvenirs from Venice is a solid, satisfying little game. It is a light game, better suited to family audiences and has a surprisingly decent theme that matches that lightness.

—oOo—
Oink Games will be at UK Games Expo which takes place on Friday, May 30th to Sunday June 1st, 2025.

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

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. However, not all fanzines written with the Old School Renaissance in mind need to be written for a specific retroclone. Although not the case now, the popularity of Traveller would spawn several fanzines, of which The Travellers’ Digest, published by Digest Group Publications, was the most well known and would eventually transform from a fanzine into a magazine.

The publication of The Travellers’ Digest #1 in December, 1985 marked the entry of Digest Group Publications into the hobby and from this small, but ambitious beginnings would stem a complete campaign and numerous highly-regarded supplements for Game Designers Workshop’s Traveller and MegaTraveller, as well as a magazine that all together would run for twenty-one issues between 1985 and 1990. The conceit was that The Travellers’ Digest was a magazine within the setting of the Third Imperium, its offices based on Deneb in the Deneb Sector, and that it awarded the Travellers’ Digest Touring Award. This award would be won by one of the Player Characters and thus the stage is set for ‘The Grand Tour’, the long-running campaign in the pages of The Travellers’ Digest. In classic fashion, as with Europe of the eighteenth century, this would take the Player Characters on a tour of the major capitals of known space. These include Vland, Capitol, Terra, the Aslan Hierate, and even across the Great Rift. The meat of this first issue, as well as subsequent issues, would be dedicated to an adventure, each a stop-off on the ‘The Grand Tour’, along with support for it. The date for the first issue of The Travellers’ Digest and thus when the campaign begins is 152-1101, the 152nd day of the 1101st year of the Imperium.

To best run ‘The Grand Tour’, the Referee will need access to The Atlas of the Imperium, Supplement 8: Library Data (A-M), Supplement 11: Library Data (N-Z), Supplement 7: Traders and Gunboats (or alternatively, Supplement 5: Azhanti High Lightning), as well as the core rules. In addition, other supplements would be required depending on the adventure. Of course, that was in 1985, and much, if not all, of the rules or background necessary have been updated since. The campaign is also specifically written for use with four pre-generated Player Characters. They consist of Akidda Laagiir, the journalist who won the Travellers’ Digest Touring Award; Dur Telemon, a scout and his nephew; Doctor Theodor Krenstein, a gifted-scientist and roboticist; and Doctor Krenstein’s valet, ‘Aybee’, or rather, ‘AB-101’. The fact is, AB-101 is a pseudo-biological robot, both protégé and prototype. Consequently, the mix of Player Characters are surprisingly non-traditional and not all of them are easily created used the means offered in Traveller or MegaTraveller. This is addressed within various issues of the fanzine.
The Travellers’ Digest #6 was published in 1986 with the success of the Origins Convention, which took place from July 3rd to 6th in Los Angeles, very much still on the minds of the editors. The event cemented the relationship between Digest Group Publications and Game Designers Workshop and laid the groundwork for a number of forthcoming products, including 101 Robots. The editorial also gave an overview of future issues of the fanzine and where they would take the heroes of ‘The Grand Tour’.

The sixth part of ‘The Grand Tour’ in The Travellers’ Digest #6 is ‘Feature Adventure 6: The Most Valuable Prey’, written by Nancy and Robert Parker. The starting date for the adventure is 212-1102, or the two-hundredth-and-twelfth day of the year 1102 and surprisingly, the adventure does not need anything other than the standard books required by the campaign. The adventure itself is set on the world of Kaiid in the Shuna Subsector of the Lishun Sector. It is hot, wet world, described as a paradise, and is the seat of Count LeMorc, who permits parts of the world to be used as a hunting reserve. The primary target for the hunters is the Minlad, a bipedal creature that is easy to hunt and valued for its fur. However, its numbers are falling, a bone of contention between hunters who want to continue hunting it unabated, the hunters who want to limit the numbers that can be hunted, and environmentalists who want it stopped all together. Add into that is the fact that there are ongoing rumours and supposed sightings of giants out in the jungle.
The aim of the scenario is for Player Characters is to discover and prove to others that the Minlad are not just some simple species to be hunted, but a sentient species. Of course, hunting a sentient species is illegal in the Third Imperium—if it can be proved! This includes not only the hunters, but also an on-world Scout team already conducting a survey and Count LeMorc. The Minlad are a primitive species, but they are capable of communication and part of the adventure involves interacting with the Minlad and learning to understand their speech. This is a fascinating scenario that really will challenge the Player Characters as they try to save and understand the Minlad without the hunters reacting badly to the loss of income and potentially, to the realisation as to what they have done.
The world of Kaiid is described in some detail. This includes silhouettes and descriptions other fauna found on the planet, a map of the single large settlement near the Starport, and full information about the Minlad and their language. The adventure also includes a list of ‘Rumours, News, and Other Activities’ which can be used to drive the scenario and as well as a specialised crowd-swaying task for use with the Universal Task Profile.
This is a challenging scenario to roleplay because the Player Characters will need to a do a lot of persuasion and learn another language. It is also challenging to run, and that is due to its organisation. The scenario is presented as a series of ‘Nuggets’, a format which would be developed in later issues and in scenarios for Mega-Traveller. This compartmentalises the scenario’s information and/or scenes into separate sections to make it both non-linear and easier to run, but it is not as effective as it should be. Ultimately, what it is missing is a good reason for the Player Characters to want to visit Kaiid and a better overview of the nuggets. Otherwise, a genuinely fresh and interesting scenario.
The ’Playing the Characters’ series continues its deeper look at and guide to roleplaying the four pre-generated Player Characters for ‘The Grand Tour’. This time, it should be no surprise given the first contact nature of ‘Feature Adventure 6: The Most Valuable Prey’, it is the turn of the ex-scout, Dur Telemon. With these, it is almost worth holding starting a playthrough of ‘The Grand Tour’ so that every player has one for their character. The scout/scout service strand to the issue continues with Nancy Parker’s ‘Persons and Unpersons’, which looks at what signifies Intelligence and how the Imperial Interstellar Scout Service defines it. The article first looks at the primary indicators—language and tool use—and then how the scout service reacts to it. This is an interesting read that nicely supports the adventure in the issue.
The Travellers’ Digest #6 details the Shuna Subsector, Subsector I of the Lishun Sector and part of the Domain of Antares and develops the Lishun Sector with ‘Library Data of the Lishun Sector’. All decent background, whilst Joe Fugate continues the fanzine’s examination and development of the UTP or Universal Task Profile in ‘The Gaming Digest: Tasks’ with a look at uncertain tasks. At the time, this would have been an interesting herald of what was to come, foreshadowing the upcoming adoption of the UTP for MegaTraveller. Today, it is less interesting unless the reader has a specific interest in the mechanical and rules development of Traveller. Lastly, the Traveller Tech Brief in this issue is ‘Grav Belts’. This fully details and describes the appearance, function, and operation of the grav belt. It includes a section on the use of grav belts in military operations which will certainly have application in some Game Masters’ campaigns.
Physically, The Travellers’ Digest #6 is, as with all of the issues so far, very obviously created using early layout software. The artwork is not great, but it does its job and it is far from dreadful.

—oOo—The Travellers’ Digest #6 was the first issue of the fanzine to be reviewed. This was by Herb Petro in The Imperium Staple Issue #8 (October, 1986). Of the Feature Adventure in the issue, he wrote, “The feature adventure, The Most Valuable Prey, uncovers the truth about the mysterious “Giants” on the world of Kalid in the Lishun sector. I don’t want to give away anything to those who might be potential players, but it is very good. In my opinion better that the feature adventure in issue #5.” He praised several of the other articles in the issue, of which he said overall, “TRAVELERS’ Digest has been growing. This issue is better than the last and the next promises to be even better.”—oOo—

Where The Traveller’s Digest #6 is at its weakest is making the connection in ‘The Grand Tour’ with the events of the previous issue and making clear why the Player Characters are on a minor hunting world. However, once they are, ‘Feature Adventure 6: The Most Valuable Prey’ is a very good scenario once the Game Master has it set up and worked her way around its Nuggets. The rest of the issue is good, but it is the scenario that really stands out for its depth and detail, as well as the demands it is going to place on the players (and their characters).

