Reviews from R'lyeh

Jonstown Jottings #70: Spirit Hunt

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

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What is it?GLORANTHA: Spirit Hunt is a scenario for use with RuneQuest: Roleplaying in Glorantha.

It is a five page, full colour, 1.13 GB PDF.

The layout is clean and tidy. It is art free, but the cartography is excellent.

The map can be found here.

Where is it set?
GLORANTHA: Spirit Hunt is set in or near Esrolia. It is suggested that it be set in the hills between Helerdon and the Doktados mountains.

Who do you play?Player Characters of all types could play this scenario, but as written they are expected to be connected to Esrolia. A Player Character with either Hate (Lunars) or Hate (Lunar Empire) can be driven to undertake this scenario.
What do you need?
GLORANTHA: Spirit Hunt requires RuneQuest: Roleplaying in Glorantha and the Glorantha Bestiary.
What do you get?GLORANTHA: Spirit Hunt details the hiding place of the Nyctalope sent by the Red Emperor in 1610 ST which successfully assassinated Queen Valinalda of Esrolia. The Player Characters are either sent by one of the Esrolian Queens or Ernalda’s priestess to destroy the spirit, have to do so as part of a heroquest, or simply stumbled across the lair. The scenario provides the basic background, a set of random encounters, and the floorplans of the ruined shrine where the Nyctalope is hiding.
Although the map is excellent, GLORANTHA: Spirit Hunt is uninteresting. There is perhaps an engaging and intriguing scenario which explores the hunt for the spirit which assassinated Queen Valinalda, GLORANTHA: Spirit Hunt is not that. The Game Master could develop it further, especially if one of more of the Player Characters is from Esrolia, is related or has links to one of the Queens, or actively hates the Lunars. However, there is no roleplaying or interaction involved here, no mystery, no anything except combat. So why bother starting with this when there so little to work from?
Again, the Game Master should download the map by Dyson Logos and use that to create her own scenario. It would be unlikely to be any worse or more uninspiring than GLORANTHA: Spirit Hunt is and it is definitely less expensive.
Is it worth your time?YesGLORANTHA: Spirit Hunt is straightforward and easy to run, and requires relatively little effort to prepare.NoGLORANTHA: A Grim Pilgrimage is another self-contained mini-dungeon which the author kindly leaves much of the interesting detail, stats, and flavour to be found in the back story—as is his standard practice—for the Game Master to develop herself. Cheap, cheerless, characterless, and charmless. Not mostly, but completely.MaybeGLORANTHA: Spirit Hunt is straightforward and easy to run, and requires relatively little effort to prepare, but the Game Master could easily come up with an alternative which was interesting and involving.

Miskatonic Monday #156: Along Came a Crystal

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

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

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Name: Along Came a CrystalPublisher: Chaosium, Inc.
Author: Alonso R. Serrano

Setting: Jazz Age Lovecraft Country
Product: ScenarioWhat You Get: Seventeen page, 2.60 MB Full Colour PDF
Elevator Pitch: All that glisters is not gold.Plot Hook: A hunt for a missing geologist lands the Investigators in a hole.
Plot Support: Two NPCs, five handouts, one map, and two Mythos monsters.Production Values: Variable.
Pros# Potential addition to a Miskatonic University campaign# Creepy use of replicated sound# Keeper could prepare the soundbites# Decent handouts# Geologically themed one-shot# Crystallophobia# Petraphobia
Cons# Needs an edit# Short investigation# More action than investigation
Conclusion# Short investigation leads to a confrontation with a near unstoppable geologically alien monster.# Along Came a Crystal uses the replication of soundbites to creepy effect. 

An Excellent Engineless Elevensome

There is a gap between the one-shot and the campaign that is rarely filled. The gap between the one or two session scenario and the campaign that will run over the course of years in multiple sessions. The gap between one-shots like Viral and Lady Blackbird and full campaigns such as Impossible Landscapes and The Curse of Strahd. It is this gap where the shorter campaign takes place, somewhere between say four or five adventures and say, a maximum of twelve. Yet the hobby does not often offer campaigns of such length, tending towards the extremes in terms of length rather than the median. That though, is not an issue with Odd Jobs: RPG Micro Settings Vol. I. This is a collection of eleven mini- or micro-settings, each complete with a background, character options, NPCs, a detailed mini-campaign, adventure seeds, bonus material, and more. Taking in everything from collecting ghosts to return to Earth from across the Solar System and running the rails between bubbles of stable reality to playing the stock market which measures and tracks the worshippers of your god and searching signs of intelligent life on a distant planet as you become that life, this anthology brings a together a plethora of weird and wonderful campaign ideas designed to be played in three to four sessions (but can go longer if the extra content is used).

Odd Jobs: RPG Micro Settings Vol. I is published by MacGuffin & Co. following a successful Kickstarter campaign and the first thing that you really need to know about it is that it is systemless. There are no stats of any kind in the book. Which means that the Game Master will need to put in some extra effort when preparing one of the book’s campaigns, providing the necessary stats and abilities, and so on. However, after explaining what a roleplaying game and a micro-setting is, the authors do discuss the choice of system in the book’s introduction. What is great here is that they suggest a number of different roleplaying games, pairing them with each of the various micro-settings in the book. These range from Fate Condensed, The Black Hack, and Cthulhu Hack to Savage Worlds, the Cypher System, and Dungeons & Dragons, Fifth Edition. Now any of the micro settings in Odd Jobs: RPG Micro Settings Vol. I can be adapted to the rules system of the Game Master’s choice, but the suggestions can lead a Game Master and her players to try out a new set of rules or if they already know one set of rules, the Game Master can pick up this book and prepare the setting paired with her preferred rules straight away. (And then look at the other settings.) It should be noted that two of the settings carry content warnings, but these are kept short and to the point.

Each of the settings and campaigns in Odd Jobs: RPG Micro Settings Vol. I follows roughly the same format. It opens with three pages of background, followed by a page or so each of character ideas and locations. These initial pages are for both player and Game Master, but the remaining pages, beginning with ‘Secrets’ are clearly for the Game Master’s eyes only. This is followed by a list of NPCs, the mini-campaign itself—consisting of four adventures, the latter full of surprising twists, before being rounded off with a handful of adventure seeds and some bonus content. The latter can be as simple as a bonus adventure, but can also include further character ideas and tables for creating random elements in the setting. The book itself is rounded out with bonus content for all eleven campaigns.

Odd Jobs: RPG Micro Settings Vol. I very quickly gets on with the first setting and campaign—and it grabs the reader from the off. ‘Ghost Ship’ combines Dead Like Me with Office Space, but in space! When somebody dies, their spirit passes on, but only on Earth. Which is a problem when someone dies off-world. Someone has to collect the ghosts—some of whom are not always friendly and need to be harpooned!—and return them to Earth. The setting classifies the ghosts by belligerency, and has the Player Characters as ghost collectors discovering that there is much more going on and that some of the ghosts really do not want to go back. It is followed by ‘Twisted Rails’ in which the Player Characters crew a steam train ferrying freight and passengers from one Bubble of stable reality to another, riding the rails which have been laid across the chaos in between that resulted when reality broke down. The Player Characters will have to contend with rail pirates on parallel lines attempting to capture their train. This campaign is accompanied by tables for creating new Bubbles. The third campaign, ‘Not Far to Bermuda’, gets a bit weird. It is set aboard the Wanderlust, a large passenger liner which has been on the Atlantic Islands Cruise for at least two-hundred-and-ninety-four days. Fortunately, the food has not run out, though it varies unexpectedly, and whilst discipline and society has not exactly broken down or broken out into violence, it has coalesced into a series of cliques which need to be carefully navigated. This is where the Player Characters come in, being members of the hospitality staff, such as poolside entertainer, excursion leader, or events manager, whose old roles seem to have fallen away as the trip has continued. Quite where the ship is and where it is going is the focus of the campaign as the voyage continues.

‘Guardians’ is a flashback to the seventies and rural France with the Player Characters as nuns whose reputation and conduct has resulted in their being seconded to the ‘les Sœurs de Notre-Dame de la Vérité’ (‘The Sisters of Our Lady of Truth) whose duty is to guard ‘la Fosse de l’Enfer’, literally a ‘Pit of Hell’. This campaign can vary in tone from dark comedy to psychological horror and comes with a table of options for the dark secrets that each of the nuns is harbouring, and plenty of suggestions as to what exactly is in the pit. This is potentially the darkest of the campaigns in the anthology. ‘Atlantis City’ goes under the sea to explore what happened to the mythical lost city when it was sunk in ages past. It turns to gambling and becomes a den of vice and criminality, the aquatic equivalent of Las Vegas or Atlantic City. As the Player Characters take over a casino, they have to contend with the Kingdom of the Merfolk and the Deep Ones of the Deep Collective attempting to muscle in on the vice trade along with rival casino crews and city politics which have been dominated by the same family for millennia. The other darker setting in the anthology is ‘Duskhollow P.D.’, which combines hard-boiled detective stories with horror in a weird interzone urban sprawl where the rain never stops and where the crimes can involve cults, sorcerers, revenants, and more, including something squamous. This campaign differs from the others in that there is no one secret to what is behind the nature of the city, but several which the Game Master can pick and choose from, and rather than run a campaign with a beginning, middle, and end, be run as a series of one-shots into which the Game Master can insert the clues. Of all the campaigns in Odd Jobs: RPG Micro Settings Vol. I, it is not a case of ‘run and done’, but intermittent cases which can be run in between other campaigns.

‘MIX: Missing In X-mas’ is the jolliest of campaigns in Odd Jobs: RPG Micro Settings Vol. I, but starts with a bang. It is Christmas night and Santa Claus has gone missing somewhere over Germany. Where could he be? This is no Nightmare Before Christmas, but the Player Characters—Elves, Reindeer, Gingerbread Persons, Snowpersons, Nutcrackers, and Toys—have to leap into the breach to continue the deliveries as well as discover quite where Father Christmas has got to. The campaign comes with a big table of presents to deliver and plenty of drops down the chimney to go wrong and get out again without any child being the wiser to the presence of the Player Characters. ‘Primetime Colosseum’ is a campaign in which the Player Characters are gladiators in an Ancient Rome where myth and magic are real, including resurrection potions. So gladiators can fight and die and come back and fight again. The various roles are not so much inspired by classic gladiator types, but by modern wrestling. The campaign itself sees the Player Characters and their gladiatorial school hit primetime, find fame and fortune, and suffer the consequences. Of all the campaigns in the anthology, ‘Wizard’s Staff’ feels the most familiar in which the staff and assistants of the notoriously evil enchanter Balphior who have to step up and fill in after he goes and dies in unsurprisingly bizarre circumstances. They are going to have to cover in his absence and survive the avaricious interest of others if they find out about their master’s death. This requires a degree of cunning and subterfuge, but can be comedic too.

The penultimate campaign is ‘Start-Up Culture’. This is a world in which the gods are real and their power and influence via the number of worshippers they have is tracked on the OSE or ‘Oracle Spiritual Exchange’. The players get to create their own god, such as the ‘God of Reluctant Teamwork’ or ‘God of Lazy Afternoons’, and power said god up the OSE by proselytising and gaining worshippers. Rounding out the anthology is ‘Fixer Upper’, a piece of straight Science Fiction in which the Player Characters are robots surveying a planet—the ‘Fixer Upper’ of the title, in the far future to determine three things. If it is suitable to be inhabited by humans, if it needs to be terraformed, and if it is already occupied by a species exhibiting ‘Personhood’. As the players roleplay through the campaign, their robots not only explore more of the world, but begin to diverge from their programming to the point where they are the ones exhibiting ‘Personhood’. It is a fascinating philosophical piece in the vein of Philip K. Dick with which to close the anthology.

Physically, RPG Micro Settings Vol. I is very nicely presented. It is done in full colour, with artwork and typography which is different for each and every campaign. This gives each a distinct feel and makes them standout when browsing the book.

Odd Jobs: RPG Micro Settings Vol. I offers some memorable, fully developed campaign ideas which it combines with flexibility in terms of choice of system and running time—any one of them could be run in the suggested three to four sessions, but also easily extended with the plentiful story hooks and seeds. Odd Jobs: RPG Micro Settings Vol. I is an exemplary elevensome, full of good ideas and entertainingly brilliant concepts that you will want to run as a Game Master and roleplay as a player.
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Both Reviews from R’lyeh and MacGuffin & Co. will be at DragonMeet on Saturday, 3rd December, 2022.

Cosmic Anarchy

NO FUTURE: Lovecraftian Horror Meets the Punk Revolution would normally be reviewed as part of the Fanzine Focus strand, but it is not really a fanzine. Although originally intended to be part of Kickstarter’s ZineQuest for 2022, the publisher decided to do it on its own via Itchio, when Kickstarter moved ZineQuest from march to August to coincide with Gen Con, its format—A4 rather than A5, its singular content, and the production standards all move it away from the ’zine ethos and look and towards a more professional product. As a result, it stands somewhere between a fanzine and prozine. It is a trend which has been growing with each successive ZineQuest, to the point where it is quite difficult to determine the difference between a fanzine and a publication simply using the format and the promotional support of ZineQuest to present a whole scenario or even an RPG. NO FUTURE: Lovecraftian Horror Meets the Punk Revolution does itself no favours in making a such a determination. Although the cover can be described as Punk Art and Punks are the protagonists of its scenario, the style and layout of the first issue’s content evokes neither Punk Art nor a fanzine sensibility, and the glossiness of the first issue just does not scream Punk! However, whether or not NO FUTURE: Lovecraftian Horror Meets the Punk Revolution is ’zine or not ’zine, it does not meet the criteria to fit the Fanzine Focus strand, but it does include content which is interesting and which does involve Punks.

