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


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What is it?
The Corn Dolls: Sandheart Volume 2 is the second part of campaign set in Sun County in Prax, a sequel to Tales of the Sun County Militia: Sandheart Volume 1. It is an investigative sandbox scenario set on the far eastern edge of Sun County.

It is a forty-five page, full colour, 4.63 MB PDF.

In general, The Corn Dolls: Sandheart Volume 2 is well presented and decently written. It does need another edit and the artwork is a little rough, but the maps are excellent.

Where is it set?
As with Tales of the Sun County Militia: Sandheart Volume 1 before it, The Corn Dolls: Sandheart Volume 2 takes place in Sun County, the small, isolated province of Yelmalio-worshipping farmers and soldiers located in the fertile River of Cradles valley of Eastern Prax, south of the city of Pavis, where it is beset by hostile nomads and surrounded by dry desert. Where Tales of the Sun County Militia: Sandheart Volume 1 is specifically it is set in and around the remote hamlet of Sandheart, where the inhabitants are used to dealing and even trading with the nomads who come to worship at the ruins inside Sandheart’s walls, The Corn Dolls: Sandheart Volume 2 is set in and around Cliffheath, on the eastern edge of the county.

Who do you play?
The player characters are members of the Sun County militia based in Sandheart. Used to dealing with nomads and outsiders and oddities and agitators, the local militia serves as the dumping ground for any militia member who proves too difficult to deal with by the often xenophobic, misogynistic, repressive, and strict culture of both Sun County and the Sun County militia. It also accepts nomads and outsiders, foreigners and non-Yemalions, not necessarily as regular militia-men, but as ‘specials’, better capable of dealing with said foreigners and non-Yemalions.

The Corn Dolls: Sandheart Volume 2 does not include any pre-generated characters. Six pre-generated members of the Sun County militia in Sandheart can be found in Tales of the Sun County Militia: Sandheart Volume 1, as well as guidelines to create ‘quirky’ members of the Sun County militia in Sandheart.

What do you need?
The Corn Dolls: Sandheart Volume 2 requires both Tales of the Sun County Militia: Sandheart Volume 1 and RuneQuest: Roleplaying in Glorantha. 

Although not absolutely necessary, the Game Master may also find the supplements Cults of Terror, Lords of Terror, Sun County, and The River of Cradles, plus issues of the fanzine Tales of The Reaching Moon issue 14 to be of use in providing deeper background.

What do you get?
The Corn Dolls: Sandheart Volume 2 is an investigative sandbox in which the members of the Sun County militia based in Sandheart are sent out to a remote area of the county to investigate and purge the area of disease. Infected barley crop has been detected in the annual tithe collected from the ‘out of the way’ farms at Cliffheath. Not only is the presence of detrimental to the health and welfare of the people of Sun County, if taxes are not paid on time then the Sun Dome Temple will be displeased. So the head of the militia at Sandheart wants the mystery solved before calling in their notoriously efficient—or ‘heavy-handed interference’—support.

This being a scenario for RuneQuest: Roleplaying in Glorantha, the ultimate culprit behind the infection will be obvious. Determining the who, the what, and the how on the Mortal Realm is another matter, for The Corn Dolls: Sandheart Volume 2 is a complex affair in which everyone has their secrets and the player characters will find themselves crisscrossing back and forth to speak to inhabitants of Cliffheath multiple times. The scenario includes almost fifty NPCs—major and minor—plus ‘monsters’, almost twenty events, and eleven handouts!

In many ways, The Corn Dolls: Sandheart Volume 2 is not a traditional scenario for RuneQuest: Roleplaying in Glorantha. Rather it reads and is structured like a scenario for Call of Cthulhu, and like a scenario for Call of Cthulhu, there is a certain insidious nature to its core antagonists. Also like a scenario for Call of Cthulhu and unlike a scenario for RuneQuest: Roleplaying in Glorantha, there is some research involved as part of the investigation, which in this case means visiting the temple archives. The investigative nature of the scenario also means that there is plenty of opportunity for roleplaying, both for the players and the Game Master, who is given good advice for each of the major NPCs to that end.

Essentially, The Corn Dolls: Sandheart Volume 2 is a ‘Police Procedural’ in Glorantha, providing four or five sessions of play. Players who charge in or expect a fight straight off or show a lack of respect will probably themselves in some difficulty, socially as well as in terms of the investigation. That said, there are opportunities in the scenario for combat, for heroism, and for the militia members to make a name for themselves as the scenario comes fantastic climax.