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

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry and the Dungeon Crawl Classics Roleplaying Game from Goodman Games. Some of these fanzines provide fantasy support for the Dungeon Crawl Classics Roleplaying Game, but others explore other genres for use with Dungeon Crawl Classics Roleplaying Game. One such fanzine is The Valley Out of Time.
The Valley Out of Time is a six-part series published by Skeeter Green Productions. It is written for use with both the Dungeon Crawl Classics RolePlaying Game and Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, ‘The Valley Out of Time’ is a ‘Lost Worlds’ style setting a la X1 The Isle of Dread, and films such as The Land that Time Forgot, The Lost World, Journey to the Centre of the Earth, One Million years, B.C., and others, plus the artwork of Frank Frazetta. Combining dinosaurs, Neanderthals, and a closed environment, it is intended to be dropped into a campaign with relative ease and would work in both a fantasy campaign or a post-apocalyptic campaign. It could even work as a bridge between the two, with two different possible entries into ‘The Valley Out of Time’, one from a fantasy campaign and one from a post-apocalyptic campaign.
The Valley Out of Time: Rotten at the Core is the fifth issue in the series and like the fourth issue, The Valley Out of Time: Tribes and Factions, before it, it does something more than just give the Judge one more dinosaur or megafauna or one more fight with one more dinosaur or megafauna. For the Judge that wants fights and monsters, the first three issues of The Valley Out of Time were perfect, but for the Judge wanting more, they were a disappointment. What the series promises is set out on the back cover: “The Valley Out of Time is a series of ’zine-sized adventures from SGP. This valley can be placed in any ongoing campaign, and is set in the “Neanderthal Period” of development. Huge monsters – both dinosaurs and otherwise – and devolved humanoids plague the area, and only the hardiest of adventurers will prevail!” The problem is that the series failed to deliver on anything more than just dinosaurs and at best, very minor encounters, all of which emphasised combat rather than interaction or exploration. Certainly, until The Valley Out of Time: Tribes and Factions, the series failed to provide what might be called an adventure as promised on the back cover. In addition, it also failed to provide anything in the way of an overview of the Lost Valley and its history and it also failed to address anything in the way of Player Character motivation as to what did once they were in the Lost Valley.
In fact, The Valley Out of Time did not so much fail to address Player Character motivations as actually refuse to address them. So, it is actually odd to see the author write, “In the Valley Out of Time series, much of the background motivations have been left out, specifically to allow freedom and flexibility of design for the judge. However, in this penultimate Part 5 of the series, let’s look at some specific motivations for the adventurers to ease the burden on the poor judge.” The question is, if the lack of motivations for the adventurers was such a burden for the Judge, why did the author place that burden on the Judge? Not for one issue, but four issues? Why did the author ignore for so long the two fundamental questions that any player is going to ask upon finding his character in the Lost Valley—“How did I get here?” and “What do I do now?”. Obviously, such questions are not going to be answered in the fanzine, but what they highlight is a conceptual design flaw upon the part of the author. Instead of providing options in terms of how and why the Player Characters are in the Lost Valley and what they might do next that the Judge could take, use, adapt, or ignore, he gave the Judge no choice but to create her own. The author asked the Judge to create content and do work that he should have done himself. That is the burden he placed upon the Judge and it shows a fundamental misunderstanding as to why the Judge would have bought The Valley Out of Time series in the first place.
There is also some sense of what the Lost Valley is with this issue. Previously, it has never gone beyond being an isolated range “…(i)nhabited by ‘unevolved’ humanoid tribes, mega-fauna, giant insectoid life, and other unusual hazards.” However, with this issue, the author tells us that it was “Originally created as a pristine and unspoiled oasis outside of others, the Timeless Valley as nature intended – with a balance of benefits as well as misery.” The description raises another question—‘Who created the Lost Valley?’ Sadly, it is another question that the fanzine ignores.
The majority of The Valley Out of Time: Rotten at the Core is devoted to ‘Rotten at the Core’, a scenario for between four and six Player Characters of Sixth to Eighth Level. This is also the first time that the series has suggested what Levels the Player Characters should be. Anyway, the scenario assumes the players and their characters will have played through one or more of the encounters in previous issues and later on in the scenario, that might have played through ‘Why Did It Have To Be Snakes?’, the scenario involving the Ophidian Beastmen, in the previous issue. Either way, by the beginning of the scenario, the Player Characters should have had some interaction with the Urman tribes and even befriended some of them. The Cict Urman tribes asks for the Player Characters’ help. Their leader, Barbreitte the Rose, was kidnapped by Ophidian Beastmen and taken to an underground complex reasons they do not understand. Of if the Player Characters have played through ‘Why Did It Have To Be Snakes?’, they will. The Cict Urman scouts have checked the area where she disappeared and suggest that her abductors might have taken her into the caves and sinkholes in the nearby hills known to be home to hideous monstrosities. The tribe also thinks that a hidden tribe which lives underground nearby might have some information.
Although quite detailed, there is actually very little to the scenario in terms of plot. The Player Characters can approach the Ophidian Beastmen cave complex and sneak in and attempt to find the Barbreitte the Rose, or alternatively make the trek to the Nua Urman tribe’s underground home and attempt to get information from them before finding the Ophidian Beastmen cave complex. Both locations are described in some detail and everything is given full stats, even the Nua Urman tribe and its caves, just in case that the Player Characters want to assault it. The journey to the Nua Urman is described as an interlude, but it is a very long interlude given that it makes up a third of the scenario in length. Consequently, so much of the Nua Urman description feels unnecessary to the play of the scenario unless the Player Characters simply want to slaughter them. That said, the Nua Urman are slightly more interesting in that they do use some interesting weapons, including diamond war axes and a last-ditch cannon that uses Blackstone powder. Whereas in Ophidian Beastmen cave complex will reveal greater threats and darker secrets that will probably lead to further adventures. The final encounter will be with very tough beastman, or Rakshasa.
What the Player Characters may learn is that there is a greater evil in the Lost Valley, a corruption that was accidentally overlooked when the valley was originally created—again, by whom?—and has since grown into a festering blackness that threatens the whole valley. This is ‘Yaath, Mother under the Hills’, a giant, amorphous, black globule of bile and evil. Effectively, an almost unkillable Great Old One that carries on the Lovecraftian feel to the Lost Valley begun with the Ophidian Beastmen. It is an end of campaign level confrontation, though the Judge will need to develop how the threat of Yaath manifests in the Lost Valley in order to lead the Player Characters to its lair…
What is notable about all of the encounters in ‘Rotten at the Core’ is that they presented for both Dungeon Crawl Classics and Mutant Crawl Classics, including both the stats for the monsters and the treasure that the Player Characters might find. So, for example, a rumpled sheet turns out to be a Flying Carpet for Dungeon Crawl Classics, but a Holo-Cloak for Mutant Crawl Classics. It good to see the distinction made clear and implemented throughout.
The Valley Out of Time: Rotten at the Core is rounded out with an appendix of new monsters, essentially replicating the monsters and creatures given in the scenario, and the replication of the information on ‘Resources of the Valley’ with added detail of diamond. Lastly, there is joyous emptiness of the ‘GM Notes’ pages where the Judge is expected to write down all of the details that the author resolutely refuses to provide her with.
Physically, The Valley Out of Time: Rotten at the Core is well presented and well written. The artwork is of a reasonable quality.
With The Valley Out of Time: Rotten at the Core, the series presents its first big scenario. It is a decent enough combat and exploration-focused scenario, although its interlude is too long and does not add very much to the scenario whether the Player Characters decide to engage with it or ignore it. Given that it is written for Player Characters of Sixth to Eighth Level coming to the end of a ‘campaign’ in the Lost Valley, it feels right it should be in the penultimate issue, almost as if a campaign is coming to head and the Player Characters will face a major villain in the final part. Yet The Lost Valley series has not supported the Player Characters getting to this point in their exploration of the Lost Valley. It has never presented the Lost Valley as a setting, let alone a ‘campaign’. There have been only minor encounters in the first three issues, all of them of the same tone and set-up, and only proper scenarios in the fourth issue.