NO FUTURE: Lovecraftian Horror Meets the Punk Revolution – Issue #1: “The Five Techniques” is published by Pent Up Press and contains a single scenario designed to be run using Trail of Cthulhu or Cthulhu Dark. The former is the clue orientated roleplaying game of Lovecraftian investigative horror from Pelgrane Press and the latter the rules light RPG of Lovecraftian investigative horror designed for simple, minimalist play. It could easily be adapted to the roleplaying game of Lovecraftian investigative horror of the Game Master’s choice. What makes the scenario stand out is its time period—the 1970s, its setting—Northern Ireland, and its protagonists—members of punk rock band. The set-up is this. The would-be Investigators are members of The Gutters which formed in London. The band’s bassist, Ciaron McCarthy, has died and his bandmate, Mickey Grayes, has persuaded everyone to give Ciaron a proper Punk wake in his home village of Conhale in County Armagh in Northern Ireland. This sets up some fantastic tensions. The Punks themselves are very much the ‘fish out of water’ amidst the tensions of the Troubles. Not just their clothes, but their anti-establishment sentiment will make them standout in the conservative society of Armagh, already tense from the locked down presence and influence of the British Army and the Royal Ulster Constabulary supposedly keeping them safe from the IRA.

The Investigators will feel and experience this tension almost from the start. The journey from London has been long and tiring when the Punks are stopped by an IRA checkpoint and questioned. The villagers are reluctant to talk to the interlopers, but will warm to them with a drink or two. The British Army will take a seemingly mild interest too—at least initially. All whilst the Investigators suffer odd dreams, or even daydreams of dreams, spiral patterns are marked here and there, and then one of their number runs off…

As written, “The Five Techniques” is systemless, but the scenario includes notes on running it in either Cthulhu Dark or the GUMSHOE System of Trail of Cthulhu. The latter comes with stats for some NPCs and new Investigative and General Abilities, all musical in nature. For either system, there is a set of tables for creating the background of the Punk, covering ‘Creating Your Punk’ and ‘Getting the Band Together’, as well the scenario’s set of dreams and four decently done handouts.

Whether run for Cthulhu Dark, Trail of Cthulhu, or another roleplaying of Lovecraftian investigative horror, “The Five Techniques” is more folk horror, more Green Room meets Junji Ito’s Uzumaki, rather than Lovecraftian horror per se. It also adheres to the style of play of Cthulhu Dark in which the Investigators can only confront the Mythos. They cannot fight it directly, for it is too powerful, too unknowable, and such efforts are doomed to end in failure, resulting in the Investigators’ deaths or insanity. Thus “The Five Techniques” is more Purist than the traditional Purist mode of Trail of Cthulhu to the point where the motivations of outré threat are never explained and the Game Master is not expected to explain them either. Only in the epilogue which each player gets to narrate for their Investigator is there time to wonder at what happened and the horror of it. Here though, is where “The Five Techniques” does not support the Game Master as the scenario does not say about the responses to what happened for those living in and around Clonhale, whether the villagers, the British Army, the R.U.C., or the I.R.A. There will be consequences and it would have been useful to be given pointers as to what they might be.

Physically, NO FUTURE: Lovecraftian Horror Meets the Punk Revolution – Issue #1: “The Five Techniques” is busily presented with plenty of decent artwork and good handouts. The writing is decent and the plot sufficiently straightforward that the Game Master can easily run this in a single session or as a convention one-shot. In addition, the scenario has a pleasing historicity, which includes the appearance of Northern Ireland’s most famous Punk band.

The seventies is a period which has been little explored in Lovecraftian investigative horror, and much of what has, has been inspired by the Grindhouse, exploitation cinema of the period. NO FUTURE: Lovecraftian Horror Meets the Punk Revolution – Issue #1: “The Five Techniques” shifts Lovecraftian investigative horror to the seventies in a historical sense and location, placing the unknowable against a framework of real-world tensions, making the already fraught situation all the more fraught, the result being a unique for Lovecraftian investigative roleplaying.

Friday Fantasy: The Hole in the Oak

The Hole in the Oak is a scenario published by Necrotic Gnome. It is written for use with Old School Essentials, the Old School Renaissance retroclone based on the version of Basic Dungeons & Dragons designed by Tom Moldvay and published in 1980. It is designed to be played by a party of First and Second Level Player Characters and is a standalone affair, but could be connected to another scenario from the publisher, The Incandescent Grottoes. Plus there is scope in the adventure to expand if the Referee so desires. Alternatively, it could simply be run on its own as a self-contained dungeon adventure. The scenario is intended to be set underneath a great mythic wood, so is a perfect addition to the publisher’s own Dolmenwood setting, but would be easy to add to the Game Master’s own campaign setting. Further, like so many other scenarios for the Old School Renaissance, The Hole in the Oak is incredibly easy to adapt to or run using the retroclone of the Referee’s choice. The tone of the dungeon is weird and earthy, part of the ‘Mythic Underworld’ where strangeness and a degree of inexplicability is to be expected.
The first thing that strikes you about The Hole in the Oak is the way in which it is organised. The map of the whole dungeon is inside the front cover, and after the introduction, the adventure overview provides a history of the dungeon, an explanation of its factions and their relationships, and details—but definitely not any explanations—of its unanswered mysteries. The latter can be left as they are, unexplained, or they can be potentially tied into the rumours which will probably push the Player Characters into exploring its depths. Or of course, they can be tied into the Referee’s greater campaign world and lead to other adventures, or even developed from the players’ own explanations and hypothesises should the Referee be listening carefully. Besides the table of rumours, the adventure includes a listing of the treasure to be found in the dungeon and where, and a table of ‘Random Happenings’ (or encounters). The latter is placed inside the back cover where it is very convenient.
In between are the descriptions of the rooms below The Hole in the Oak. All sixty of them. These are arranged in order of course, but each is written in a parred down style, almost bullet point fashion, with key words in bold with details in accompanying parenthesis, followed by extra details and monster stats below. For example, the ‘Nonsense Study’ is described as containing “Cobblestones (round and smooth). Root walls and roof (clean; hand-worn patches). Arched roof (8’ high),” It expands up this with “South: Smell of tea and crumpets. Warm light. Quiet bleating (words?).” It expands upon this with descriptions of the room’s bookshelves, upholstered chairs, and monster stats for the latter. There is a fantastic economy of words employed here to incredible effect. The descriptions are kept to a bare minimum, but their simplicity is evocative, easy to read from the page, and prepare. The Hole in the Oak is genuinely easy to bring to the table and made all the easier to run from the page because the relevant sections from the map are reproduced on the same page. In addition, the map itself is clear and easy to read, with coloured boxes used to mark locked doors and monster locations as well as the usual room numbers.
In places though, the design and layout does not quite work. This is primarily where single rooms require expanded detail beyond the simple thumbnail description. It adds complexity and these locations are not quite as easy to run straight from the page as other locations are in the dungeon.
The dungeon in The Hole in the Oak, has an earthy, musty feel to it. Roots protrude in places from the walls and ceilings, and will sometimes lash out, talk to passers-by, or even hide things they steal. The inhabitants—factions even—have a mouldering feel to them too, many of them secretive and deceitful, and several of them would be more than willing to eat the adventurers if they can. Obviously, the Ghouls will—and will play dead as if drowned by the river—to ambush intruders, whilst the flock of sheep-headed fauns in its spiral-shaped home will invite visitors in for tea before striking. The most dangerous of the dungeon’s inhabitants consists of several giant lizards and a mutagenic Ogre whose breath could warp any adventurer he exhales on. There is plenty of weirdness too, including ghostly battles, black skeletons which seem to do nothing but stand there, and a strange cult of heretical Gnomes dedicated to decidedly odd, if megalomaniacal, object of veneration. Throughout, there are lots of lovely little details and oddities that make The Hole in the Oak much more than a simple series of connected rooms.
However, The Hole in the Oak can be a tough scenario. Not so much the traps, but the denizens. These include the aforementioned Ghouls and giant lizards, as well as the troglodytes. Of course, this encourages careful play, just as any classic Old School Renaissance dungeon or scenario should, and the likelihood is that the Player Characters will be making two or three delves down into it before exploring its fullest reaches.
Physically, The Hole in the Oak is a handsome little affair. The artwork is excellent, the cartography clear, and the writing to the point.
The Hole in the Oak can be used as an introductory dungeon—and it would be perfect for that, but it begs to be worked into a woodland realm of its own, its various details and connected rumours used by the Referee to connect it to the wider world and so develop context. Whichever way it is used, The Hole in the Oak is a superbly designed, low level dungeon, full of musty, fusty flavour and detail, presented in a format that makes it incredibly accessible and easy to run.

The Worst Game at Gen Con 2022

The Strange Land is a scenario for Space: 1889. First published by Game Designers’ Workshop in 1989, it was the first Steampunk roleplaying game. Inspired by the works Jules Verne, H.G. Wells, and Arthur Conan Doyle, it presented an alternate past of Victorian-era space-faring, in which Thomas Edison invented the ‘ether propeller’, a means to propel space vessels through the ‘luminiferous aether’ to first the Moon, then Mars, and later Venus and Mercury. All are proven to be inhabited, Venus by Lizardmen and dinosaurs, but Mars by Canal Martians, Steppe Martians, and High Martians, and the world itself was arid and dry, its cities connected by a network of canals that had been seen from Earth. Mars was also the source of Liftwood, the mysterious tree cultivated for the antigravity properties of its wood, which could be used to keep sky galleons and then when Earthmen arrived, their armoured, steam powered flyers aloft. The great powers rushed in make trade deals and ultimately establish colonies on the Red Planet, just as they would on Venus. In the two decades since Edison landed on the Moon and then on Mars, all of the Imperial tensions of the age have been brought to Mars and exacerbated by the lay of the land of the new world.

Space: 1889 would not remain in print for very long. Game Designers’ Workshop cancelled the line in 1990, but Heliograph, Inc. would reprint many of the titles at the turn of the century. In 2010, the Pinnacle Entertainment Group published a Savage Worlds edition of the game called Space 1889: Red Sands. More recently, in 2015, German publisher Uhrwerk Verlag/Clockwork Publishing published a new edition using the Ubiquity System, originally seen Hollow Earth Expedition from Exile Game Studio. Notably, this edition emphasised the role of the European powers, especially Prussia under Bismarck, in the setting, as opposed to the role of the British Empire in the previous versions. The Strange Land is available for both the Ubiquity System of Space: 1889 and the Savage Worlds rules for Space 1889: Red Sands. It is the latter version of The Strange Land that is being reviewed here.

The Strange Land concerns the fate of the young Canal Martian boy, Kime, and is divided into two parts. The first part is set on Earth and is an investigation into his kidnapping which leads into industrial unrest, whilst the second part takes place on Mars, and more directly involves industrial unrest. The scenario can be played straight through, but ideally, the second part should take place later in the campaign some time after the first. In particular, it is suggested that the Player Characters for the first part be from Novice to Seasoned Rank, and from Season to Veteran in the second part. The scenario also suggests that the Player Characters, or at least a few of them, be British. The scenario has a nice sense of historicity and although the scenario calls for more middle- and upper-class character types initially, any working-class character, or a character with radical leanings will have much to do in the scenario.

The Strange Land opens with the Player Characters invited to stay at the Hampshire estate of Lord John Feltam-Hithe, where at the end of a lengthy dinner, his young ward, an orphaned Canal Martian named Kime, will perform an amazing feat—he will levitate into the air! The Player Characters have the opportunity to interact with the other guests, including an explorer, an industrialist, a businessman, a poetess, and others, but after performing for the night and retiring, Kime has disappeared. Lord Feltam-Hithe presses upon the Player Characters that the boy is in danger and must be found. Their investigations lead first to one of the staff and from their to decidedly rotten circus, which has pitched its tents outside the nearby town. The circus owner is a vile piece of work, poorly treating both staff and exhibits, including, it turns out, one John Merrick! Who proves to be the most noble amongst all of the NPCs that the Player Characters will encounter as they conduct their investigation, which will also reveal more about Lord Feltam-Hithe’s parlous financial situation.

In the third scene of the first part to The Strange Land, the Player Characters literally follows the tracks to London and get involved in the London Dock Strike of 1889. In the setting of Space: 1889, this is exacerbated by taking place on the Southern Aerial Docks, which is currently being occupied the striking dockworkers. Rumour is flying about an ‘Angel of the Docks’, a figure who has become a figurehead to the striking dockworkers. Could this be Kime? If so, the Player Characters need to find a means to ascend to the Southern Aerial Docks. Here the author provides several NPCs which can become potential contacts for the Player Characters, including a historical figure or two, along with several means of accessing the Southern Aerial Docks. These means are inventive and the author is clearly having some fun with them. Ultimately, which should happen is standoff between the striking dockworkers and the strike breakers, with both Kime and the Player Characters sort of in the middle, and the situation getting resolved one way or another.

It is at this point that the scenario could have ended and nobody would have been the wiser. However, The Strange Land has a second, much shorter part, which takes place on Mars, a year or two after the events of the first part. The Player Characters are sent to the aid of a hill station towards the edge of the British sphere of influence on the Red Planet. A local noble, Shune, wants the help of the commander of the hill station in ending a labour strike at the nearby pumping station, Astolor Station—which helps keep the waters flowing through the canals of the dying planet. The commander of the hill station would rather not get involved, and certainly not involve the British residency on Mars, but there are rumours too that a British hostage has been taken as well. So a labour strike, a kidnapping, and an unpleasant, condescending Martian noble, but how are they all connected? This is a simpler situation than in the first half of The Strange Land, but not as linear and more open in how the Player Characters approach the situation. Whether they decide to give help to Shune or negotiate with him, or storm the pumping station or parlay with the strikers, there are consequences to their decisions. The various options are discussed and supported with details of the situation’s major NPCs, so rather than running her Player Characters through the plot as in the first half, the Game Master will primarily reacting to their decisions.

Physically, The Strange Land is a short book. It needs a slight edit in places, but the few pieces of artwork and the single map—that of the Southern Aerial Docks—are all decent. However, it would have benefitted from a few more thumbnail portraits of the NPCs, and definitely more maps. Whether that is of Lord Feltam-Hithe’s estate, the region around Astolor Station, and of Astolor Station itself. If not that, then at least an illustration.