Is it worth your time?
Yes. If you ran Tales of the Sun County Militia: Sandheart Volume 1 and are looking for the sequel, The Corn Dolls: Sandheart Volume 2 is a rich meaty case for your Sun Dome County Militia—even the ‘specials’ of Sandheart.
No. Tales of the Sun County Militia: Sandheart Volume 1 is not worth your time if you are running a campaign or scenarios set elsewhere, especially in Sartar as per ‘The Broken Tower’ from the RuneQuest: Roleplaying in Glorantha – QuickStart Rules and Adventure or in in and around Apple Lane as detailed in the RuneQuest Gamemaster Screen Pack. The Corn Dolls: Sandheart Volume 2 would be a difficult scenario to add to such a campaign.
Maybe. Although it would be difficult to involve outsiders in the events or the investigation of The Corn Dolls: Sandheart Volume 2 or the setting of Sandheart and Sun Dome County, many of the elements of its mystery could be adapted to the edges of the home area where the Game Master’s campaign is set.

At its heart, the Old School Renaissance is about emulating the style of play of Dungeons & Dragons from forty and more years ago, and about exploring the history of Dungeons & Dragons, so it is always fascinating to see what its adherents will find after ferreting around in the archives. The Ruined Tower of Zenopus is a perfect example of something surprisingly brought back to the attention of the Dungeons & Dragons-playing audience. The Ruined Tower of Zenopus is not a new dungeon, having originally appeared in the Dungeons & Dragons Basic Set, published in 1977, and edited by the late Doctor J. Eric Holmes. What Doctor Holmes did was edit earlier example rooms and develop them into a coherent dungeon design, a ‘starter dungeon’ complete with backstory, context, and reasons for the player characters to venture into its depths. The Ruined Tower of Zenopus is however a new title, it only being known as ‘Sample Dungeon’ in the original appearance in the Basic Dungeons & Dragons book. The Zenopus of the title refers to the doomed wizard who built the dungeon under his now ruined tower.

Designed for a party of First and Second Level adventurers, The Ruined Tower of Zenopus is actually an update from Basic Dungeons & Dragons, but not for use with a retroclone as one might expect, but for use with Dungeons & Dragons, Fifth Edition, Basic Rules, which are free to download from the Wizards of the Coast website. This means that it is also compatible with, and could be upgraded to, Dungeons & Dragons, Fifth Edition, and of course, with some effort, could easily be adapted to the retroclone of the Game Master’s choice. The adventure has been updated by Zach Howard, who has experience with titles from this era, notably the 'B1' Series: In Search of the Unknown Campaign Sourcebook which he hosts on his site. One thing that is missing from The Ruined Tower of Zenopus is a map of the dungeon itself. A map of the Portown, the location for the dungeon is included, but not of the dungeon itself. This map is available in the sample excerpt of the 1977 Basic Dungeons & Dragons book which can be downloaded from Wizards of the Coast.

The Ruined Tower of Zenopus takes place just outside of Portown, an important harbour town on the trade routes from the south, situated on a headland. It is notable for the ruined tower of Zenopus, a wizard who disappeared some time ago and who was rumoured to be digging into the ruins of the ancient city upon which Portown is built. It is now home to another wizard known as the Thaumaturgist. Portown and its environs are nicely mapped out to fit the extent of the dungeons below the headland whilst still allowing some room for the Dungeon Master to add her own content.

The dungeon itself consists of twenty or so locations, running from ‘A’ to ‘S’. The design of the dungeon is one of discrete locations separated by long corridors and empty rooms, so adhering to the design ethos that there should be plenty of empty rooms. The various locations include some classics, such as the room with four doors and a statue which must be rotated to face a door before it can be opened; a cave of smugglers going about their business; and a high vaulted room, its ceiling smothered in spider’s web. Now by modern standards, the design of the dungeon is basic, even a cliché, but remember this is a dungeon from 1977, from the very start of the hobby. And just because they are clichés or classics, it does not mean that they do not work.

The author though, does not simply update ‘Sample Dungeon’ to Dungeons & Dragons, Fifth Edition. He also offers options to make the dungeon more challenging and adds a slew of monsters and magical items. The former include the Cleaning Cube—a lesser form of the Gelatinous Cube, the Veteran Smuggler, the aforementioned Thaumaturgist, Monstrous Rat, and Monstrous Sand Crab, whilst the latter includes the  Brazen Head of Zenopus, Verminslayer Longsword, Lesser Wand of Petrification, and Scroll of Stone to Flesh.