Ultimately, The Valley Out of Time: Rotten at the Core begs yet more questions. “Why is the author giving us a full-length scenario now after ignoring them for so long?” and more importantly, “Why is the author so concerned with motivation all of a sudden after resolutely refusing to address it previously?” Addressing it so late in the fanzine’s run gives The Lost Valley a weird split identity as if the author wants it to be a proper campaign setting, but did not realise it until now. The Valley Out of Time: Rotten at the Core shows how poorly the series was conceptualised and realised. Undoubtedly, there is good content in The Lost Valley, but the author has defiantly left the development of that content into something playable in the hands of the Judge.

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

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. As new fanzines have appeared, there has been an interest in the fanzines of the past, and as that interest has grown, they have become highly collectible, and consequently more difficult to obtain and write about. However, in writing about them, the reader should be aware that these fanzines were written and published between thirty and forty years ago, typically by roleplayers in their teens and twenties. What this means is that sometimes the language and terminology used reflects this and though the language and terminology is not socially acceptable today, that use should not be held against the authors and publishers unduly.

The Beholder was a British fanzine first published in April, 1979. Dedicated to Dungeons & Dragons and Advanced Dungeons & Dragons, it ran to twenty-seven issues, the last being published in July, 1981. It was popular and would be awarded ‘Best Games Fanzine’ at the Games Day convention in 1980. After the final issue of The Beholder, the editors would go on to release a number of anthologies which collected content from the complete run of the fanzine such as Beholder Supplement Glossary of Magic, which collected many of the magical items which appeared in the fanzine and collated them into a series of tables for easy use by the Dungeon Master, and Fantasie Scenarios – The Fanzine Supplement No. 2, the first of several scenario anthologies.
The Beholder Issue 4 was probably published in July 1979, given that the fanzine was published monthly and on a regular basis throughout its run. The issue’s concerns are typical of the period for a fanzine devoted to Dungeons & Dragons—problems with different aspects of the roleplaying game and possible solutions, new monsters, new traps, new magical items, a dungeon, and so on, though no new spells. The editors—Michael Stoner and Guy Duke—state in their editorial that, “We feel that this issue is the best one so far.” whilst also noting that, “Contributions are now coming in in fair numbers and quite a lot of this issue is made up from them.” The latter is certainly true, whilst the quality of the fanzine, something that it was renowned for, shows slight improvement. The Beholder is yet to hit the highlights of its great adventures, but the promise is there in this issue. Similarly, even if the subject matters of the issue look familiarly parochial some thirty years on, the fanzine addresses them in a thoughtful manner.
The Beholder Issue 4 opens with ‘Wishes’, a short look at one of the perennial bugbears of high-level play in Dungeons & Dragons—the power of the wish. Whether from the Magic-User spell or the Ring of Three Wishes, the wish is open to abuse, both by players and the Dungeon Master. The players by demanding too much of it and the Dungeon Master by simply negating its effects and thus impeding the players’ enjoyment of the game. The solution is that powerful sources of wishes be guarded by, or in the possession of, suitably powerful monsters and that the Dungeon Master play the roll of the gods who do not want the heroes to overstep their bounds, such as using a wish to render themselves immortal, for example. There is discussion too, of the application and limitations of the Limited Wish and Altered Reality spells and overall, the advice is solid and useful.
‘Magical Weapons’ provides a new set of tables for rolling random magical weapons to account for the number of new weapon types presented in The Player’s Handbook for Advanced Dungeons & Dragons and the lack of magical weapons available for certain Character Classes, such as the Druid, the Monk, and the Magic-user. Thus, there is a sub-table for the weird weapons at the end, such as the bo stick and the pick, plus of course, all of the polearms, like the bec de corbin and the guisarme-voulge. The tables are followed by a handful of new magical weapons, such as Flaming Arrows; the Chaotic Evil Pirate’s Cutlass, which is +1, +2 versus Good, +3 versus sea monsters, and detects hidden treasure within 25”; and the Illusion Quarterstaff, +1, which can appear as any weapon and inflict its damage as long as the defendant believes it to be a weapon of that type. These are nicely inventive and could easily find their place in a Dungeons & Dragons-style roleplaying game today.
The first of several contributions to the fanzine by Martin Stollery is ‘Competition Chronicles: An account of an adventure in the Pyrus Complex (TB 1)’. This is a recounting of his play through or running of ‘Pyrus Complex’, the competition dungeon in The Beholder Issue One. The Player Characters are fractious and selfish, and barely co-operate throughout. The ‘every man for himself’ style of play—though exacerbated by the competition nature of the dungeon—looks dated and immature now, but it was common enough at the time and beyond.
The issue’s monsters are presented in a new style for the regular ‘Monster Summoning’ department—a style that is reminiscent of the Fiend Factory department of White Dwarf magazine at the time, even down to the inventive founts used for the monster names. There are eight monsters in total, three of which, the Leech Plant, the Vart, and the Bonwack, are the contribution of Andrew Whitcombe, editor of another fanzine of the time, Droll Drivel. There is some inventiveness here, but several also serve little function other than to confuse the players and their characters because they are new and will not have been encountered before. The Quazzle is inventive because it is harmless, but it looks too much like a Roper, so that adventurers keep attacking it, but it protects itself by teleporting away weapons used to attack it! The Dralt is a puffball-like and non-psionic variant of the Intellect Devourer which uses darkness magic to hide and charms its victims to attack each other. The Leech Plant is a bloodsucking plant which attaches itself to the calves of unwitting walkers and sucks their blood, increasing its Hit Points in doing so. The silliest creature is the Bonwack, blind balls of fur with large pincers on stalks and single legs on which they hop about the dungeon hunting for food. It should be noted that all of the creatures have a Monstermark System as devised by Don Turnbull and presented in the first three issues of White Dwarf and also The Best of White Dwarf Articles Vol. I.
The scenario in The Beholder Issue 4 is ‘The Mines of Mentorr’. Written by Martin Stollery, it is another competition dungeon and thus comes complete with pre-generated Player Characters—including a Trickster, as detailed in The Beholder Issue 1, and a scoring system. Designed for Player Characters of Fourth Level, it details a small Dwarven tin mine which was chosen by the great dwarven king Mentorr to house the tombs for himself and his descendants. Centuries later, the mad alchemist, Farjet, led a band of Gnolls, Bugbears, and evil mercenaries into the mines, slaughtered the Dwarves, and unaware of the tombs, expanded the mine into a laboratory where he could conduct his experiments far from the eyes of the lawful authorities. More recently, word has reached the outside world that he has perfected the Elixir of Life, giving him immortality. This is an affront to the gods, and whether in service of the gods of Law or Chaos, the Player Characters are sent into the complex to put an end to this blasphemy!
The adventure really has three strands to it. One is the old mine, the other is the secret tombs, and the another is the laboratory facilities, whilst the scoring system allows for various different objectives rather than just killing everything. Although the map is plain, the dungeon is decently thought out and so does not suffer from the randomness of the competition dungeons that appeared in the previous three issues. With a little updating, ‘The Mines of Mentorr’ could be run today without any difficulties and the players would be none the wiser. The adventure’s combination of decent design, theme, and background mean that it could also be added to a Dungeon Master’s campaign and again, the players would be none the wiser.
‘Tricks & Traps’ discusses the editors’ philosophy of trap design—challenge the players and their characters, rather than simply killing the latter and the use of monsters and their abilities in an intelligent manner. The article is supported by ‘Dangerous Digressions’ which presents a number of traps, all of them old of course, but some of them familiar today. ‘The Magic Mouth “Party Killer” Trap’ is a temple dedicated to demon worship. Apart from some statues, the only features of note are a candle and a statue of dragon’s head. If the candle is lit, the Magic Mouth on the dragon statue activates and says, “Demogorgon, Orcus, Juiblex” again and again until the spell expires. Even with a small chance to summon any one of these demon lords, this is simply evil… Others, like ‘The Round and Round Teleport Pit’, an infinite teleporting pit, is a very slightly less dangerous version of the classic, whilst ‘The Balanced Boulders Pit’ has a plank poking out of the wall of the pit, which when grabbed by a falling character, pivots and tips four boulders on top of him as he falls onto the single spike at the bottom of the pit, is equally familiar.
Lastly, ‘Thoughts On Ideas’ continues the discussion of Dungeon Master fiat begun in ‘Wishes’ at the beginning of the issue. It looks at the sort of ideas that players come up with in play and then repeat over and over. In addition to suggesting ways round simply banning player ideas that make game play stale or unbalanced, such as offering Experience Points to their characters or ruling it as being against the wishes of the gods, the article also gives its own good ideas. For example, having the Magic-User or Illusionist cast Invisibility several times over the course of several days so that the entire party is invisible before beginning an adventure or buying ‘padded’ belt pouches and backpacks to prevent bottles and phials of potions or holy water from breaking when a Player Character falls into a pit. These are all quite inventive and showcase the then style of play in which the players sort to gain an advantage for their characters against the Dungeon Master.