Whether written for use with Space 1889: Red Sands or the original Ubiquity System version of Space: 1889The Strange Land is a solid little scenario. (With a little effort, it could no doubt be adapted to new version, Space 1889: After, currently being Kickstarted by Strange Owl Games.) It takes the Player Characters to the highs and lows of society on both Earth and Mars, and the first half, set on Earth could easily be run without the need to run the second half. There is an enjoyable sense of working-class radicalism to both halves and together they allow The Strange Land to explore the underside to Victorian life the reform movement in Space: 1889.

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The Strange Land was the worst scenario we played at Gen Con 2022. This is not to say that the scenario itself is bad. In fact, given its author, it is no surprise that it is a decent, playable, and enjoyable scenario—as written. Yet, of all the gaming experiences we had at Gen Con 2022, it was the worst. Attending Gen Con as a group, we signed up to play a total of five games and got into four of them. These were, in chronological order, Pirates of the Shattered World, X-Crawl, Delta Green, and Space: 1889. Of these, Delta Green was a blast, Pirates of the Shattered World entertaining if crowded, X-Crawl disappointing, and Space: 1889 utterly dreadful. This is despite the fact that our X-Crawl game, which was due to take place in Goodman Games’ Wizard’s Van, was to be run by the game designer, and was an event that we were really, really looking forward to, was cancelled—with good reason. So yes, a gaming experience which was cancelled and thus involved no gaming whatsoever and meant we did not meet the game designer, was a superior gaming experience than the Space: 1889 game.

So why was it so bad?

It took too long to get started and too long for the Game Master to explain the rules. It took too long to get to the hook for the first half of the scenario—the disappearance of Kime—and thus get us involved. When we wanted to roleplay, the Game Master would attempt to move the plot on and when we attempted to investigate, the Game Master would ignore our efforts. The Game Master added a couple of scenes and details that having read and reviewed the scenario are implied, but not really suitable additions given that the scenario is being run in a convention timeslot. So, we felt unengaged in the scenario and grew increasingly bored over the course of the session. In fact, we were communicating this to each other via our Whatsapp group, to the point where we agreed two things. First, it looked like the session of Dungeons & Dragons, Fourth Edition that the Game Master’s wife was running on an adjacent table, was a whole lot more energetic and fun, and that we wished that were playing that instead. Second, when towards the end of the session when the Game Master announced that the scenario was not yet finished, but could be if we decided to stay after the session was supposed to end if we had no pressing appointments, we all agreed that we really, really needed to be somewhere else.

All of which would be exacerbated by ‘Red Hat Guy’. The gaming group of consisted of myself and four other friends. The sixth player was ‘Red Hat Guy’. So named because he wore a red baseball cap. He sat down, selected a character, did not want to know who we were or who our characters were, and only seemed to come alive when there was combat involved. He made no contribution to the investigation or the roleplaying, what little of it we were allowed to do, and said virtually nothing for the whole of the session. However, he proved to be as bored as we were. Towards the end of the session, the player sat next to him sent the following message on our Whatsapp group: “Red hat is skimming through boob pictures. My game is now complete.”

Now in hindsight we should have done something about this. We should have told Red Hat Guy to stop or gone to the Gen Con organisers. We did not. Why not? We were in shock at the audacity of anyone doing such a thing. Had we done so, it would have upended the game, disrupting it, and somehow that did not feel right. Had the one female player been sat next to Red Hat Guy it might have been a different matter. He might never have begun browsing pornography on his mobile phone and the session would have slouched to its end, with none of us the wiser as to how he was feeling. If he had, then she would have very likely, clearly asked him not to, and that probably would have brought the gaming session to end.

Even to this day, we are still in shock even now at what happened with Red Hat Guy. Thankfully, we did not see him again and if we did, we would not want to game with him again. His actions capped what was already a terrible gaming experience, one that we really wanted to get away from, but are never going to forget.

Jonstown Jottings #69: A Grim Pilgrimage

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

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What is it?
GLORANTHA: A Grim Pilgrimage is a scenario for use with RuneQuest: Roleplaying in Glorantha.

It is a five page, full colour, 959.82 MB PDF.

The layout is clean and tidy. It is art free, but the cartography is excellent.

Where is it set?
GLORANTHA: A Grim Pilgrimage is set in Prax in the Eiritha Hills.

Who do you play?Player Characters of all types could play this scenario, but as written are expected to be members of one of the tribes of Prax. A Humakti will be useful, and a worshipper or shaman of Daka Fal would be approriate. magic and enchanted weaponry will be very useful.
What do you need?
GLORANTHA: A Grim Pilgrimage requires RuneQuest: Roleplaying in Glorantha and the Glorantha Bestiary.
What do you get?GLORANTHA: A Grim Pilgrimage details a Daka Fal shrine in the Eiritha Hills of Prax. It consists of a simple complex of just five rooms, its description in the main, focusing upon the undead threats currently inhabiting its handful of rooms. Three reasons are suggested as to why the Player Characters might be journeying there, the easiest being that a recent party of pilgrims failed to return from its annual visit, and their queen or khan commands them to investigate.

The Game Master has the option to throw in a random encounter or two, but once there, the Player Characters quickly discover it to be infested with the undead. One add fact is that the most recently dead, and the first ones they will encounter, are skeletons rather than zombies. This is an extended combat encounter, with no roleplaying or investigation required. However, there is scope for the Game Master to expand the scenario a little. One way would be to expand on the restoration of the shrine after it has been cleansed of the undead, whilst the Game Master add details about Daka Fal and his worship to the shrine, and possibly add physical details and possessions to the undead, suggesting who they might have been in their former lives and what they were carrying, which could lead to further adventures. The descriptions of both the shrine and its undead are perfunctory at bests, uninspiring at worst.
GLORANTHA: A Grim Pilgrimage is not badly written for what it is, but very much like the earlier GLORANTHA: The search for the Throne of ColymarGLORANTHA: A Trek in the Marsh, GLORANTHA: The Avengers of Earth Temple, and GLORANTHA: Underwater Quest, it is underwritten and leaves a fair amount of development work for the Game Master to do before she brings GLORANTHA: A Grim Pilgrimage to the gaming table. Probably not as much as the other scenarios from this author, but to really bring it alive, the effort is required. Of course, since if the Game Master is going to have to do that development work, she might as well grab the map and start from scratch.
Is it worth your time?YesGLORANTHA: A Grim Pilgrimage is surprisingly not awful. That does not mean that it is actually adequate, but it contains the germ of an interesting encounter if the Game Master is willing to develop the set-up, add the flavour, and the detail, which of course the author failed to do. Then of course, the Game Master can do something about making the dungeon, or rather shrine, interesting.NoGLORANTHA: A Grim Pilgrimage is a self-contained mini-dungeon bash which the author kindly leaves much of the interesting detail, stats, and flavour to be found in the back story—as is his standard practice—for the Game Master to develop herself. Cheap, cheerless, characterless, and charmless. Mostly.MaybeGLORANTHA: A Grim Pilgrimage is surprisingly not without potential. The location, the backstory, and possible hooks could all be developed into something more interesting and playable than the mini-dungeon it currently is. Of course, the author could have done that for the potential purchaser too, but why break the habit of the rest of his scenarios for RuneQuest: Roleplaying in Glorantha?

Miskatonic Monday #153: The Change

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

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

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Name: The ChangePublisher: Chaosium, Inc.
Author: Bobby Nelson

Setting: Jazz Age Lovecraft country
Product: ScenarioWhat You Get: Fourteen page, 51.06 MB Full Colour PDF
Elevator Pitch: “Nature never knew colors like this.”Plot Hook: ‘The Color Out of Space’ Redux
Plot Support: Four NPCs, one map, two floor plans/handouts, and one Mythos monster.Production Values: Plain.
Pros# Tranquility turns into countdown horror# Eerie environmental horror# Lovecraft Country scenario# Easy to adapt to other periods and places# Chromophobia
Cons# No pre-generated Investigators# Region map would have been useful# Needs an edit# ‘The Color Out of Space’ Redux

Conclusion# The Change has an eerie sense of bucolic horror and environmental decay in what is a reactive, countdown horror. # Ultimately, ‘The Color Out of Space’ redux too far

Clouting Cthulhu II

As a darkness falls over a Europe under the heel of the Nazi jackboot, a secret war has begun against the invader, one which at the direction of Winston Churchill, Prime Minster of Great Britain, would “…[S]et Europe ablaze.” This would be led by the Special Operations Executive or SOE, whose operatives, often working with local resistance forces, would carry out acts of sabotage against the Axis war effort, as well as work to establish secret armies which ultimately act in conjunction with Allied invading forces. However, there is a darker, more secret war, this against those Nazi agents and organisations which would command and entreat with the occult and forces beyond the understanding of mankind. Yet even this dark drive is riven by differing ideologies and approaches pandering to Hitler’s whims. The Black Sun consists of Nazi warrior-sorcerers supreme who use foul magic and summoned creatures from nameless dimensions to dominate the battlefields of men, whilst Nachtwölfe, the Night Wolves utilise technology, biological enhancements, and wunderwaffen (wonder weapons) to win the war for Germany. Ultimately, both utilise and fall under the malign influence of the Mythos, the forces of which have their own unknowable designs… Standing against them, ready to thwart their malign efforts are the audacious Allied agents of Britain’s Section M, the United States’ Majestic, and the brave Resistance, willing to risk their lives and their sanity against malicious Nazi villains and the unfathomable gods and monsters of the Mythos themselves, each striving for supremacy in mankind’s darkest yet finest hour!

This is the set-up for Achtung! Cthulhu, the roleplaying game of fast-paced pulp action and Mythos magic published by Modiphius Entertainment. Originally published using Call of Cthulhu, Sixth Edition and Savage Worlds in 2013, and later FATE Core, almost a decade on, it returns in brand new edition. Not though written for use with Call of Cthulhu, Seventh Edition, but rather for use with the publisher’s 2d20 System house mechanics, first seen in Mutant Chronicles and Robert E. Howard’s Conan: Adventures in an Age Undreamed Of. The result is a roleplaying game of Lovecraftian investigative action in which the Player Characters can take the fight to the enemy, punch out the Nazis, and wield powerful sorcery or psychic powers against their agents and their Mythos allies, as well as even weirder weapons against the backdrop of World War II and the Nazi war machine.

The Achtung! Cthulhu 2d20: Gamemaster’s Guide—heralded as ‘Issue No. 2’ in a series on the cover—picks up where the Achtung! Cthulhu 2d20: Player’s Guide left off. Written for the Achtung! Cthulhu 2d20 Game Master’s eyes only, this is the supplement exposes and explores a whole lot more of the setting and its secrets, presents the six major factions involved in the new Secret War, their personnel minor, major, and notable, the equipment they field, and the magics they wield. Alongside this, there is extensive advice and suggestions for the Game Master on how to run Achtung! Cthulhu 2d20 and keep it exciting. Fundamentally, the latter is what sets Achtung! Cthulhu 2d20 apart from other roleplaying games of Lovecraftian investigative roleplaying. It is meant to be fast and furious, exciting and unnerving, the tone and style hewing heavily into Pulp action. The Player Characters are not so much Investigators—although some investigation is likely to be required in game—but rather Pulp action, anti-Mythos special forces operatives or secret agents. This can be on an ad hoc basis, with the Player Characters coming from a diverse range of backgrounds and cultures, which is very likely to be the default set-up in a campaign, but it could also be run a military Pulp action horror game with the Player Characters all being part of the same unit. For example, Section fields The Grey Watch, a band of Scottish warriors specialising in hand-to-hand combat, always accompanied by a piper playing the Pipes of McMurden, the sound of which strikes fear into the forces of the Mythos, whilst Majestic sends out its Flaming Salamanders of the Majestic Corps, consisting of U.S. marines in flame retardant clothing wielding all manner of flame-based weapons to burn out the Mythos. The action-packed cover of the Achtung! Cthulhu 2d20: Gamemaster’s Guide very much sets the tone for the roleplaying game, as does the Achtung! Cthulhu 2d20: Player’s Guide.

The Achtung! Cthulhu 2d20: Gamemaster’s Guide begins by exploring the factions and history of Secret War, and this not merely divided between the Allies and the Nazis. There are instead six factions, and to extent, this does feel like a set of factions for both roleplaying and wargaming, something that the extensive set of stats for allies, enemies, and forces in the later ‘Heroes & Villains of the Secret War’ and ‘Bestiary’ does nothing to persuade otherwise. On the Allied side are the British Section M and the American Majestic. Both capture the flavour and feel of their respective mundane counterparts, playing to some stereotypes too in keeping with the roleplaying game’s Pulp leanings. Thus, Section M is reserved, but combines desperate ingenuity and improvisation with measured study and cups of tea, whilst Majestic is brasher, more muscular, and relies on psychic operations rather than the classical study of magic. On the Nazi side are two factions, The Cult of the Black Sun and Nachtwölfe, which have different approaches to the Mythos and despise each other. Black Sun uses Hyperborean magics and knowledge to work back and forth between the Dreamlands and the waking world in an effort to free Yog-Sothoth. Nachtwölfe employs Atlantean superscience to develop, arm, and field an array of fantastic new weapons, armoured fighting vehicles, and more. In addition, both the Mi-Go and the Deep Ones have been drawn into the war, sometimes allies of the Nazis, sometimes not, as both have their own agendas. The backgrounds, histories, military structures, bases, missions and goals are all given for the six factions in what is an excellent overview of the Secret War. There is a timeline too, running from 1939 to 1945, noting important events throughout the Secret War, and hinting at potential scenarios which the Game Master could purchase and run for her players, but notably still leaving plenty of room into which the Game Master can insert her own adventures.

The Game Master can arm and equip her Player Characters and NPCs with a vast array of strange and wonderful weapons and devices. For example, the elite snipers of the Bronze Berets use the Beowulf Monstr Slayer Kk. 1 Sniper Rifle, a magnetic propulsion weapon sometimes combined with Elder Sign-inscribed rounds, whilst the Blevins Steam-Assisted Enzymatic Weapons which fire gouts of superheated steam and high-temperature active enzymes which dissolve the physical make-up of some trans-dimensional creatures. There are more mundane—in comparison—items too—like the Sword-Cane or the Bolas (until that is, the weights are filled with explosives!), and in general, such devices and weapons are rare and the ammunition, where required, available in limited quantities. In comparison, the Nazis of both Black Sun and Nachtwölfe have much wider range of weapons and equipment, and it is more widely manufactured, especially the technologically-focused Nachtwölfe. For example, Wotan’s Staff-Spear or ‘Grungnir’, are tipped with black steel forged in the Dreamlands and aid in the casting of Mythos magic, whilst the Anddrsserher-Helm worn by some Nachtwölfe soldiers is bulky, but contains a set of lenses—based on the Cornwallis design stolen from New World Incorporated in a nice nod to the classic Call of Cthulhu campaign, The Fungi from Yuggoth or The Day of the beast—that provides magnified vision, infrared vision, and the ability to see creatures and things that the human eye is normally incapable of seeing. Weapons and devices of both the Mi-Go and the Deep Ones are also given. 

Besides technology, all sides field magic during the Secret War, although reluctantly in the case of the Allies. In the main they restrict themselves to studying and using magics, spells, and rituals from the Celtic and Runic or Norse traditions, as well as Psychic powers, rather than the Mythos magic. Psychic powers are themselves treated as a sort of magic, but a very modern one, and all three traditions are more fully detailed in the Achtung! Cthulhu 2d20: Player’s Guide. The Achtung! Cthulhu 2d20: Gamemaster’s Guide instead focuses on Mythos magic, including both its battlefield and ritual applications. These are akin to the classic magics of traditional Lovecraftian investigative horror, but classified according to the deity they relate to—Cthulhu, Nyarlathotep, and Yog-Sothoth. These are likely to be used by the Deep One and Mi-Go factions and to limited extent, if at all, by the other factions. They are accompanied by numerous rituals, some of which like the Dust of Ibn-Ghazi and the various versions of Evoke/Dismiss Deity will be familiar from other roleplaying games of Lovecraftian investigative horror, whilst the Pulp nature of Achtung! Cthulhu 2d20 is highlighted by the inclusion of healing magic—for both the body and the mind. Similarly, the list of Mythos tomes is a mix of the old and the new.

For the Game Master there is an extensive chapter of advice and suggestions as to how to run Achtung! Cthulhu 2d20. It covers her role and responsibilities, letting the players and their characters be awesome, how to handle both Threats and the action, and so on before delving in the mechanics of the 2D20 System explained in the Achtung! Cthulhu 2d20: Player’s Guide, but here from the Game Master’s perspective. It pays particular attention to handling Truths in play and the consequences of failure. The Momentum and Threat economy are also examined again, and there is advice on creating and handling memorable NPCs too.

This last piece of advice leads into the last two chapters of the Achtung! Cthulhu 2d20: Gamemaster’s Guide, which together take some forty percent of the book. First, ‘Heroes & Villains of the Secret War’ looks first at the British and American forces, and covers both standard troops and special forces, the latter including those involved in the Secret War, like the Scared Blades: Gopal’s Ghurkhas from Nepal and the Pathfinder Demin Hunters from the First Nation Tlingit peoples. It does a similar thing for Black Sun and Nachtwölfe, as well as the Resistance operating in occupied Europe. Included too are all of the major figures in each of the different actions, whether that is Sally Armitage of majestic or Mina Wolff of Nachtwölfe. Each is rated as either Trooper, Lieutenant, or Nemesis level NPC, depending upon their individual degree of threat and involvement in Secret War. Second, the ‘Bestiary’ does a similar thing for the Mythos. It includes ordinary beasts too, plus the creations of abhorrent science, but in the main presents the various creatures, entities, and gods of the Mythos. Ranging from Colours Out of Space and Ghouls all the way up to Azathoth, Hastur, and Shub-Niaggurath, the things of the Mythos are classified along similar lines and detailed under the 2D20 System. There is a handful of the unfamiliar thrown into the mix to add some unfamiliarity too, but whilst a great many of the entries are familiar, at least conceptually, Achtung! Cthulhu 2d20 gives them, if not a greater degree of agency, then a greater degree of active and more immediate agency. There is very much a sense in Achtung! Cthulhu 2d20 of the Mythos factions not being prepared to play the long game as is traditional both in Mythos fiction and Lovecraftian investigative horror, but preferring to play a more active, if still secret, role in the affairs of men, whether that is as allies or as enemies, and so taking advantage of the chaos and acceleration of change that comes with the war between the Allies and the Nazis.

So the question is, what is missing from the Achtung! Cthulhu 2d20: Gamemaster’s Guide? Really, only the two aspects of the game. Vehicles, both Allied and Nazi, are not included despite all the various troops are, though they are instead given in the Achtung! Cthulhu 2d20: Player’s Guide. What is missing is a feature of almost every roleplaying game of Lovercraftian investigative horror and that is Sanity and insanity. Being a decidedly pulpier, more action-orientated, Achtung! Cthulhu 2d20 instead has a Player Character potentially suffer insanity once he has suffered enough mental damage to defeat him, whether from encountering a Mythos monster or reading a Mythos tome. and remove him from the combat and then taken more. This shifts the danger of losing Sanity and suffering from insanity as to more of an afterthought than perhaps a constant worry, but it could have been addressed more clearly. Especially for the Game Master or player adapting from another roleplaying game of Lovercraftian investigative horror.

Physically, the Achtung! Cthulhu 2d20: Game Masters Guide is well presented. It does need an edit in places, but it is well written, and again, the Achtung! Cthulhu 2d20: Player’s Guide before it, the book’s full colour artwork is fantastic. Much of it has been seen in the previous iteration of Achtung! Cthulhu, but the new artwork in the Achtung! Cthulhu 2d20: Game Master’s Guide is really good, capturing the action, excitement, and horror of the war against the darkest forces of the Axis powers.
In its treatment of magic, the monsters of the Mythos, and emphasis upon action, Achtung! Cthulhu 2d20 is not a game for the player or Keeper who prefers the classic play style of a roleplaying game of Lovecraftian investigative horror. For the player and the Game Master who want to emphasis a Pulpier, more action-driven, and less horrific approach to Lovecraftian investigative roleplaying, Achtung! Cthulhu 2d20 is a great choice, and the Achtung! Cthulhu 2d20: Game Masters Guide ably supports this style and tone with the engaging background of the Secret War, a wide array of foes to challenge the Player Characters, and the means for them to fight back and keep humanity safe.

Blue Collar Sci-Fi Supplement I

Since 2018, the Mothership Sci-Fi Horror RPG, beginning with the Mothership Sci-Fi Horror RPG – Player’s Survival Guide has proved to be a popular choice when it comes to self-publishing. Numerous authors have written and published scenarios for the roleplaying game, many of them as part of Kickstarter’s ZineQuest, but the publisher of the Mothership Sci-Fi Horror RPG, Tuesday Knight Games has also supported the roleplaying game with scenarios and support of its own. Dead Planet: A violent incursion into the land of the living for the MOTHERSHIP Sci-Fi Horror Roleplaying Game is one such scenario, but Tuesday Knight Games has also published a series of mini- or Pamphlet Modules. The first of these are The Haunting of Ypsilon 14, Hideo’s World, Terminal Delays at Anarene’s Folly, and Chromatic Transference. The fourth is The Hacker’s Handbook. Wher The Haunting of Ypsilon 14 was a traditional ‘haunted house in space monster hunt’, Hideo’s World presented a horrifyingly odd virtual world, Terminal Delays at Anarene’s Folly a locked room—or locked ship—McGuffin hunt, and Chromatic Transference did cosmic horror, The Hacker’s Handbook is not even a scenario, but a supplement!

The Hacker’s Handbook provides expanded rules for extra detail in for just the one skill in the Mothership Sci-Fi Horror RPG—‘Hacking’. One of the issues in the Mothership Sci-Fi Horror RPG – Player’s Survival Guide is that none of the skill are actually defined and so the Warden has to adjudicate exactly how they in the dark future depicted in the roleplaying game. Most of the time this will be enough, and in play, the Warden can have a player simply roll of his character if he wants to unlock a door, take remote control of a gun turret, or extract information from a computer system. However, if the Warden wants to present a more detailed, even extended challenge for the player whose character has the Hacking skill, then the core rules are insufficient. This is where The Hacker’s Handbook is useful. It still suggests using simple rules under most circumstances, but otherwise suggests presenting the hacking Player Character with a ‘Network’. This is constructed of a linked series of nodes and each node can be individualised. Each is defined by its Function, Security, and Response. In other words, what it does, the degree of how difficult it is to gain unauthorised access to, and what happens if the Hacker’s attempt is noticed by a network admin, automated security feature, A.I., and so on.

The Hacker’s Handbook lists several options for each as well as giving a modifier between zero and five for the roll on the Response Table if the hacker’s intrusion is noticed. For example, an automated security turret might be listed as ‘Automated security turret,  Infrastructure/Hardpoint Control, Hardened, +2 Response’, whilst a medical database might be listed as ‘Medical Records Storage, Data Storage, Secured, +1 Response’. In play, each node can be drawn as a box and the boxes connected to form a diagram of linked nodes and thus you have the computer network for the starship or the facility, and so on.

The Hacker’s Handbook does not ignore the social aspect of hacking either. It suggests ways of gaining access via user accounts rather than direct hacking and the various types of user account which a hacker might gain access to. It also suggests that it is one way of getting Player Characters involved in a hacking attempt whether or not they have the actual skill. Whether or not a Player Character has the skill, it also lends itself to more roleplaying opportunities than might be available with a simple roll against the skill.

Lastly, The Hacker’s Handbook lists equipment that a hacker might want to carry as a loadout. This includes decks, wristcoms, and pieces of gear. Decks include gear slots and often have extra abilities, such as treating Hardened Nodes as Secure Nodes. For example, Maze ignores one response from network security whilst CoyBoy reduces the Response value of a node by a random value. Essentially, this provides some technical equipment and details which can flavour a hacker’s activities in game and bring a little more verisimilitude to play.

Physically, The Hackers Handbook is all text, barring the network diagram examples. This is not an issue because the supplement has a lot of information to impart, so none of feels wasted.

There is a lot to like about The Hacker’s Handbook. It provides an easy way to handle a particular aspect of the Mothership Sci-Fi Horror RPG, and supports it with enough details to keep both interesting and challenging.

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An Unboxing in the Nook video of The Hackers Handbook can be found here.