Physically, The Beholder, Issue 4 is slightly untidy in places, but readable. The layout is tight and that does make it difficult to read in places. The illustrations and the cartography are not actually that bad. Of course, every issue of the fanzine was published when personal publishing was still analogue and the possibilities of the personal computer and personal desktop publishing were yet to come. In the case of The Beholder that would never be taken advantage of.

The Beholder has a high reputation for content that is of good quality and playable. The Beholder, Issue 4 does not yet match that reputation, but the signs seen in The Beholder, Issue 3 are not only present, but getting stronger. Not everything is good in the issue, but that is offset by the fact that it does contain a number of thoughtful articles on what would have been traditional topics for Dungeons & Dragons and the adventure is the best to date. The Beholder, Issue 4 feels almost on the cusp of achieving the high quality it was renowned for.

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

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord, Lamentations of the Flame Princess Weird Fantasy Roleplay, and Swords & Wizardry have proved to be popular choices to base fanzines around, as has Old School Essentials.

Scout Magazine is a fanzine that comes packed with content that the Game Master can add to her Old School Essentials or change how it is played. This is no matter whether she uses the basic rules of Old School Essentials Classic Fantasy or the advanced options of Old School Essentials: Advanced Fantasy. Although specially written for use with Old School Essentials, it is easily adapted to the retroclone of Game Master’s choice or even added to Dolmenwood, the setting and retroclone also published by Necrotic Gnome.

Scout Magazine #IIIwas published in November, 2024 by PBenardo. Unlike Scout Magazine #I and Scout #II before it, it only includes two new Classes, but it includes as normal, both new monsters and articles that add new rules and mechanics to the play of Old School Essentials. Unlike the first issue, Scout Magazine #III does not possess anything in the way of a theme, but the monsters do!

Instead of new character Classes, Scout Magazine Issue #III begins with a list of ‘Backgrounds’. Each Background represents a skill or trait that the Player Character gained prior to becoming an adventurer. Some are quite mundane like the Farmer, who can predict the weather, but others are a little odd. For example, ‘Iron Dome’ means that the Player Character has an iron plaque in his head, which grants a bonus on Saving Throws versus charm or suggestion or ‘Graveyard Caretaker’, which enables the Player Character to detect the undead with a successful Listen check! Many are useful, such as ‘Surgeon’ which enables the Player Character to restore a single Hit Point to a wounded creature. There is decent selection, but at just fourteen, there is not a lot of variety to choose from.

One Background from ‘Backgrounds’ is given as optional, but it is actually supported with a whole article of its own. The Background in question is the ‘Psion’ and the article is ‘Psionics’. At the start of every day, the Psion’s player rolls for how many different types of psionic powers the character can use that day. So, the powers are random and the number of times the Psion can use them per day is equal to his Level divided by five. However, bearing magical items prevents the use of psionics and interrupting the use of psionic powers inflicts damage on the user due to psychic backlash. The powers include Astral Projection, Mental Shield, Precognition, Psi Cloak, 15’ Radius, Telekinesis, Telepathy, and more. The stranger ones include ‘Brain Bruise’ which inflicts damage on the nervous system of a creature, whilst ‘Preternatural Hearing’ enables the Psion to listen through solid objects. Of course, ‘Preternatural Hearing’ should really be called ‘Clairaudience’. Overall, the article is serviceable treatment of psionics for Old School Essentials, but its inclusion points to the fact that much of Scout Magazine is going over old new ground for a relatively new rules system—or in the case of Old School Essentials, a relatively new version of an old rules system. Nor indeed are psionics new to Old School Essentials, as for example, the Planar Compass Player’s Booklet for the Planar Compass fanzine has already presented a version.

The first of the two new Classes in Scout Magazine Issue #III is the ‘Wildling Warrior’. This is a tribal warrior with a distrust of anything different who inflicts double damage when he charges in combat with a two-handed weapon, is immune to fear, can forage and hunt, and will refuse to use magical items, though he will accept the use of divine magic. He will learn to strike invulnerable monsters and gains an increasing bonus to hit when wearing no armour. His War Cry can force a Morale Check on creatures of lower Hit Dice. It is difficult to really distinguish the ‘Wildling Warrior’ from the Barbarian Class and thus understand quite what this offers.

The same initially can be said of the ‘Zealot’, effectively a holy warrior or a version of the Paladin. Here the version can be either Lawful, Neutral, or Chaotic in alignment. The Lawful Zealot focuses on life-giving magic, repelling undead, and boosting their allies’ abilities on the battlefield; the Neutral Zealot on nature-related magics, interacting with animals, and shapeshifting; and the Chaotic Zealots on controlling the undead and life-draining magic. The Zealot has to use blunt weapons, is immune to disease, and each hour can call upon his deity to cast a spell. The Lawful Zealot can Lay on Hands and at Eighth Level restore life or destroy undead; the Neutral Zealot gains animal form and at Eighth Level, full lycanthropy; and the Chaotic Zealot can drain life and at Eighth Level, can animate the dead. Each type of the Zealot has its own short spell list. The Zealot is three Classes in one, with the Lawful and Chaotic versions being akin to the Paladin and Anti-Paladin with the Neutral Zealot being a Druidic version. This is an intriguing option and something really different.

‘Drow Spells’ provides a spell list for the version of the Drow in Old School Essentials Advanced Fantasy: Genre Rules. Many like Spidercloak Armour, Spider Bite, and Summon Spiders are appropriately thematic. The last quarter of Scout Magazine Issue #III is devoted to ‘Monsters’, all of which are inspired by the Cthulhu Mythos. Creatures taken from Lovecraft’s writings (and those of others in the same milieu) have a long history of appearing in Dungeons & Dragons-style roleplaying games, going all the way back to the Deities & Demigods sourcebook for Advanced Dungeons & Dragons, First Edition—and indeed, this is not the first time that the Old School Renaissance has pulled a tentacle out of the Cthulhu Mythos, such as Realms of Crawling Chaos: Lovecraftian Dark Fantasy. Here the author gives stats and a little detail on Azathoth, B’yakhee, Cthugah, Cthulhu, Deep Ones, members of the Great Race, I’thaqua, Mi-Go, Nyarlathotep, Shoggoths, and many more. There are some more generic Lovecraftian creatures alongside the well-known ones. These are all serviceable enough and the author promises the reader a supplement to go with them to cover the rituals and spells too.

Physically, Scout Magazine #III is tidily presented. It is very lightly illustrated.

Scout Magazine #III provides the Game Master and her players with a mixture of options old and new—or rather retreads of old worn paths and new. There is some good content in the issue, but just a little too much feels too similar to what has gone on before. That said, these are just the author’s suggestions and if the content of the issue does feel familiar, it is at least giving the Game Master more choice. Of the new, the Zealot Class is interesting, especially the Neutral variant, and the Backgrounds can add a nice bit of detail to any Player Character.