Propping up Cthulhu

Call of Cthulhu is a literary roleplaying game. Its play is predicated on the ability of the Player characters—or rather the Investigators—to be literate and so be able to read the array of clues to be found as part of the enquiries into the unknown. Newspaper reports, diary entries, letters, notes and marginalia, books and scrolls, and of course, the much-feared Mythos tomes such as the dread Necronomicon and Unaussprechlichen Kulten. Just as the Investigators—or at least some of them—are expected to be able to read them, then so are their players. Thus, we have clues and handouts, especially if the roleplaying game of our choice involves a mystery—mundane or Mythos related. There had been clues and handouts before, for example, U1 The Sinister Secret of Saltmarsh, the 1981 scenario for Advanced Dungeons & Dragons, First Edition from TSR (UK), included a clue showing the pattern of signals needed to contact a smuggling ship, but Call of Cthulhu took the role of the clue and the handout to new heights as they became more and more integral to game play. And since newspaper reports, diary entries, letters, notes and marginalia, books and scrolls, and more are all modern, the Keeper can create her own—such as soaking paper in tea and then drying it to age it—and easily copy those provided in particular scenarios or campaigns. Which is what the H.P. Lovecraft Historical Society has done, and not just for its own campaigns, but your campaigns.
Of course, what the H.P. Lovecraft Historical Society is best know for is the Masks of Nyarlathotep Gamer Prop Set, a big box of handouts and clues designed to be used with Masks of Nyarlathotep, the classic campaign for Call of Cthulhu, often regarded as one of the greatest ever produced by the hobby. This no mere set of tea-soaked, faux-aged handouts and whatnot, for just as Call of Cthulhu took the role of the clue and the handout to new heights, the Masks of Nyarlathotep Gamer Prop Set takes the clues and handouts for Call of Cthulhu to new heights. There are over one hundred props in the box—telegrams, letters, a match box—just like in the original boxed set for Masks of Nyarlathotep, maps, charts, diary and ledger entries, business cards, photographs, memos, and newspaper clippings, oh so many newspaper clippings. However, Masks of Nyarlathotep is not the only campaign to receive the H.P. Lovecraft Historical Society treatment.
The Call of Cthulhu Classic Gamer Prop Set though is not a prop set for the one campaign, although it does include a campaign within its pages. Rather, the Call of Cthulhu Classic Gamer Prop Set literally provides physical support for two supplements, two anthologies of scenarios, and a campaign. All published as part of the Call of Cthulhu Classic boxed set, funded via Kickstarter as part of the venerable roleplaying game’s fortieth anniversary, and consisting of not only the Call of Cthulhu, Second Edition rules, but also the Cthulhu Companion, Shadows Of Yog Sothoth, The Asylum & Other Tales, Trail Of The Tsathogghua, and Fragments Of Fear. Thus the two companion supplements, the two anthologies, and the campaign. Open up the Call of Cthulhu Classic Gamer Prop Set and what you find is sixteen-page broadsheet newspaper, large format maps, a nautical chart, sheaves of handwritten letters, diaries, and notes, numerous brochures and photographs, police forms, legal forms, excepts ripped from terrible tomes, and more. These are all neatly organised into five folders. The first contains all of the handouts from the Call of Cthulhu, Second Edition rules—including the infamous ‘The Haunted House’, home of the late Walter Corbitt, the Cthulhu Companion, and Fragments Of Fear. Both Shadows Of Yog Sothoth and The Asylum & Other Tales have their own folder of handouts respectively, and lastly, the two scenarios in Trail Of The Tsathogghua have their own folders given the sheer weight of clues in both.
The Call of Cthulhu Classic Gamer Prop Set starts with the ‘USER GUIDE: Read Me First!’ which explains how the props are organised, notes that there are clues in code and other languages as per the relevant scenarios, and there are English versions of the clues in other languages in the box, but decoded versions of the encoded clues. The biggest bundle of clues in one prop can be found in the sixteen-page Clipmaster broadsheet newspaper and there are instructions on how to use that. Being broadsheet-sized, the Clipmaster broadsheet newspaper is huge and unwieldy, but can be quickly cut apart so the Keeper has the right newspaper articles in the right folder. Plus, there are numerous other articles in its pages, and very much part of the fun of reading is not finding the articles directly relevant to the scenarios or campaign, but reading the other articles surrounding and the other relevant ones. These add flavour and verisimilitude, as do the various advertisements alongside, to what are intended to be period pieces. Further, open up each folder and there is a Clipping Guide for each scenario which shows the Keeper where to find and then cut out the pertinent articles. This is a very handy piece of backwards design.
Folder Two is far more expansive. Dedicated to Shadows of Yog-Sothoth, the first campaign for Call of Cthulhu, here what were the blandest of handouts in the original campaign, have uplifted with detail and substance. Newspaper articles of course, but also letters and diary entries and book excerpts. There are a couple of points where the props suddenly astound you. The first is the ‘Computer Printout’ from ‘Look to the Future’, the second scenario in Shadows of Yog-Sothoth, which is done as a green bar printout on classic computer paper. It stands out from the other handouts because it is incongruously modern, as it should have done in the scenario itself, but here given brilliantly contradictory physicality. The other is from ‘The Worm that Walks’, the fifth chapter in the campaign. It is a simple letter from Christopher Edwin, inviting the Investigators to join him in Maine. Enclosed with the letter is a set of train tickets, and indeed, they are attached to the letter itself. They add nothing to the story or the plot, but they enforce the message of the letter brilliantly—Christopher Edwin is genuine enough to want to help!
Folder Three, dedicated to The Asylum & Other Tales contains some outstanding props, some of them actually better than the scenario they support really deserve. Starting with ‘The Auction’, set in Austria, at an auction for some quite outré items, there are not one, but two auction catalogues and they are honestly great. This scenario perhaps is the only one where the H.P. Lovecraft Historical Society could have gone further, but would anyone have actually wanted a Riveted Brass Head? ‘Black Devil Mountain’ is a poorly regarded scenario, but surprisingly, it has a brilliant set of letters, a death certificate, a mortuary bill of holding, legal invoice, and a deed to a property. It could be argued that the scenario would be worth playing simply to get the props in play, but that is definitely not the case. In addition, the foldout ‘Cunard Line Brochure’ is the only prop for ‘The Mauretania’, but to be fair, it is all that it needs and quite perfect!
Folders Four and Five, rounds out with Call of Cthulhu Classic Gamer Prop Set handouts and props from the three scenarios in Trail Of Tsathogghua. Across the three scenarios, there are loads and loads of newspapers, plus handwritten letters and diary entries. Relatively few of the props here have physical impact found elsewhere in the other folders. They include Morris Handelman’s Notebook from ‘The Curse Of Tsathogghua’ and an actual 8-page legal contract and the awful verse from ‘The Poetical Works of Maurice Van Laaden’, both from ‘The Haunted House’, but in general, the props are not quite as interesting.
Physically, Call of Cthulhu Classic Gamer Prop Set is an excellent presentation of the clues and handouts to the many books supporting the Call of Cthulhu Classic boxed set. However, in comparison, the Call of Cthulhu Classic Gamer Prop Set is not as good as the Masks of Nyarlathotep Gamer Prop Set. This is not to say that the prop set is bad, but rather it does not quite have the heft or physical presence. This is primarily due to the nature of the clues in the individual scenarios and the often plain format of the original clues, although in some cases, the props here gild the lily in turning clues and handouts for poor scenarios into some things compelling.
The Call of Cthulhu Classic Gamer Prop Set is definitely not needed to run the many scenarios and campaigns to be found in the Call of Cthulhu Classic boxed set. It will, though, definitely help and add verisimilitude to any one of the scenarios or the campaign, developing a great many clues and handouts into impressive, in-game items, often from very plain origins. Although it lacks the physical impact of its predecessor, the Call of Cthulhu Classic Gamer Prop Set will still help bring the scenarios and campaigns it is based upon to life.

Friday Fantasy: Wight Power

So that title. Is it racist? Is it not racist? In the homophonic sense, because after all, that it is what it sounds like, it is racist. As written and thus spelt, not it is not. That is because it is both an amusing Dungeons & Dragons pun and an amusing geographical pun. Clever puns, even. Puns that play upon Dungeons & Dragons because one of the main monsters in the scenario is a wight and geography because the scenario is set on the Isle of Wight, just off the coast of southern England. However much the scenario is not racist—and it is not, even down to the negative admonishment to adherents of extreme Right Wing politics that ends the book—and however much the title involves a pair of puns, there is no denying the fact that the title is provocative. And intentionally so, given the publisher’s reason for publishing a book with this title, essentially a ‘screw you’ and because he can. So bear that in mind, given the publisher, if that and the title is enough to put you off Wight Power, then this review is not for you—and that is fair enough.

Wight Power is a scenario for use with Lamentations of the Flame Princess Weird Fantasy Roleplay. Like other scenarios published by Lamentations of the Flame Princess it is set in the game’s default early Modern Period. Specifically, in 1632 England, so it would work well with several of the other publisher’s titles or equally easily adapted to the retroclone of the Game Master’s choice. Even more specifically, it is set on the Isle of Wight in, around, and below a ruined monastery, Quarr Abbey, abandoned following the Dissolution of the Monasteries under Henry VIII. Here an archaeological dig is being conducted by Priest Joseph Duverney, a Catholic scholar and his order, and guarded by a band of Landsknechts mercenaries led by Alfonso Gutierrez. Tensions are running high between the Catholic scholar and his order and the Landsknechts mercenaries, as one of their number turned up dead and another is missing. The Player Characters might become involved in the location because extra muscle is required and neither faction can trust the other to conduct an investigation into the death; there are several workers from the surrounding area and beyond missing, and they are hired to find them; or because they might be locals who have become aware of strange goings on at the ruin and want to investigate. The scenario itself assumes that the first option is selected, perhaps backed up with a few entries from the rumours table.

So what is going in Wight Power is definitely weird, definitely apocalyptic, and definitely involves the Second Coming. Though not the Second Coming that you might imagine, involving as it does the cloning of the holy prepuce, a decidedly genuine and holy relic. Which of course, is not going to go to plan. So to be fair, if there is anything that is actually offensive in Wight Power, it might be that it is sacrilegious. Besides the Second Coming, the scenario involves the undead, an actual saint of necromancers, St. Cyprian of Antioch, and rising tensions between both groups that constantly threaten break out into actual violence. If the Player Characters are brought into investigate both the disappearance and the death, the scenario initially plays out as a murder mystery. However, it is not that, as there are very few clues to be found, little to be investigated, and there are areas where the Player Characters are forbidden from entering. This is intentional and designed to pique their curiosity. The likelihood is that the scenario will play out in one of two ways. Either the Player Characters will ignore their instructions, enter the areas they are barred from, and discover both what is going on and how weird it is, and probably trigger the Second Coming or get caught up in the tensions between the order and the mercenaries such that the Second Coming occurs anyway. The former is more interesting than the latter. Either way, the Player Characters have a big galumphingly disaster on their hands and unleashed on the Isle of Wight.

In terms of plot, Wight Power is underwritten. In terms of background and detail, the scenario contains an embarrassment of riches. A complete background to the whole affair, a timeline, three detailed NPCs—Priest Joseph Duverney and Alfonso Gutierrez, plus the captain of the Landsknechts, maps of Quarr Abbey, plus the catacombs below, full details of the means and result of the Second Coming, and both St. Cyprian of Antioch and the Clavis Inferni, the book he wrote. There is a lot here and whilst some of it is useful in providing background material, not all of it is necessarily relevant and the Player Characters are not necessarily going to find out what is really going on.

Physically, Wight Power is cleanly and tidily presented in full colour. For the most part, the artwork is presented in bright, colourful silhouettes, which are for the most part, neither interesting nor evocative of anything. The cartography is okay, but in places, the details on the maps could match what is described in the text—especially in the catacombs. It is well written and fairly easy to grasp what is going on despite the wealth of information provided.

Ultimately, despite the provocative nature of its title, Wight Power is another ‘hidden, apocalyptic monster waiting to be unleashed, whilst surrounded by monsters’ scenario. As presented, its background is more interesting than the underwritten plot, the overall impression is underwhelming, and beyond what the NPCs are trying to do in that plot, Wight Power is simply a Lamentations of the Flame Princess Weird Fantasy Roleplay scenario, but not a standout Lamentations of the Flame Princess Weird Fantasy Roleplay scenario.

Micro RPG IIIc: Blades & Spells IV

Lâminas & Feitiços or Blades & Spells is a minimalist fantasy roleplaying game from South America. In fact, Blades & Spells is another Bronze Age, Swords & Sorcery minimalist fantasy roleplaying game done in pamphlet form from Brazil. In actuality, Blades & Spells is a series of pamphlets, building from the core rules pamphlet to add optional rules, character archetypes, spells, a setting and its gods, and more, giving it the feel of a ‘plug and play’ toolkit. The Storyteller and her players can play using just the core rules, but beyond that, they are free to choose the pamphlets they want to use and just game with those, ignoring the others. So what is Blades & Spells? It describes itself as “…[A] simple, objective and dynamic minimalist RPG game where the Storyteller challenges the Player and not the character sheet.” It is written to pay homage to the classic Sword & Sorcery literature, uses the Basic Universal System—or ‘B.U.S.’—a simple set of mechanics using two six-sided dice, and in play is intended to challenge the player and his decisions rather than have the player rely upon what is written upon his character sheet. Which, being a minimalist roleplaying game, is not much. So although it eschews what the designer describes as the ‘classic restrictions’ of Class, Race, and Level, and it is very much not a Retroclone, there is no denying that Blades & Spells leans into the Old School Renaissance sensibilities.

Blades & Spells: An agile, objective and dynamic minimalist RPG provides the core rules to the roleplaying game. They are a simple, straightforward set of mechanics, emphasising a deadly world of adventure in which the heroes wield both weapons and magic. Beyond the core rulesBlades & Spells is fully supported with a series of optional pamphlets which expand upon its basics and turn it into a fully rounded roleplaying game. All together these might be seen as  the equivalent of a ‘Blades & Spells Companion’, although they just as easily could be combined into the one publication, including the setting supplements of Blades & Spells: The Land of Aaman and Blades & Spells: The Lands Beyond. To date, Blades & Spells has been mostly focused on the Player Character and the Game Master, but that changes with the Blades & Spells – Dark Pack.
The Blades & Spells – Dark Pack contains not one, but three pamphlets. All three focus on the villains, providing them in turn with archetypes, dark spells, and even grotesque spells. They provide the means for the Game Master to assign basic descriptors and abilities to the villains in her campaign, as well as their henchmen and their mostly loyal lieutenants. Not just that, they offer over fifty new spells, dark and shadowy, bloody and aberrant. Together, these enable the Game Master to quickly create the basics of any vile enemy or other NPC, and if a spellcaster, equip them with a raft of horrid spells that embody their malicious and cruel natures. Alternatively, and for a very alternative campaign, there is nothing to stop a playing group from creating and playing a band of villainous Player Characters with dark designs upon the setting that the Game Master has created.
In the core rules, the Blades & Spells: Characters Archetypes/Compendium of Magic does two things. First, it expands upon each Player Character’s Focus. This is his occupation or something that he is good at, either Fighter, Mystic, Intellectual, Support, or Specialist. The supplement divides some twenty-nine archetypes into these five categories with a simple thumbnail description. The second thing is provide spells for the roleplaying game. Blades & Spells – Dark Pack provides both of these, but more like an evil, villainous twin—or rather its set of evil, villainous triplets that Blades & Spells never knew it had.
Blades & Spells: Dark Archetypes gives twenty-five archetypes, five for each category. Some of these fall within typical roleplaying archetypes, like the Assassin or the Burglar for the Specialist, whilst Support Archetypes such as Armourer, a weapons and equipment engineer, and the Mender, are not necessarily dark in themselves, but rather that their clientele likely consists of characters who make use of the other archetypes in this supplement. Those other archetypes are definitely ‘dark’ though. For example, the Bloody Blade is a loyal servant to the gods, handing out their justice as instructed by the voices of the cursed weapon you wield on their behalf; the Parasite has taken possession of the character and grants extraordinary powers, but takes control of the character’s mind; the Fallen Noble has been reduced to near penury, but will do anything to restore his fortunes; the Thug is a bodyguard or muscle for a gang, ready to solve a problem using physical means; and a Shadow Sorcerer can shape darkness and command the things within it. Like all three supplements in Blades & Spells – Dark Pack, this does carry an advisory warning and archetypes like the Bloody Blade which suggests the player roll on the Insanity Table and the Drug Mage which manufactures and uses potions and drugs and uses the Optional Rules for ‘Poison, Drunkenness, or Insanity’ all support the necessity of those advisory. Tables for both can be found in Blades & Spells: Optional Rules.
Blades & Spells: Dark Spells details over thirty dark and nasty spells, with themes of necromancy, shadow manipulation, and more. In the case of necromancy and shadow manipulation, these neatly tie into the Necromancer and Shadow Sorcerer  Archetypes given in Blades & Spells: Dark Archetypes. For example, Rigor Mortis causes the touched victim to suffer convulsions and their nerves to become painfully paralysed, as well as taking on the appearance and feel of a dead body, whilst Bone Weapon summons a temporary weapon from the ground that inflicts poison damage and can harm both material and immaterial beings. Cloak of Shadows shrouds the caster in living darkness and makes him undetectable in shadow or at night, whilst Umbral Binding sends his shadow stretching unnaturally out to touch the shadows of others and in doing so, temporarily paralyses them. Not every spell follows either them, such as Cauterize, which makes the caster’s hands as hot as red-hot iron, or Parasite Weapon which summons a mutated parasitic worm from the underworld which mutates into a weapon and defends the caster, but demands to eat the flesh of the still living, but defeated opponents. This a great range of spells for darker games or darker characters or villains, including a few more inventive entries. These are nasty spells that the players are likely to hate the villain—if not the Game Master—when he casts them at their characters.
Both Blades & Spells: Dark Archetypes and Blades & Spells: Dark Spells carried content advisory warnings, but of the three pamphlets in Blades & Spells: Dark Pack, it is Blades & Spells: Grotesque Spells that deserves it the most. The thirty or so spells it describes are all vile, unpleasant concepts. So be warned. They involve a great of manipulation of the flesh. For example, Decomposition forces the flesh of the touched victim to rot at a rapid rate through gangrene and then death; Cursed Cure first heals wounds and then turns the flesh cancerous and tumorous; and Flesh Armour forces muscle to strengthen and thicken until it is cable of protecting against injury. One can actually be useful, the unfortunately named Relink Members enables large cuts to heal and lost limbs to be reattached. The rest though are all foul, disgusting affairs, likely to be highly memorable when cast by a villain the Game Master’s campaign.
Physically, the three pamphlets in Blades & Spells: Dark Pack are fine. Their layout is clean and tidy, and all three titles are easy to read, though a slight edit would not have gone amiss. The artwork on the front page of each is good too.

Blades & Spells: Dark Pack is optional. Some of the ideas and things—especially the spells—in its three pamphlets are not going to be suitable for every campaign or even what every player wants to include or encounter.  As a potential source of character ideas and spells—especially the spells—for the villain or henchman in the Game Master’s campaign, Blades & Spells: Dark Pack is good for most Swords & Sorcery settings.

Miskatonic Monday #152: Back to Nature

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

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

—oOo—
Name: Back to NaturePublisher: Chaosium, Inc.
Author: Bored Stiffs

Setting: 1970s California
Product: Scenario
What You Get: Forty page, 54.34 MB Full Colour PDF
Elevator Pitch: Nature’s roar reaches out to those who hear it and make a wholesome offer!Plot Hook: Take a escapade and really get back to nature...
Plot Support: Staging advice, three NPCs, twelve handouts, two maps, one (Mythos) monster, and Pearl the pig.Production Values: Fabulously freaky.
Pros# Back to nature as nature reaches out# Entertainingly gonzo layout and art inspired by Gilbert Shelton# Investigator sheets done as comic book small adds# Period NPC portraits (including Pearl the pig)# Could lead into the Dreamlands# Easily pushed back to the sixties# Notes to run it in the Jazz Age or the Purple Decade# Interesting playnotes# Mycophobia/Mycophilia
# Dendrophobia
Cons# Period piece# May need careful timing to run as a convention one-shot# Bigfoot notes including, but no Bigfoot?
Conclusion# Thematically entertaining twist upon the Green Man# Drop out, get off the grid, in this psychedelic trip to the woods one-shot 

Miskatonic Monday #151: The Flooding of Black Tarn

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

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

—oOo—
Name: The Flooding of Black TarnPublisher: Chaosium, Inc.
Author: Jonas Morian

Setting: Jazz Age SwedenProduct: Scenario
What You Get: Twenty-three page, 3.06 MB Full Colour PDF
Elevator Pitch: Change must come, even if not all want it.Plot Hook: The secrets of the past stand in the way of modernisation.
Plot Support: Staging advice, ten NPCs, seven pre-generated Investigators, one handout, and one (Mythos) monsters.Production Values: Decent.
Pros# Gold medalist for the 2022 national Swedish Call of Cthulhu scenario competition# Eerie Sweden-set investigation# Backwoods folkloric horror# Engaging portrayal of period Sweden# Good NPC portraits# Easy to adapt to other time periods# Gerontophobia# Hippophobia
Cons# Pre-generated Investigators need mechanical development# Map would have been useful

Conclusion# Gold medal winner in the 2022 national Swedish Call of Cthulhu scenario competition sees the modernity of the Investigators clash with the past in backwoods folkloric horror# Eerie, under-played one-shot drawn from Swedish history and Norse folklore.

A Delicate Balance

The year is 10,181. The Imperium has stood for 10,000 years under the rule of House Corrino, currently headed by Padishah Emperor Shaddam IV. Balanced against him are the Landsraad, the alliance of Houses Great and Minor, whose feudal seats are granted by the Imperial house, and a combination of the Spacing Guild and CHOAM. CHOAM—or Combine Honnette Ober Advancer Mercantiles—controls all trade and contracts across the Imperium, including that of Spice. The spice melange is harvested on only one world—the desert planet of Arrakis—and bestows longevity, enhanced awareness, and prescience. Although highly addictive, it has one other property. It enables the mutated Guild Navigators to safely navigate interstellar space and thus the Spacing Guild to maintain its monopoly on all space travel between systems, for the Imperium bans the construction of thinking machines and has done so for millennia, ever since the Butlerian Jihad. Yet beneath this façade of stability, the Houses Great and Minor jockey and feud for power, such as the centuries old rivalry between House Atreides and House Harkonnen, the Great Convention preventing such feuds from breaking out into open warfare, but allowing economic wars and wars of assassins. Emperor Shaddam IV sits over it all, ready to unleash his dreaded Imperial Sardaukar, shock troops raised and trained in the harshest of environments, should the conventions be broken, a House gain too much power, or too strong a voice in the Landsraad. Four Great Schools provide services to the Emperor and all of the Houses. The Sisterhood of the Bene Gesserit provide wives, counsellors, and concubines; the Order of Mentats, strategists, spymasters, consellors, and advisors capable of computer like calculations; the Suk School incorruptible and unbreakable physicians; and the Swordmasters of Ginaz, commanders, generals, security officers, and bodyguards, trained in the use of swords and other weapons capable of piercing the personal energy shields worn as protection.

This is the setting for Dune – Adventures in the Imperium: The Roleplaying Game, published by Modiphius Entertainment and based on both the recent film and the fictional universe and novels originally created by Frank Herbert. Using the publisher’s house rules of the 2d20 System, it enables players to take the reins of a House in the Landsraad, and as its heirs and advisors, direct it fortunes in the quietly turbulent politics of the Imperium. Perhaps they will negotiate new contracts, gain the right to harvest spice from Arrakis, form an alliance with another house, or feud with a rival house. All of these are possible in a rules system which allows the players to play at two levels—‘Architect’ when they will direct the fortunes of their house and ‘Agent’, the personal level of the Player Character. Of course, Dune – Adventures in the Imperium is not the first roleplaying game to be set within Frank Herbert’s creation, Dune: Chronicles of the Imperium having been designed by Last Unicorn Games and published by Wizards of the Coast in 2000, but it does have the advantage of already being better supported. Dune – Adventures in the Imperium: Agents of Dune provided a campaign starter that offered a different beginning than might be expected in the setting, and it should be noted that by being set over a century before the start of the first novel, Dune, there is a greater flexibility in what is possible in Dune – Adventures in the Imperium: The Roleplaying Game.

Dune – Adventures in the Imperium begins with an introduction to the setting of the Known Universe that takes up a quarter of the book. Its primary focus is on the situation in the year 10,181, but also explains how that came about using the history and background drawn from the expanded series of novels by Brian Herbert and Kevin J. Anderson. Potentially, this history offers scope to play in different time periods, although that is not the focus of core rulebook, and in addition, the history does not push beyond the year 10,181 and the events portrayed in either Dune or its film adaptations. As well as a timeline, the background covers the major factions and balance of powers, the schools, and more. There is a degree of repetition here as the book looks at each in more depth, but this a very solid overview which will be appreciated by fans of both the novels and the films, as well as helping to cement the setting for anyone coming to Dune – Adventures in the Imperium: The Roleplaying Game after watching just the films.

Playing and running Dune – Adventures in the Imperium: The Roleplaying Gamereally begins with the creation of a House, the noble family with feudal holdings around which much of the roleplaying game’s play will be directed. The choice of Nascent House, House Minor, House Major, or Great House will determine much of the framework. It will determine how many Domains, areas of interest the House will have, how many enemies, and mechanically, how much Threat (used to create problems and difficulties for the House and the Player Characters) the Game Master will have at the start of each session Apart from the enemies, who can be created on the given table, all of this is down to player choice.

House Hauteville is a renowned for its skilled military and its tacticians based on the world of Menerth III. It is also known for its diary products made on the vast upland pastures it owns, and had to protect in the past, hence its development of its military prowess. This includes its former vassal, House Indermauer, whose founders originally trained with House Hauteville, and has continued offer rival services to this day.

House Hauteville
House Minor
Primary Domain: Military
Secondary Domain: Farming
Banner: A red cow on a green background
House Trait: Stalwart (Military)
Enemy: House Indermauer (Rival)

When it comes to Player Character creation, a player decides the role that his character will take in the house. This can include the heirs, councillors and advisors, swordmasters, warmasters, and more. A player will have a main character and possibly supporting characters too. A Player Character in Dune – Adventures in the Imperium is defined by Skills, Focuses, Drives, Traits, Complications, and Assets. The five Skills are Battle, Communicate, Discipline, Move, and Understand, whilst the five Drives are Duty, Faith, Justice, Power, and Truth—both of which are rated between four and eight. Focuses represent skill specialisations, such as Deductive Reasoning for Understand or Dirty Fighting for Battle. Traits can be Talents, which make a test possible or make it harder or easier depending upon its nature. So the Bene Gesserit Talent of Hyperawareness grants a Bene Gesserit Sister the ability to ask two questions rather than one when spending Momentum to Obtain Information, whereas the Bold Talent can be selected by anyone and when used with the Battle skill, the player can additional twenty-sided dice by generating Threat for the Game Master to use, the player can reroll one of the dice in the pool. Assets include equipment, contacts, and so on, for example, a personal shield or someone in a criminal gang on Arrakis.

Although character creation can be done in play, and that process is fully detailed too, the standard process involves selecting an Archetype, which sets the base skills, assigns four focuses to the skills, three Talents, assigns the values and statements to his character’s Drives, chooses three assets which the Player Character will always have access to, and then finally, a Trait, Ambition, and any personal details. Faction templates are also available if a player wants his character to be a Bene Gesserit Sister, Fremen, Mentat, Spacing Guild Agent, or a Suk Doctor, but these are optional and a player is free to pick and choose as he likes.

The sample character is a Mentat, sponsored by the Spacing Guild to work with House Hauteville in ensuring that the house’s goods and services find markets.

Name: Benedikt Winter
Faction Template: Spacing Guild Agent
Archetype: Analyst
Ambition: To ensure the economic prosperity of my house

Skills
Battle 4 Communicate 5 (Bartering) Discipline 8 (Composure) Move 4 Understand 7 (Attention to Detail, CHOAM Bureaucracy)

Drives
Duty 8 (I serve at the pleasure the House) Faith 4 Justice 5 Power 6 (Power must be used wisely and cleverly) Truth 7 (You will know me by my deeds)

Traits: Analyst, Guild Agent
Talents: Calculated Prediction, Guildsman, Intense Study
Assets: Sapho Juice, Ixian Dampner

Dune – Adventures in the Imperium employs the 2d20 System first used in the publisher’s Mutant Chronicles: Techno Fantasy Roleplaying Game and Robert E. Howard’s Conan: Adventures in an Age Undreamed Of, and since developed into the publisher’s house system. To undertake an action, a character’s player rolls two twenty-sided dice, aiming to have both roll under the total of a Skill and a Drive. Each roll under this total counts as a Success, an average task requiring two successes. Rolls of one count as two Successes and if a character has an appropriate Focus, rolls under the value of the Skill also count as two Successes.

In the main, because a typical difficulty will only be a Target Number of one, players will find themselves rolling excess Successes which becomes Momentum. This is a resource shared between all of the players which can be spent to create an Opportunity and so add more dice to a roll—typically needed because more than two successes are required to succeed, to create an advantage in a situation or remove a complication, create a problem for the opposition, and to obtain information. It is a finite ever-decreasing resource, so the players need to roll well and keep generating it, especially if they want to save for the big scene or climatic battle in an adventure.

Now where the players generate Momentum to spend on their characters, the Game Master has Threat which can be spent on similar things for the NPCs as well as to trigger their special abilities. She begins each session with a pool of Threat—equal to the number of players if their characters’ House is a Minor one, but can gain more through various circumstances. These include a player purchasing extra dice to roll on a test, a player rolling a natural twenty and so adding two Threat (instead of the usual Complication), the situation itself being threatening, or NPCs rolling well and generating Momentum and so adding that to Threat pool. In return, the Game Master can spend it on minor inconveniences, complications, and serious complications to inflict upon the player characters, as well as triggering NPC special abilities, having NPCs seize the initiative, and bringing the environment dramatically into play.

Combat uses the same mechanics, but offers more options in terms of what Momentum can be spent on. This includes creating a Trait or an Asset, or taking advantage of one in the situation, either of which can then be brought into the combat, and keeping the initiative—initiative works by alternating between the player characters and the NPCs and keeping it allows two player characters to act before an NPC does. It takes in various forms, scaling up from duelling and skirmishes to espionage and warfare, taking in intrigue along the way. These are supported by descriptions of the various assets which the Player Characters can bring into any one of these conflict types. Where Dune – Adventures in the Imperium differs from other 2d20 System roleplaying games is the lack of Challenge dice, and instead of inflicting damage directly via the loss of Hit Points, combatants are trying to defeat each through the removal of Assets and attempting to create—cumulatively—Successes equal to or greater than the Quality of the task or the opponent. Minor NPCs or situations are easily overcome, but difficult situations and major NPCs will be more challenging to defeat and will require extended tests.