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

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry and the Dungeon Crawl Classics Roleplaying Game from Goodman Games. Some of these fanzines provide fantasy support for the Dungeon Crawl Classics Roleplaying Game, but others explore other genres for use with Dungeon Crawl Classics Roleplaying Game. One such fanzine is Silam.
Silam No. 2: The Trials of Riao was published in 2024 by Wizards With Laser Rifles following a successful Kickstarter campaign as part of ZineQuest #2024. It follows on from Silam No. 1: The Spike of Dosku which introduced a new setting for use with Dungeons Crawl Classics. This is nation of Silam which nearly fell to a civil war between the Lawful and Chaotic use of magic by Clerics and Wizards. This was forestalled by the creation of The Three Powers, consisting of the Lawful Clerics and the Chaotic Wizards with Neutral Wizards and Druids providing a balancing force between the two. Together, they built Spikes, subterranean bunkers where members could study magic, train, live, and protect themselves. Five centuries ago, the young Queen Budhi initiated The Shattering which destroyed The Three Powers and then executed any magic-using member of her court and those that had participated in The Shattering. The strife continued for two decades until a powerful cleric rose to usurp the queen—and almost succeeded. Great walls were erected between the lands of Queen Budhi and those held by the supporters of the cleric. Since then, a cold war between the Crown of Nicsa and the Tribe of Lliram has divided Silam as much as the walls.
At the beginning of Silam No. 1: The Spike of Dosku, that war has suddenly turned hot… In addition, Silam No. 1: The Spike of Dosku included details of three new Races particular to the setting and the Character Funnel, ‘The Spike of Dosku’. The Character Funnel is the signature scenario of the Dungeon Crawl Classics Roleplaying Game, one in which the players take control of four Zero Level Player Characters and attempt to have them survive an adventure or dungeon. Any Player Characters that do, gain sufficient Experience Points for them to be able to pick a Class and become First Level.
Silam No. 2: The Trials of Riao expands the world of Silam, but to be fair, not by very much. This starts with five new deities. They include Magron, the Lawful Mother-Father and Husband-Wife. Their worshippers build and protect, and their Clerics are skilled in building and repair buildings and defences. The Chaotic Lliram is the god of practicality and is worshipped by those seeking inspiration and skill. Metasig is Lawful god of stone and the cycle of life primarily worshipped by the Slate, the tall, long-limbed humanoids with slate-like skin that gives an Armour Class bonus when not wearing armour and with ‘Metasig’s Touch’, grants them a Charge Die in combat. Haus is Neutral, a god of consumption worshipped in very few numbers and then by hedonists. Lastly, the Neutral Farn is the god of sleep whose worshippers prize relaxation, but only after their work is done. All five gods are nicely detailed with information about their clerics including holy symbol, weapon proficiencies,  the effects of their ‘Lay on hands’—such as the Farn’s Clerics also inducing pleasant dreams that heal extra Hit Points, and listing their particular spells. None of them have new spells to learn with all of them coming from the core rules. Each is followed by a ‘Disapproval Table’. Overall, these are nicely detailed, but the main issue with them is context as the broader world of Silam is not yet described.
Silam No. 2: The Trials of Riao does include one new spell. This is Riao’s Magnificent Strike. This turns a single punch by the caster into being capable shattering his target. Effectively, a martial arts strike. This is a solid little spell which perhaps could be the basis of Monk-style Player Character.
Half of the fanzine is the adventure, ‘The Trials of Riao’. This is a First Level adventure, intended to be run after the Player Characters have been through the Character Funnel, ‘The Spike of Dosku’, in Silam No. 1: The Spike of Dosku. Here, the Player Characters descend into the Spike, essentially a seminary where students train and study to serve Metasig. This involves passing several tests against the elements, physical as well as mental, the latter involving the student having to think his way around an obstacle rather than simply fight it or endure it. What is clear as soon as the Player Characters enter is that it is many years since anyone visited the Spike as there are still signs of the battles between the defenders and Queen Budhi’s soldiers. The Player Characters effectively replace the dead students and have to find their past the trials in the Spike without the benefit of years of study! It is a decently done dungeon with a mournful atmosphere and a strong emphasis on puzzles and tests over combat.
The issue with ‘The Trials of Riao’ is one of motivation. It is not readily clear in the adventure why the Player Characters have come to the Spire. The specific reason is that they have come to further study under Master Riao in the Spike, but this is not made clear until the very end and the overall reason is not given at all. It is actually to learn and protect the ways of magic—both arcane and divine—that the Crown of Nicsa wants destroyed.
Physically, Silam No. 2: The Trials of Riao is very well produced. The maps are nicely done and the artwork is excellent.

The setting of Silam with new Races and the politically and culturally different attitudes to magic of all types is potentially interesting, but although Silam No. 1: The Spike of Dosku worked hard to set it up, that potential is not realised as much as it should be with Silam No. 2: The Trials of Riao, primarily because the two do not feel as connected as they should. The scenario in Silam No. 2: The Trials of Riao is meant to be sequel to the Character Funnel in Silam No. 1: The Spike of Dosku, but it does not feel like it. Future issues need more of the world, need more of a threat to motivate the Player Characters, and more context to help the Judge more easily make the connections and build world for her players.

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

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. A more recent Old School Renaissance-style roleplaying game which right from the start of its appearance started being supported by fanzines, is ShadowDark, published by The Arcane Library. Attack the Light is one such fanzine.

Attack the Light: Issue 0 is published by Night Noon Games and is written as a preview issue for the forthcoming first issue, being funded via Kickstarter. Despite what the cover might suggest, this preview of the full fanzine is not rushed or rough and ready, but rather comes with a complete mini-adventure, intended for First Level Player Characters, that is solidly written and well presented. The adventure is simple and straightforward, but easy to prepare or slot into a Game Master’s campaign, and it should only take a session or so to play though. It includes rumours, random encounters, details of the monsters encountered, and some nice bits of treasure.

The adventure is ‘Aulon Raid in the Temple of Ord’. It opens with news that Orcish soldiers from the city-state of Aulon have invaded and defiled the nearby Temple of Ord. They have penetrated the shrine and there installed a sinister Blood Gem of Ramlaat, which encourages others to pillage, spread the name of Ramlaat, and work towards a blood rite. The adventure provides a few rumours that the Player Characters can learn and a short table of random encounters before plunging into the temple itself. The temple consists of nine locations across two levels, each one is nicely detailed and there is sense that the complex is one that has just been attacked and is undergoing transition. An Aulon Priest is found re-etching the carvings of the temple dedicated to Ord to ones sacred to Ramlaat, murals are defaced, there is a captured priest to be found and rescued, and so on. Both of the gods at the heart of the scenario, Ord, the Neutral god of knowledge, secrets, and equilibrium, and Ramlaat, the Chaotic god known as the ‘Pillager’, are taken from the ShadowDark core rulebook, making the scenario even easier to use.

The scenario is supported with a selection of monsters, such as an Aulon Archer and Soldier, Priest, Shadow, Stone Hornet, and others, as well as spells such as Augury, Conceal Portal, Hold Portal, and others. These are a mix of old and new, some taken from the ShadowDark core rulebook, others new. The three magic items are the Blood Gem of Ramlaat, the Locket of Remembrance, and the Ring of Portals. These are nicely detailed. Lastly, ‘When the Light Goes Out’ is a table of events of what might happen when the Player Characters’ torch goes out and they cannot relight a new one. This is, of course, a key feature of ShadowDark and having a table like this to hand makes the scenario easier to run.

Physically, the cover to Attack the Light: Issue 0 is intentionally unfinished, but inside the layout is clean and tidy, the artwork decent, and the cartography excellent. There should be no surprise there, given it is by Dyson Logos.

Attack the Light: Issue 0 is a good little mini-issue. It gets to the point, gives the Game Master what she needs, and should provide a good session or two’s worth of play. If subsequent issues of Attack the Light provide more of the same, it is going to be worth looking at by the ShadowDark Game Master.

—oOo—
Details of Attack the Light: Issue 1 can be found here.

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

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. Another popular choice of system for fanzines, is Goodman Games’ Dungeon Crawl Classics Roleplaying Game, but then there are outliers, fanzines for genres, let alone roleplaying games, which you would never expect to receive support in this format.

Gridshock 20XX ’Zine 1: Roadmap is a fanzine for ICONS Superpowered Roleplaying. Published by VX2 following a successful Kickstarter campaign, this is a product which is very different in many ways. It is a fanzine for the superhero genre, it is a fanzine for ICONS Superpowered Roleplaying, and as superhero fanzine, it actually presents a post-apocalyptic setting. All three factors make it standout as different. As the name suggests, Gridshock 20XX ’Zine 1: Roadmap is the first in the series for the fanzine, but there is only a total of four issues.

Gridshock 20XX ’Zine 1: Roadmap presents an overview of its setting, gives a timeline that runs from antiquity to now, and makes a few additions and changes to the ICONS system. The setting is the North American continent, its society ripped apart in 1986 by an event known as the Shock. This occurred when the mysterious Omegas attacked a project to build a psionic computer network powered by extradimensional energy. The Omegas stopped it, but the Aftershock swept round the world, killing millions and making millions disappear, substituting familiar landscape with alien ones, turning the sky violet, and causing stars to occasionally be replaced by unknown ones. Almost none of the superheroes who fought the Omegas survived and those that did are missing. In the chaos of the Aftershock that saw government collapse, the world’s supervillains and their allies seized control and each established their own fiefdoms or sectors that as a whole became known as the Supremacy. Each Sector is different in terms of its leader’s vision. For example, Sunrise Sector on the west coast is a corporate-controlled kleptocracy and the Sanction is a wasteland of oil fields dominated by a daemoniac narcissist, but all are dystopias of one kind or another!

The Shock also disrupted the Grid which underlies the whole of reality and weakened it, enabling links called ‘Gridgates’ to be established to other worlds, enabling aliens to visit the Earth. Reality storms imperil travel so that long term travel in in convoys and all forms of broadcast media act as vessels for a necrocosmic plague. Only the wealthy has access to any form of direct communication, whilst messages and recorded media are delivered directly. Long distance travel is via the Thunder Road, a continental network of highways and fuel stations controlled by Lord Thunder, the leader of the Sanction.

In the world of Gridshock 20XX, the Player Characters are Vectors. They possess the ability to warp the Grid and thus reality, manipulating it in their favour. Vectorisation means that this is accompanied by visual displays that means that it is never subtle. Vectors are typically human, but can also be gatecrashers from other realities or hybroids—one of the genetically engineered labour force. Whilst Vectors have superpowers, they do not operate as the superheroes of old. They do not wear spandex and they do not patrol looking for crime. That, combined with the flashiness of their powers, would make it easier for the Supremacy to find them. Instead, they travel the Thunder Road, looking for work and when they can, attempting to strike a blow for justice and freedom. Vectors are meant to be proactive and fight for what is right, forge new alliances, push their powers to the limits of reality—and perhaps beyond, reclaim hope and rebuild civilisation, and explore the secrets of old world and the new.

Gridshock 20XX ’Zine 1: Roadmap makes some chances to ICONS Superpowered Roleplaying. The Game Master is replaced by the Grid Master and Vectors possess Vector Potential instead of Determination and Vector Points instead Determination Points. The attributes Prowess and Willpower are replaced by Fighting and Willpower. Some Powers are renamed, such as Attribute Boost instead of Ability Boost; others are replaced, such as Fabrication for gadgets; and still others are shifted from being Powers to being Extras of Powers, such as Force Field being made an Extra of Force Control. In addition, there are several new Powers. These include Fabrication, Geist Control, Gridjockeying, Protection, and Signature Vehicle. Limits and Extras are provided for all. Of these, Geist Control gives a Vector control of daemons, Ultra-Geists, and Liminals when they enter the Realspace of Earth, working like a Mind Control Power, whilst Gridjockeying enables a Vector to use a ‘Grid Intrusion Neural Interface’ to duplicate the effects of another Power! However, it is limited to the basic effect of a Power without mastering one via the ‘Routine’ Extra.

Optional rules in Gridshock 20XX ’Zine 1: Roadmap allow for the Vectors to share and detail a motorrig, suggests some Qualities for Vectors, and offers a list of Specialities to reflect the action-orientated setting of Gridshock 20XX. There are some changes to how damage is handled, but notably this is not a setting in which there is ready access to armour. Unless it is a specific Power, armour simply reduces lethal damage to blunt damage.

Physically, Gridshock 20XX ’Zine 1: Roadmap is very nicely presented in swathes of yellow and black. The artwork is reasonable, but the cartography is slightly difficult to read. The layout does switch in places between portrait and landscape format, not always to easy effect.

Gridshock 20XX ’Zine 1: Roadmap sets everything up for the three parts of the Gridshock 20XX quartet with a lot of intriguing content that suggests a very different style of superhero setting and a very different style of post-apocalyptic setting. Perhaps a combination of Mad Max meets the Thunder Lord?

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

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

Crawling Under A Broken Moon Fanzine Issue No. 9 was published in in August, 2015 by Shield of Faith Studios. It continued the detailing of post-apocalyptic setting of Umerica and Urth which had begun in Crawling Under A Broken Moon Fanzine Issue No. 1, and would be continued in Crawling Under A Broken Moon Fanzine Issue No. 2, which added further Classes, monsters, and weapons, Crawling Under A Broken Moon Fanzine Issue No. 3, which provided the means to create Player Characters and gave them a Character Funnel to play, Crawling Under A Broken Moon Fanzine Issue No. 4, which detailed several Patrons for the setting, whilst Crawling Under A Broken Moon Fanzine Issue No. 5 explored one of the inspirations for the setting and fanzine, He-Man and the Masters of the Universe and Crawling Under A Broken Moon Fanzine Issue No. 6 continued that trend with another inspiration, Mad Max. Crawling Under A Broken Moon Fanzine Issue No. 7 continued the technical and vehicular themes of the previous issue, whilst also detailing a major metropolis of the setting. Crawling Under A Broken Moon Fanzine Issue No. 8 was a marked change in terms of content and style, but o, and one that Crawling Under A Broken Moon Fanzine Issue No. 9 very much continues.

The setting has, of course, gone on to be presented in more detail in The Umerican Survival Guide – Core Setting Guide, now distributed by Goodman Games. The setting itself is a world brought about after a rogue object from deep space passed between the Earth and the Moon and ripped apart time and space, leaving behind a planet which would recover, but leave its inhabitants ruled by savagery, cruel sorcery, and twisted science.
Crawling Under A Broken Moon Fanzine Issue No. 9 completes the task begun in Crawling Under A Broken Moon Fanzine Issue No. 8. This is because it contains the second part of an A to Z for the post-apocalyptic setting of Umerica and Urth, the first part appearing in Crawling Under A Broken Moon Fanzine Issue No. 8. There was a phase of producing to A to Z guides, such as The Dungeon Alphabet from Goodman Games and The Wilderness Alphabet: A Collection of Random Charts, Tables, and Ideas for use with various Games of Imagination. In each case, the entries in these supplements were not simple guides or descriptions of their subjects, but as the subtitle of the latter book suggests, were instead tables that the Game Master or Judge could roll on—sometimes more than one—to randomly determine elements of the setting such as the description of a door or an altar, the look of an NPC, the contents of a chest, and so on. These tables can be used in play, at the table, the Game Master rolling on them as needed or she can consult them as part of her preparation. This particular issue runs from ‘N is for New Vistas’ to ‘Z is for Zoological Horrors’ with every table being accompanied by a short description and instructions as to what dice to roll.

The entries begin with two sets of tables really designed to provide scenario hooks as much as flavour. Thus an entry for ‘N is for New Vistas’ reads “You come across a truly enormous tree that has various bits of different large buildings jutting out of it. Many of them seem to still have electricity as the tree glitters with lights. A community of some sort has built catwalks between the buildings and calls this place home.”, whilst ‘O is for Old Ruins’, an entry reads “The broken remains of four skyscrapers melted together by heat and atomic power. Monsters and giant spiders haunt the place and tons of ancient equipment still in operate inside.” The same goes for ‘Q is for Quantum portals’, only weird, like “...a blue-black sun hangs in the sky and weird plant mutants herd 1d24 near-humans into huge copper colored cages. A large meat grinder-like processing plant is nearby and the sound of suffering echoes across the landscape. A strange temple structure holds 1d8 levels of bizarre dungeon structures filled with weird monsters. It might be a zoo or something far stranger.”

As well as places to go, there are people to met. The Player Characters can find something to buy from ‘P is for Peddlers’, who might have “Two dozen cans of food, all in pristine condition but the labels are quite faded. Could be pork and beans, could be fruit cocktail, who knows? Vendor is looking to move them in a hurry.” or be “A shady looking robot with a push cart selling various pharmaceuticals at cheap prices. It seems too good to be true but 1d5 former customers will swear the medicines are good if any inquiries are made.” A slightly more complex table, requiring multiple rolls of a thirty-sided die enables the Judge to generate places to stop and stay in ‘N is for New Vistas’ . This is not the most complex table in the issue. The most complex table in the issue is ‘W is for Weather of the Wastes’ which provides a complete means of creating weather in Umerica and Urth, all the way up to Freak Storms, which have their own table, whose entries include “Bloated gelatinous clouds discharge a downpour of living slime fragments. Every hour that the storm rages, 1d5-1 Primeval Slimes, each of 1d3 HD in size, (DCC RPG, pg 423) will reform from the fragments in each acre the storm covers.” and “Swirling Purple clouds unleash a downpour of fish, crustaceans, and amphibians upon the area covered by the storm. Unprotected people, beasts, and structures will suffer damage from the fleshy torrent. The bounty that falls is fully edible and untainted but will quickly begin to rot (goes bad in 5d30 minutes) unless properly stored. Areas not cleared of the rotten mess will have a 20% per day to attract large scavenger type beasts for the next week.”