In addition, a Player Character has access to Determination, typically a point at the start of an adventure. Determination is used in conjunction with a Player Character’s Drives and their associated statements, and when spent, a point of Determination can be used to set a die automatically to one, to reroll dice, create a new trait, or take an extra action. However, if the action is at odds with the statement attached to a Drive, then the Game Master can force the Player Character to comply or challenge the Drive and its statement. Compliance means that the Player Character suffers a Complication, unable to overcome the Drive, but Challenge means the Player Character can act freely, but leads to the loss and use of the statement, at least temporarily. It can be recovered, but with some difficulty. Either way, the Player Character gains a point of Determination.

What Determination highlights here is the degree of nuance in the combination of Skills and Drives for each Player Character, a Skill often being used over and over again, but the how and the way being determined by the Drive. A Player Character will have a greater chance of success if his highest Skill is combined with his highest Drive, representing the best that the character can do and for what he believes to be the best of reasons. However, even shifting away to another Drive, because it is more appropriate, for example, Duty versus Faith, may well mean that the Player Character is still as skilled, but not as personally motivated.

Overall, the iteration of the 2d20 System in the Dune – Adventures in the Imperium lies at the simpler and easier end of its implementation. It is not as simple as Edgar Rice Burroughs’ John Carter of Mars: Adventures on the Dying World of Barsoom, but is roughly on a par with Star Trek Adventures.

For the Game Master, there is advice on setting up and running a game, the type of campaigns possible, managing the types of conflict in the game, as well as on running a gaming with safety and comfort in mind. It pays particular attention to bringing key aspects of Dune as a setting—faith, prophecy, prescience, and hyper-perception, all versus the freedom they can be often seen to impinge. It is solid advice throughout, and there is further support of stats for the major figures in Dune—Duke Leto Atreides, Lady Jessica, Paul Atreides, and more. They take in the Atreides household, plus notables of House Harkonnen and House Corrino, amongst the Fremen on Arrakis. Alongside the notables, there are sample NPCs and Houses that the Game Master can more easily be brought into her campaign, and advice on creating them too. Many of the NPCs come with story hooks too. Rounding out Dune – Adventures in the Imperium is the adventure, ‘Harvester of Dune’, in which the Player Characters are assigned to check on their House’s fiefdom on Arrakis. What they discover is trouble, deceit, and betrayal. It is a solid enough affair, and could be easily become the starting point for a campaign.

Physically, Dune – Adventures in the Imperium is cleanly and tidily laid out. The book is well written and easy to read. The artwork throughout is excellent as well.

Dune – Adventures in the Imperium: The Roleplaying Game is very much pitched at the fans of Herbert’s novels, but provides enough background and explanations that the more casual player, intrigued after the seeing the more recent film, could better understand the setting to play in it. And this is all done whilst focusing on one period within Dune’s millennia long future history and avoiding the more immediate future history of Frank Herbert’s novels. From there, it builds the means to create campaigns played at dual scales—the personal and the epic, and involve intrigue, espionage, warfare, and more, whether that is down some dirty alley or at a grand ball, at a reception for an Imperial envoy or across the sweeping deserts of Arrakis. Overall, Dune – Adventures in the Imperium: The Roleplaying Game takes an incredibly rich and detailed setting and makes it impressively accessible and playable.

Waaaaaaaaaaaaaaaaaa!!!

“All right my Orcy Borgy boys and girls, dis great trash rocket, da Derelict, just smashed in a new ship. We gonna break it and smack it open, and hack the snot of any hoomies and gobbos and pointy ears, and make it good like any Orc home, like our dear old Derelict. Da goods have rumbled and yelled today and they say no DOOM today, but DOOM tomorrow. And we wantz that DOOM! We when have DOOM, we crash the Derelict into Heaven and scream every dead-hard big-toothed bastard in a glorious tide of violence. And when dat happens, ya wanna be at the front to be the first to kick Heaven right proper in its bollox. So ya gonna fight and yell and steal and kill to be at the front, but no DOOM today, but DOOM tomorrow!”

This is the set-up for ORC BORG, a fanzine-style roleplaying game of brutal action and violence, published by Rowan, Rook & Decard, following a successful Kickstarter campaign. It is modelled upon Mörk Borg, the Swedish pre-apocalypse Old School Renaissance retroclone designed by Ockult Örtmästare Games and Stockholm Kartell and published by Free League Publishing, the result being a doom-laden, death metal driven, dark fantasy roleplaying game set in a grim-dark world of despair. ORC BORG also shares with Mörk Borg its same neon and yellow colour palette, but not its despair. Instead, ORC BORG is a more action-orientated roleplaying game, even a more optimistic one, though still not a positive one. Rather, its optimism is driven by Orcish anger and energy—every Orc absolutely positive that DOOM is going to happen and until it does, and afterwards too, hand out plenty of punches, headbutts, and stabbings! This includes the dread Orcborgs, machine-Orc, Orc-machines turned into even brutaler killin’ machines with scrap and junk, and even the Big Robots, clankin’, smoking’, metal-screechin’ machines of war piloted Orcs who wire themselves in.

An Orc in ORC BORG has four abilities—Presence, Strength, Agility, and Toughness. For a standard Orc, a player rolls four six-sided dice and discards the lowest result, the total used to determine the ability values, which range from -3 to +3. (If a player is rolling up an actual Orc Borg or Big Robot, the two Classes in ORC BORG, only three six-sided dice are rolled.) Then the player rolls for his Orc’s Origins, Physical Features, plus gear that includes Stuff, Armour, and Weapons. This can include powers such as Technowizard Runes or Prayers, the latter to the Orc Gods. For example, the ‘Metronomicon’ Technorune summons a monorail car to the Orc’s location, whilst the ‘Rip and Tear’ Prayer allows an Orc to ignore armour in attacks. Technowizardry comes installed on single-function computers, data slugs, or ancient punch cards, whilst prayers are inscribed on steel plates, printed on clothing, or tattooed on flesh. This can be determined randomly, or chosen at the cost of some armour and weapon selection. If an Orc does not have either, he can easily beat up an Orc who already has, or simply steal them from his corpse! In comparison, the standard Orc is more straightforward than the Orc Borg or the Big Robot.

Bumhug Gorzharz
Presence +0
Strength +3
Agility +2
Toughness +1
Hit Points: 9

Tek: 10

Origins: Hunted by wild humans in Spacer territories until he was strong enough to defend himself.
Physical Feature: Huge Fuckin’ Teeth
Stuff: Yelling Helm, Alien Dogbeast, 25 m reinforced extension cable
Armour: Junk and Scrap (-d2 damage taken)
Weapon: Club (d4)
Technowizardy: Rite of the Blue Key

Mechanically, ORC BORG is simple. When he wants his Orc to act, his player rolls a twenty-sided die, adds the appropriate ability, and succeeds if the result is equal to or greater than the Difficulty Rating, which range from ten for Simple Enough to eighteen for Barely Possible. Technowizardy and Prayers have a limited number of uses per day—determined randomly, and can go wrong if the test is a failure. Combat is more complex, allowing natural criticals and fumbles, as well as Dodgin’, morale, and more. An Orc reduced to zero Hit Points is not dead—this occurs at -6 Hit Points—but ‘Mangled’. This in general, has a negative effect upon the Orc, but bionic prosthetics can be purchased to offset them. A head Mangle though, can result in a quirk, like mistrusting anything in writing or the Orc alone becoming the voice of DOOM!

For the Game Master, there is a map of the Derelict, marked with all of the ships that have crashed into it over the years. There are stats too for Angels of the Dark Gods as well as threats such a Spacers (Hoomies) and Rival Orcs, and it is fairly easy to create more threats. One set of tables determines whether or not the Derelict is one step closer to DOOM that day and what that day’s prophecies might be, whilst another suggests ways of mapping the Derelict to create easy adventures and jobs for the Orcs to carry out. They are all quick and dirty, and will run out fairly quickly if ORC BORG is overplayed. That said, it should not be too difficult to create more.

Physically, ORC BORG is a neon assault on the senses and scrappy stab in the eyes. It is big, it is bold, and it intentionally based together. Thankfully, ORC BORG is simple enough. With this layout and this colour scheme, anything more complex would be a pain in the proverbial and rightly require you to go all Orcy on the publisher.

ORC BORG is a cathartic scream of a roleplaying game. It demands a single session of brutal violence and Hoomie stompin’ and no more, before the Game Master and her players switch back something more involved and more restful. Then come stompin’ back to more yellin’ and stabbin’ action when a break is needed again!

By Ferry and by Bullet

Since 2007, the 2004 Spiel des Jahres award-winning board game Ticket to Ride from Days of Wonder, has been supported with new maps, beginning with Ticket to Ride: Switzerland. That new map would be collected in the Ticket to Ride Map Collection: Volume 2 – India & Switzerland, the second entry in the Map Collection series begun in Ticket to Ride Map Collection: Volume 1 – Team Asia & Legendary Asia. Both of these have proved to be worthy additions to the Ticket to Ride line, whereas Ticket to Ride Map Collection vol. 3: The Heart of Africa and Ticket to Ride Map Collection: Volume 4 – Nederland have proved to add more challenging game play, but at a cost in terms of engaging game play. Further given that they included just the one map in the third and fourth volumes rather than the two in each of the first two, neither felt as if they provided as much value either. Fortunately, Ticket to Ride Map Collection Vol. 5: United Kingdom + Pennsylvania came with two maps and explored elements more commonly found in traditional train games—stocks and shares in railroad companies and the advance of railway technology. This was followed by Ticket to Ride Map Collection Vol. 6: France + Old West, which provided two maps exploring a common theme—telegraphing each player’s intended placement of their trains, then by Ticket to Ride Map Collection Vol. 6½: Poland, which focused on borders and connecting them.

The next entry in the Ticket to Ride Map Collection is Ticket to Ride Map Collection Vol. 7: Japan + Italy. This introduces another pair of maps, two sets of different mechanics, two different ways to score points, and of course, two gorgeous maps. Both can be distinguished by their long sweeping routes and consequently they are played out on what is a very large board for Ticket to Ride. On the Japan map, the players will take advantage of the bullet train network, which everyone can use once built to connect their routes, whilst also building into, out of, and across subnetworks of routes that represent the city of Tokyo’s subway system and the island of Kyushu. On the Italy map, the players will not only connect cities up and down the peninsula, but also regions, whilst also making use of the new Ferry cards to travel by sea to Sicily and Sardinia, and up and down the coast. Like other entries in the Ticket to Ride Map Collection series, it only requires a set of Train cards, train pieces, and scoring markers from a base Ticket to Ride set to play.
The first of the new maps in Ticket to Ride Map Collection Vol. 7: Japan + Italy is Japan. Its board is beautifully illustrated and introduces a new type of route—the ‘Bullet Train’. These represent Japan’s high-speed train network which run the length of the country. They are grey routes, but unlike on other maps for Ticket to Ride, when they are claimed using standard Train cards, they do not use a player’s train pieces. Instead, they use the Bullet Train pieces, of which there are sixteen. When a player builds the ‘Bullet Train’ route, he places a single Bullet Train piece on the route, and once the route is built, not only can that player use the route, but so can everyone else! This introduces an element of forced co-operation into Ticket to Ride, each player knowing that he will have to build ‘Bullet Train’ routes to connect his destinations and complete Destination Tickets at the same time as knowing he will probably share them.
A player is subtly encouraged to build ‘Bullet Train’ routes throughout the game. First, the more ‘Bullet Train’ routes a player builds, the more points he will score at the end of the game as a bonus. Second, he will receive a hefty penalty to his score at the end of the game if he does not build any ‘Bullet Train’ routes at all. Third, each player begins play with only twenty train pieces, which limits the number of coloured, non-‘Bullet Train’ routes he can claim. In effect, the ‘Bullet Train’ routes create a core network of routes that run the length of Japan, off of which the players will build.
The other feature of the Japan map is a pair of zoomed in submaps, one for Kyushu Island and one for Tokyo subway. These have Destination Tickets for destinations within their submaps, but there are also Destination Tickets which connect a destination on the submaps to a destination elsewhere in Japan. To complete one of these Destination Tickets, a player will have to build or use the various routes and ‘Bullet Train’ routes from the destination in Japan to the city of Tokyo or Kyushu Island on the main map and then into the submap itself.
The network of routes on the Japan map feels highly organised and ordered, and that is reflected in another, not so obvious feature, of this expansion. This is extra Destination Ticket-drawing, the aim being to draw Destination Tickets that a player has already completed as part of play, or nearly completed, as part of play. The shared network feature of the ‘Bullet Train’ routes encourages this, but the result is fairly underplayed in comparison to the Switzerland map of Ticket to Ride: Switzerland.
The Japan map for Ticket to Ride Map Collection Vol. 7: Japan + Italy is engaging and fun. The Bullet Trains are a great feature that both encourage a different play style and enforce the Japanese feel of the map as well as pushing the players to work together—just a little bit.  
The Italy map takes in all of the Italian peninsula, as well as the islands of Sardinia and Sicily. It also connects to the neighbouring countries of Monaco, France, Switzerland, Austria, Slovenia, and Croatia. The various cities across Italy are divided up amongst its various regions and a player will score more points for connecting more regions. The busy feel of the Italian north with this its many, compact two-train routes gives way to long sweeping routes that lead south, which are often paralleled by the long ferry routes which run from the mainland to the islands of Sardinia and Sicily, and across the Adriatic to Slovenia and Croatia. Several of these Ferry Routes are as many as seven spaces long, which even given the fact that each player begins with forty-five train pieces, means that a player will quickly be using up his train pieces.
The Ferry Routes on the Italy map do not work like the traditional Ferry Routes of Ticket to Ride. Since Ticket to Ride: Europe, a Ferry Route has required a single Locomotive or wild card as well as the indicated Train cards of the same colour to complete. On the Italy map, Ferry Routes make use of Ferry Cards. Both the Ferry Routes and the Ferry Cards are marked with ‘Wave Symbols’. The Ferry Cards have two Wave Symbols on them and instead of drawing Train Cards as normal or Destination Tickets, a player can instead draw a single Ferry Card, up to a maximum of two. The Ferry Routes have one, two, three, or four Wave Symbols on them. To claim a Ferry Route, a player must play Ferry Cards with same number of Wave Symbols on them combined, plus a number of Train cards of the same colour equal to the other spaces on the route. A Locomotive card can substitute instead of a single Wave Symbol. For example, if the player wants to claim the four-space Ferry Route between Roma and Olbia, he needs to play two cards of one colour and one Ferry Card as this will have the same number of Wave Symbols as marked on the Ferry Route. The maximum number of Ferry Cards a player can have is two. Where taking Train cards of a particular colour can indicate the routes that a player might be wanting to claim, here taking a Ferry Card definitely signals the intent to claim a Ferry Route. 
Although they feature in the Italy map, the Destination Tickets which connect to Italy neighbouring countries do not play as big a role as they do for Ticket to Ride: Switzerland or Ticket to Ride Map Collection Vol. 6½: Poland. Where they differ is that some connect from one of Italy’s regions to a country rather than from a city. The regions also figure in the scoring at the end of the game as players score more for connecting more regions together with their train networks.
The Italy map in Ticket to Ride Map Collection Vol. 7: Japan + Italy is playable, entertaining, and challenging in its own right, but it is not feel as exciting as the Japan map. It is stately and much closer to the original Ticket to Ride than the Japan map, which has an energy and excitement of building new routes and in the main competing, but also working together just a tiny little bit in the construction of the ‘Bullet Train’ routes.