Since the setting of Umerica and Urth is a post-apocalyptic one, the ‘S is for Scavenging’ table with entries that include “Whether it turns out to be just a useless pastime or opens a door to another realm, this six-colored glowing puzzle cube beckons to be solved.”, “2d3 plastic eggs containing sheer pantyhose. If nothing else you’ll look great at the tavern this weekend. And your next hold-up will be memorially fashionable.”, and “A complete magician’s kit with top hat, cape and wand. Mystify your friends with over 250 tricks, from guessing your card, shoving a nail through a piece of glass, spot the ball under the cup and the ever famous, “Watch me pull a rabbit out of my hat.””. These are all very entertaining, and perhaps of any of the tables in this issue or the previous one, this is all but mandatory since a major aspect of play is scavenging for things from the past. That said, a whole issue of Crawling Under A Broken Moon could have been devoted to items to be scavenged and everybody would have been happy with it.

Towards the end of the issue, the tables get a little weirder and out of this world. ‘U is for UFOs’ and ‘X is for Xenotech’ cover potential extraterrestrial encounters and the devices that might get left behind following such encounters. However, the most interesting table is ‘Y is for Yestermen (or “Who is in that Cryochamber?”)’, which details the origins of ‘Yestermen’. Each one is grown in a Seeder, a genetic depository which when supplied with raw materials creates robot servitors, then life, and lastly the means to support the wholly new ‘humans’ known as ‘Yestermen’. Originally Seeders were a scientific experiment, then a national and military necessity if a nature is to survive, and then a commercial venture. After that? Who knows? So Yestermen of any Seeder can be of any culture from before the apocalypse and of any persuasion, making any encounter with them more random than normal! They could also be used as the background certain Player Character types, as yet not exposed to the wider damaged world of Urth. Lastly, Crawling Under A Broken Moon Fanzine Issue No. 9 includes the ‘B is also for Bonus Table! Post-Apocalyptic Lucky Roll Table’, which replaces the ‘Table 1-2: Luck Score’ in the Dungeon Crawl Classics Roleplaying Game core rulebook, specifically for the Umerica setting.

Physically, Crawling Under A Broken Moon Fanzine Issue No. 9 is as serviceably presented and as a little rough around the edges as the other fanzines in the line. Of course, the problem with Crawling Under A Broken Moon Fanzine Issue No. 9 is that much of its contents have been represented to a more professional standard in the pages of The Umerican Survival Guide – Core Setting Guide, so it has been superseded and superseded by a cleaner, slicker presentation of the material.

Like the previous issue, Crawling Under A Broken Moon Fanzine Issue No. 9 is by nature bitty and disparate with its numerous different entries and writeups. It is not an issue to read through from end to end, but to consult from time to time in search of something that will make a Judge’s game just that little bit more interesting and more exciting, which all of its entries have the ability to do. Further, because there really is no specific setting detail given in its various tables, the contents of Crawling Under A Broken Moon Fanzine Issue No. 9 will work with a lot of other post apocalyptic roleplaying games and not just the Dungeon Crawl Classics Roleplaying Game or Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic.

Much like the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Miskatonic Repository for Call of Cthulhu, Seventh Edition is a curated platform for user-made content. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

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Name: The Outbreak 1854Publisher: Chaosium, Inc.
Author: Chicho ‘Arkashka’ OCARIZ

Setting: London, 1854Product: Scenario
What You Get: Forty-seven page, 16.32 MB Full Colour PDF
Elevator Pitch: “You know nothing, Jon Snow” ― Game of Thrones, George R. R. MartinPlot Hook: “A plague o’ both your houses!” — Romeo and Juliet, William ShakespearePlot Support: Staging advice, four pre-generated Investigators, six NPCs, five handouts, two maps, one Mythos tome, and two Mythos monsters.Production Values: Decent
Pros# Well-researched background
# Obfuscation of the plot by the history# Possible sequel to The Bristol Train Robbery# Nosophobia# Seismophobia# Scoleciphobia
Cons# Needs an edit# Needs development to pull the Investigators in more
Conclusion# Bloody horror in Victorian London that will give you the shakes# Underdeveloped in terms of investigation, but could be developed further

Much like the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and The Companions of Arthur for material set in Greg Stafford’s masterpiece of Arthurian legend and romance, Pendragon, the Miskatonic Repository for Call of Cthulhu, Seventh Edition is a curated platform for user-made content. It is thus, “...a new way for creators to publish and distribute their own original Call of Cthulhu content including scenarios, settings, spells and more…” To support the endeavours of their creators, Chaosium has provided templates and art packs, both free to use, so that the resulting releases can look and feel as professional as possible. To support the efforts of these contributors, Miskatonic Monday is an occasional series of reviews which will in turn examine an item drawn from the depths of the Miskatonic Repository.

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Name: The Plague of ScratchesPublisher: Chaosium, Inc.
Author: Maude Cort

Setting: A U.S. mining townProduct: Scenario
What You Get: Two page, 1.42 MB Black & White PDF
Elevator Pitch: “To die, - To sleep, - To sleep! Perchance to dream: - ay, there's the rub;For in that sleep of death what dreams may come, When we have shuffled off this mortal coil,Must give us pause: there's the respect That makes calamity of so long life;”― William Shakespeare, HamletPlot Hook: There’s a murderer or there’s a plague or there’s bothPlot Support: Staging advice, fourteen named NPCs, and one Mythos monster.Production Values: Sparse
Pros# Barebones presentation
# Easy to adapt to different eras# Multiple plot hooks# Good for the Keeper that really, really likes to improvise# Dipsophobia# Somniphobia# Oneirophobia
Cons# From the author of Millan’s Tomb# Presented in a backwards fashion# Needs development# Keeper will need to supply stats# Needs a slight edit
Conclusion# All the right elements, not necessarily in the right order# In need of development to flesh out the story, let alone the stats

It is the year 2287 and life is far from easy in the remains of New England, including Boston, an area called ‘The Commonwealth’. Two centuries after a nuclear holocaust that ended a war between the United States and China, there are plenty of pools of radiation hanging around, feral ghouls lurk in tunnels and caves, mirelurks hunt the banks of rivers and shores of lakes, and raiders are a constant threat. Yet there are survivors to protect and old Vaults to explore and even loot. It is a dangerous world out there, but when there is shooting and screaming, it probably means that somebody is in trouble. This is how ‘Once Upon a Time in the Wasteland’ opens, the mini-campaign in Fallout: The Roleplaying Game – Starter Set. Designed for two to seven players, aged fourteen and over, the Fallout: The Roleplaying Game – Starter Set is introductory boxed for Fallout: The Roleplaying Game, which is based upon the Fallout series of post apocalyptic computer games from Bethesda Game Studios. In particular, Fallout 4, which depicts a post-apocalyptic future that is heavily influenced by American culture of the 1940s, 1950s, and 1960s. In fact, the events of ‘Starter Set Quest: Once Upon a Time in the Wasteland’ are set before those of Fallout 4. Published by Modiphius Entertainment, Fallout: The Roleplaying Game – Starter Set is an attractive looking boxed set.
Fallout: The Roleplaying Game – Starter Set includes a fifty-six-page ‘Starter Set Rulebook’, a sixty-page ‘Starter Set Quest: Once Upon a Time in the Wasteland’, six pre-generated Player Characters, two twenty-sided dice, one twenty-sided hit location die, four six-sided Fallout game dice, and fifty-six Nuka-Cola cap tokens. The ‘Starter Set Rulebook’ covers the basics of characters, the mechanics and combat, and equipment, whilst the quest book gives the campaign. The Nuka-Cola cap tokens can be used as Action Points in the game or as in the computer game, as currency. The six pre-generated Player Characters include a Vault Dweller who is good at hacking; a Survivor who hits hard and can lie well; a Ghoul who heals fast and is immune to radiation; a Brotherhood Initiate good at repairing and healing; and a Mister Handy with a pincer arm attachment that can stab and even inflict critical hits! All six of the pre-generated Player Characters are presented on double-sided card sheets complete with a biography. The dice are actually nice and chunky and done in the blue of Vault dweller uniforms.

A Player Character in the Fallout: The Roleplaying Game – Starter Set—and thus the Fallout: The Roleplaying Game—will look more familiar to anyone who has played Fallout 4 than anyone who has played a 2d20 System roleplaying game. A Player Character has seven ‘S.P.E.C.I.A.L. Attributes’. These are Strength, Perception, Endurance, Charisma, Intelligence, Agility, and Luck. These are rated between four and ten and will be familiar to anyone who has played Fallout 4. He will ratings in skills including Athletics, Barter, Big Guns, Energy Weapons, Explosives, Lockpick, Medicine, Melee Weapons, Pilot, Repair, Science, Small Guns, Sneak, Speech, Survival, Throwing, and Unarmed. Skills are ranked between zero and six. Some skills are marked as Tag skills, indicating expertise or talent. Tag skills improve a Player Character’s chances of a critical success. Each twenty-sided die rolled for a Tag skill that gives a result equal to or under the skill rank is a critical success, counting as two successes rather than one.
One noticeable difference between Fallout: The Roleplaying Game and other 2d20 System roleplaying games is that the Player Characters have hit locations. This reflects the nature of the computer game. A Player Character will also have several Perks and Traits, essentially the equivalent of advantages and disadvantages, and he will have Luck Points equal to his Luck Attribute. The ‘Starter Set Rulebook’ includes a long list of Perks, many of which the players will recognise from the computer game. For example, ‘Commando’, ‘Gunslinger’, ‘Hacker’, ‘Infiltrator’, ‘Iron First’, ‘Mysterious Stranger’, ‘Ninja’, and more. A Player Character does have a biography and a list of gear as well.
Mechanically, the Fallout: The Roleplaying Game – Starter Set—and thus the Fallout: The Roleplaying Game—uses the 2d20 System seen in many of the roleplaying games published by Modiphius Entertainment, such as Achtung! Cthulhu 2d20 or Dune – Adventures in the Imperium. To undertake an action in the 2d20 System in Fallout: The Roleplaying Game, a character’s player rolls two twenty-sided dice, aiming to have both roll under the total of an Attribute and a Skill to generate successes. Each roll under this total counts as a success, an average task requiring two successes, the aim being to generate a number of successes equal to, or greater, than the Difficulty Value, which typically ranges between zero and five. Rolls of one count as a critical success and create two successes, as does rolling under the value of the Skill when it is a Tagged Skill. A roll of twenty adds a Complication to the situation, such as making noise when a Player Character is trying to be stealthy or breaking a lock pick when opening a safe.
Successes generated above the Difficulty Value are turned into Action Points. Action Points are a shared resource and a group can have up to six. They can be used to purchase more dice for a Skill test, to Obtain Information from the Overseer, Reduce Time spent on a test, or to take an Additional Minor Action or Additional Major Action.
With Luck of the Draw, a player can spend his character’s Luck Points to add a fact or detail or item to the area he is in that would benefit him. Other uses include Stacked Deck, which enables a player to substitute his character’s Luck Attribute instead of another, Lucky Timing, which lets a survivor interrupt the Initiative order, and Miss Fortune to reroll dice. The Overseer—as the Game Master is known—has her own supply of Action Points to use with her NPCs.
Combat in the Fallout: The Roleplaying Game – Starter Set and thus Fallout: The Roleplaying Game, is quite detailed in comparison to other 2d20 System roleplaying games. A Player Character can attempt one Minor Action and one Major Action per round, but Action Points can be spent to take one more of each. Minor Actions include Aim, Draw Item, Move, Take Chem, and more, whilst Major Actions include Attack, Command an NPC, Defend, Rally, Sprint, and others. During combat, Action Points can be expended to purchase more dice for a Skill test, to Obtain Information from the Overseer, to take an Additional Minor Action or Additional Major Action, or to add extra Combat Dice.
Damage is inflicted per random Hit Location and it is possible to target a particular Hit Location. The number of Combat Dice rolled to determine damage is based on the weapon, Action Points spent to purchase more Combat Dice, Perks, and other factors. Combat Dice determine not only the number of points of damage inflicted, but the ‘Damage Effects Trigger’ of the weapon used. This has an extra effect, such as Piercing, which ignores a point of Damage Resistance or Spread, which means an additional target is hit. Both damage inflicted and Damage Resistance can be physical, energy, radiation, or poison. If five or more points of damage is inflicted to a single Hit Location, then a critical hit is scored. Ammunition is tracked.
Radiation damage is handled differently. It reduces the Maximum Health Points of a Player Character rather than his current Health Points. Until cured, this reduces both his Maximum Health Points and the number of Health Points which can be cured.
One aspect of the Fallout computer games that the Fallout: The Roleplaying Game – Starter Set does not cover is crafting. In Fallout 4 and the other games, the Player Character can craft almost everything—arms, armour, food and beverages, and so on. This falls outside of the remit of the Fallout: The Roleplaying Game – Starter Set, but the ‘Starter Set Rulebook’ does include a lengthy list of equipment which includes plenty of the various items seen in the computer game. It also covers Junk—if not necessarily what to do with it—and also Magazines, for example, Astoundingly Awesome Tales, Massachusetts Medical Journal, and Tumblers Today. When read, these provide a single one-time bonus or Perk that can also be made permanent if the Player Character uses the Perk and learns it when he next gains a level.
The ‘Starter Set Quest: Once Upon a Time in the Wasteland’ presents a three-part mini-campaign that begins with an investigation of a vault and continues with a trek across and under the dangerous lands of the Commonwealth to Diamond City—Boston that was—and discovery of secrets about the setting. Each chapter should take a session or two to play through. It begins in a slight awkward fashion, with all of the Player Characters facing each other in a circle, in a potential stand-off outside the entrance to Vault 95. Each heard screams and the sound of gunfire and decided to investigate. However, the scenario uses this situation to get the players to talk about their characters by getting the Game Master to ask each of them a question. In the process, the players get an idea of who the other characters are and the characters are pushed towards co-operating with each other, potentially a problem given that they are such a diverse lot. This is only the beginning of the staging advice in ‘Starter Set Quest: Once Upon a Time in the Wasteland’, which does not overwhelm the Game Master with the rules, but eases both her and her players into the 2d20 System step-by-step.
The scenario also has some nice nods to the computer game, such as being able to befriend a canine companion and the Player Characters get to explore several of the signature location types found in the computer game—a vault, some sewers, a lone warehouse, and of course, Diamond City. There are moments too, for each of the Player Character types to shine, such as the Super Mutant interacting with fellow Super Mutants in order to avoid a fight or the Ghoul holding off some Feral Ghouls that will not attack him. The initial scenes are more action and combat-based, but later on, the players have plenty of room for roleplay and interaction, especially in Diamond City. There are also opportunities for the Player Characters to improve as well. The campaign only has the one side quest, and it is possible to complete that before accepting it from the NPC, but by the end, the Player Characters will either have established themselves in the Commonwealth or be left a challenging villain they still have to track down and defeat. The latter though, lies beyond of the scope of ‘Starter Set Quest: Once Upon a Time in the Wasteland’, and the Game Master will need to develop that herself. Although there are notes on possible sequels, the scenario stands alone and complete by itself.
Physically, the Fallout: The Roleplaying Game – Starter Set is decently presented. The dice are nice and chunky, the character sheets well done, and both of the ‘Starter Set Rulebook’ and ‘Starter Set Quest: Once Upon a Time in the Wasteland’ are easy to read and come with plenty of illustrations. The only thing lacking physically, is a map or two.
There is a lot in The Fallout: The Roleplaying Game – Starter Set that fans of the Fallout 4 and the other computer games will recognise and enjoy engaging with, whilst the rules are easily explained and staged to make both learning and teaching them an easy process, all backed up with a solid scenario. The result is that the Fallout: The Roleplaying Game – Starter Set is a very good introduction to both the Fallout: The Roleplaying Game and the post-apocalyptic setting of the Commonwealth.

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Modiphius Entertainment will be at UK Games Expo which takes place on Friday, May 30th to Sunday June 1st, 2025.