Physically, Ticket to Ride Map Collection is Ticket to Ride Map Collection Vol. 7: Japan + Italy is as well produced as you would expect for a Ticket to Ride expansion. Everything is high quality and the rules are easy to understand. If there is an issue, it is that the otherwise beautiful maps, are big, and consequently, unwieldy to unfold for play and fold up to put away.

What Ticket to Ride Map Collection is Ticket to Ride Map Collection Vol. 7: Japan + Italy shows is that you can mix and match the old with the new in Ticket to Ride. The Japan map is modern, sweeping, with a sense of speed and energy, offering a different style of play. The Italy map provides a variation upon the standard game, but still feels very traditional. Together, Ticket to Ride Map Collection is Ticket to Ride Map Collection Vol. 7: Japan + Italy offers something old and new, and is a solid addition to the Ticket to Ride family.

Friday Fantasy: DCC Day 2021 Adventure Pack

As well as contributing to Free RPG Day every year Goodman Games also has its own ‘Dungeon Crawl Classics Day’, which sadly, is a very North American event. The day is notable not only for the events and the range of adventures being played for Goodman Games’ roleplaying games, but also for the scenarios it releases specifically to be played on the day. For ‘Dungeon Crawl Classics Day 2021’, which took place on Saturday, July 26th, 2021, the publisher released two books. One was Dungeon Crawl Classics Day #2: Beneath the Well of Brass, a classic Character Funnel, one of the features of both the Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic and the Dungeon Crawl Classics Role Playing Game—in which initially, a player is expected to roll up three or four Level Zero characters and have them play through a generally nasty, deadly adventure, which surviving will prove a challenge. Those that do survive receive enough Experience Points to advance to First Level and gain all of the advantages of their Class. The other was an anthology, the DCC Day 2021 Adventure Pack, which contains three adventures. One for Dungeon Crawl Classics Role Playing Game, one for Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, and one a preview for the forthcoming Dungeon Crawl Classics: Dying Earth.
The DCC Day 2021 Adventure Pack opens with ‘Temple Siege!’. This is designed for five to six First Level Player Characters and draws directly from ‘Appendix N’ by being inspired by the Cossacks stories of Harold Lamb, an influence on Robert E. Howard. The Player Characters will definitely encounter horse nomads—and they prove to be a rough, evil lot, ready to kill the Player Characters and take whatever they have. ‘Temple Siege!’ is a very different scenario. Rather than being an atypical dungeon, it takes place entirely in the confines of a single location. Such a constraint is a challenge to the author. Can he create an interesting location and an interesting plot built around the one place? Often, these are ‘locked room’ style adventures, but ‘Temple Siege!’ is not quite that. Rather, the Player Characters are trapped within the confines of the site, but the door is open and the enemy really wants to get in!
‘Temple Siege!’ takes place on the nomad steppes where the Player Characters have come to plunder an ancient temple, but not long after they enter its confines, they are besieged by a band of nomads. The Player Characters have a limited number of actions they can take between wave upon wave of nomad incursions inside the temple, but they also have a lot to examine in the temple. There are puzzles to be solved and traps to be discovered, some of which will lead to means and ways that the Player Characters can use to their advantage. To that end, the Judge is provided with a wealth of detail which she will need to understand and be able to impart to her players as their characters, as well as handle the three different waves of vile nomads, each of which is slightly different. The progress of the Player Characters will be greatly hampered if they do not have a Thief amongst their number. ‘Temple Siege!’ is a scenario which will keep a Thief really busy just as it will keep a Fighter—and other Classes—busy facing off against the nomads outside. ‘Temple Siege!’ might be slightly too long a scenario to run in a single session and its isolated, nomad steppe location make it a little too difficult to add to a campaign, although the prominent role of the Thief Class in the scenario means that it could work with the Dungeon Crawl Classics Lankhmar Boxed Set. Overall though, this is a detailed and fun scenario which combines traps, puzzles, and combat in an entertainingly fought situation.
The DCC Day 2021 Adventure Pack is really notable for its inclusion of the first scenario for Dungeon Crawl Classics: Dying Earth, the adaptation of the world of Jack Vance’s Dying Earth. ‘Fathoms Below Witch Isle’ is again a scenario for First Level Player Characters, but just three or four. However, it does not require the use of Dungeon Crawl Classics: Dying Earth and does not make use of the new Classes from Dungeon Crawl Classics: Dying Earth, but can instead be run using the standard rules from the Dungeon Crawl Classics Role Playing Game. (Doubtless, this will change once Dungeon Crawl Classics: Dying Earth is widely available.) The scenario opens with their travelling aboard the Calealen, a vessel pulled by giant sea worms that need careful handling throughout the journey. Due to circumstances beyond their control—and heedless of the Calealen’s somewhat scurvy crew—the Player Characters find themselves cast ashore on a decidedly strange island. One that has been turned upside down! To find out how this came about and perhaps make their escape back to sea, they must descend the upturned mountain and confront a mad hermit! 
‘Fathoms Below Witch Isle’ is intentionally odd and weird, just as you would expect from something set in the world of Jack Vance’s Dying Earth. For the Judge, the language itself is ostentatious and takes some getting used to, but the scenario works just as well under the Dungeon Crawl Classics Role Playing Game as it will under Dungeon Crawl Classics: Dying Earth. However, it does not quite feel weird enough, primarily because the players cannot engage with it as Dungeon Crawl Classics: Dying Earth characters yet, and only as Dungeon Crawl Classics Role Playing Game characters. This is still a decent scenario and will be enjoyable which ever version of Dungeon Crawl Classics is used.
‘The Neverwhen Rock’ is a Character Funnel for Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic. It can be run on its own, or if the Judge has access, run together with ‘Ruins of Future Past’, the scenario from the DCC Day 2020 Adventure Pack. As part of their Rite of Passage, the Player Characters are instructed by the tribal shaman to examine a strange boulder not too far away and explore the cave inside of it, the likes of which no one has ever seen before. Although their characters will have no idea as to what is going on, the players will quickly realise that this is a time travel adventure. It is a very basic one though, with an obvious nod to Doctor Who, and the Player Characters never get the chance to explore the strange boulder, merely get thrust out of it in different locations. It definitely feels like it should be more and like some of the great ideas presented in other titles from Goodman Games, it leaves the Judge left wondering what to do next if she wants to do more with that idea.
Physically, DCC Day 2021 Adventure Pack is decently done. The artwork is fun and the maps clear. The maps for both ‘Temple Siege!’ and ‘Fathoms Below Witch Isle’ are both well done. All three scenarios are well written and easy to read.
The DCC Day 2021 Adventure Pack contains three scenarios which vary in their utility and their capacity to entertain. ‘Temple Siege!’ is the standout entry, a thrillingly constrained and nicely detailed encounter which will challenge the player and their characters and is suitable for almost any Dungeon Crawl Classics Role Playing Game setting. ‘Fathoms Below Witch Isle’ is a serviceable introduction to Dungeon Crawl Classics: Dying Earth, but will really come into its own when the Judge and her players can experience the whole of what the setting has to offer, including characters Classes. In comparison, ‘The Neverwhen Rock’ feels too slight, as if it wants to be something more, but the page count is constraining it. There are more than enough Character Funnels for Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic that the Judge not really need look at this unless she has access to ‘Ruins of Future Past’ from the DCC Day 2020 Adventure Pack.

Friday Faction: The Hellebore Guide to Occult Britain

There are plenty of good guides to the weird and wonderful past of Great Britain. The country is rich in folklore, the occult, magic and mysteries, horrors and hauntings, and much, much more, and so has been subject to numerous books and guides. The Readers Digest Folklore Myths and Legends of Britain and The Lore of The Land, backed up with Brewer’s Dictionary of Phrase and Fable, will give anyone with an interest in the myths and legends of the United Kingdom a good grounding in the subject, but both are hefty books. So they are not easily carried on the go, and in the case of both The Readers Digest Folklore Myths and Legends of Britain, several decades old. The Hellebore Guide to Occult Britain does a similar job and covers much of the same material, but differs in two important ways. First, it is a more recent treatment of the subject and second, it is smaller and thus infinitely portable. In fact, The Hellebore Guide to Occult Britain is actually designed to be portable for it actually includes the post codes for each of the numerous locations and sites described in its pages—though it is unlikely that all of these sites actually receive anything via Royal Mail (other delivery services may deliver). What this means is that the sites of the various standing stones, ghost sightings, occult personages, and more, are all easy to find. The Hellebore Guide to Occult Britain may not be pocket-sized, but digest-sized, it is easy to carry around.

The Hellebore Guide to Occult Britain is published by Hellebore, which collates various essays and pieces devoted to British folk horror—including folklore, myth, history, archaeology, psychogeography, witches, and the occult—into a series of fanzines. It covers the United Kingdom, region by region and country by country, so Wales, Scotland, and Northern Ireland, as well as England—with London as a separate location. It starts in the southwest in Cornwall, and moves steadily east and north. The maps are marked with clear icons, including ‘Witches and Cunning Folk’, ‘The Old Gods’, ‘Magic, Rituals, and the Occult’, ‘Ancient Megaliths’, ‘Ports to the Otherworld’, and more. So in Dorset, Bradbury Rings and Cerne Abbas are the site of ‘The Old Gods’; Avebury and Stonehenge sites of ‘Ancient Megaliths’ in Wiltshire; ‘Witches and Cunning Folk’ of Pendle in Lancashire; and the ‘Curses and Portents’ of Cleopatra’s Needle and the ‘Magic, Rituals, and the Occult’ at both the Science Museum and the Victoria and Albert, all in London. This barely touches upon the hundreds and hundreds of entries in The Hellebore Guide to Occult Britain.

The various regions across The Hellebore Guide to Occult Britain are colour coded, each region’s entries combining a mixture of short descriptions with slightly longer pieces. For example, Worcestershire has short entries on the Fleece Inn with its three white circles inn front of its fireplace to prevent the entry of witches via the chimney and Penda’s Fen, the children’s television series from the seventies, but longer entries on Bredon Hill and Wychbury Hill, the latter the site of an iron age hillfort, several follies, and the mystery of Bella in the Wych Elm. London is an exception to this with numerous entries under several different banners, such as Bloomsbury with the British Museum, Freemason’s Hall, and amusingly, both Treadwell’s Bookshop and The Atlantic Bookshop, and Hawksmoor’s London and Doctor John Dee’s London (Dee will also have entries for Manchester and Oxford).

Where The Hellebore Guide to Occult Britain differs from other books of legend and folklore is its inclusion of sites particular to film, television, and literature. As with the other categories used in the book, these are clearly marked on the maps. For example, Aldeburgh in Suffolk is listed under ‘Film and Television Locations’ for the Martello Tower there, as it was the basis for M.R. James’ ‘A Warning to the Curious’, whilst several locations across southwest Scotland are listed as locations for the classic British folkloric horror film, The Wicker Man. There are not too many of the film, television, and literature locations throughout the volume, but in the case of the film and television entries, they add visual cues in particular for the imagination.

Physically, The Hellebore Guide to Occult Britain is cleanly, if tightly laid out, primarily in black and white with the occasional use of spot colour. If there is an issue with the book it is that the liberal illustrations are not as crisply produced as they could be. The book does include an index and a list of references as well.

For roleplaying purposes, The Hellebore Guide to Occult Britain is a useful book to have to hand. It is a veritable fount of ideas and hooks that the Game Master could turn into roleplaying encounters, scenarios, or mysteries for her gaming group. No more than that though, for the entries are thumbnail-sized and should be considered to be pointers or starters for the Game Master who will then need to conduct a little more research to flesh out the scenario or mystery. Nevertheless, much of the content would work in a wide range of horror roleplaying games, including They came from Beyond the Grave! from Onyx Path Publishing or Call of Cthulhu, Seventh Edition from Chaosium, Inc., as well as specifically United Kingdom-based roleplaying games, like Liminal from Wordplay Games, The Dee Sanction: Adventures in Covert Enochian Intelligence from Just Crunch Games, Vaesen – Mythic Britain & Ireland for Vaesen – Nordic Horror Roleplaying from Free League Publishing, or Fearful Symmetries for Trail of Cthulhu from Pelgrane Press.

The Hellebore Guide to Occult Britain is an indispensable travel guide to the legends and folklore of Britain. It is not so much a definite reference guide, but more a reference starter, a point from where the reader (or gamer) can have her interest piqued and from there conduct her own further reading and investigations. Compact, but full of interesting content, The Hellebore Guide to Occult Britain is an excellent little tome to take off the shelf and flip through or even have handy in the bag when you want to find something really interesting to visit nearby.

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