The providence of The Ruined Tower of Zenopus means that it is interesting enough, but the author does even more to make the scenario interesting through a quintet of appendices. The first of these suggests some of the fiction—weird and otherwise—which might have inspired the original author, Doctor J. Eric Holmes, in the design of ‘Sample Dungeon’, such as J.R.R. Tolkien’s The Fellowship of the Ring for the inclusion of the Green Dragon Inn in Portown, Robert E. Howard’s The Tower of the Elephant for the Giant Spider in the cobweb filled Spider’s Parlour, and H.P. Lovecraft’s The Case of Charles Dexter Ward for having a strange wizard dwelling near the town. The second develops the occupants of the dungeon's discrete areas into factions, giving them stronger motivations to help the Dungeon Master roleplay their actions, whilst the third gives twenty rumours and then expands upon each and every rumour to great effect. Here the author provides hooks, both false and true, with suggestions as to how to use them, to involve the characters in events in and below Portown.

The penultimate appendix expands upon the place of Portown and thus The Ruined Tower of Zenopus in the Dungeons & Dragons, Fifth Edition campaign, Ghosts of Saltmarsh, itself based on the U Series of scenarios for Advanced Dungeons & Dragons, First Edition which began with U1 The Sinister Secret of Saltmarsh. The dungeon at least is mentioned as a possible adventure site, but not expanded upon. The Ruined Tower of Zenopus does that, suggesting how the scenario would work in and around Saltmarsh. This is very well thought out section and if a Dungeon Master has not yet run Ghosts of Saltmarsh, this is a really good addition to the start of the campaign. The last appendix contains four pre-generated characters. These have been created using the Dungeons & Dragons, Fifth Edition, Basic Rules, and so include a Cleric, a Fighter, a Magic-User, and a Rogue. They are decent enough, but they are all Human, rather offering a more diverse set of options.

Physically, The Ruined Tower of Zenopus is 1.83 MB, eighteen page, full-colour PDF. The layout is neat, clean, and tidy. It is perhaps a little oddly presented, in that the town and dungeon come first before the hooks that would get the player characters involved, but that makes sense in that they are an addition to the original rather than what included then.

By modern standards The Ruined Tower of Zenopus feels a little too basic and underdeveloped, so initially it comes across as something of a quaint artefact. Which is not to say that it is a poor dungeon design, but rather that tastes and gaming mores have changed. Of course, there is nothing to stop a Dungeon Master running as is, but the author has provided the means to make something more of it, whether that is the use of the rumours to provide flavour and motivation or developing its place as part of Ghosts of Saltmarsh. It also means that the Dungeon Master could run The Ruined Tower of Zenopus as a Old School Renaissance style dungeon and adventure for a group which is familiar with Dungeons & Dragons, Fifth Edition or for a group which prefers Old School Renaissance style play who want to try Dungeons & Dragons, Fifth Edition. So what you have in The Ruined Tower of Zenopus is a simple dungeon whose update empowers it with a lot of flexibility, but not just that, you also have a fascinating exploration of an early , ‘Sample Dungeon’.

Before Warhammer Fantasy Roleplay with its grim and perilous world of adventure, there was the grim, but humorous world of Law Enforcement in the near future with Judge Dredd: The Role-Playing Game. Both were published by Games Workshop, the former in 1986, the latter in 1985, and since they shared one of the same designers, Rick Priestley, there are a number of parallels between the two roleplaying games. Now Judge Dredd: The Role-Playing Game was not the first homegrown roleplaying game to be published by Games Workshop—that honour would go to the highly regarded Golden Heroes: The Roleplaying Game of Super-Heroes in 1984—but it would be the first roleplaying game based on a British licence. In the years since, it has been revisited three more times with two editions—The Judge Dredd Roleplaying Game for both the d20 System and the Traveller, First Edition mechanics—from Mongoose Publishing and more recently, with the Judge Dredd & The Worlds of 2000 AD RPG Core Rulebook from EN Publishing. This is because with its ’punk attitude, its brutal setting and depiction of comic book violence, and its often dark, but definitely satirical humour, it has been seen as the quintessentially British roleplaying game (along with Doctor Who). 

Judge Dredd: The Role-Playing Game is based upon the Judge Dredd comic strip in 2000AD, the long-running comic which has been published weekly since 1977. It is set in the early twenty-second century after a nuclear war which irradiated much of the Earth and most of the world’s population is living in a number of megalopolises—or supercities. Each is home to millions and millions living in great city-blocks, most of whom are unemployed and turn to hobbies, brand new trends or crazes, or even crime to keep themselves sane. The teeming masses are difficult to police and it takes a special dedicated individual, one who has trained for nearly all of his or her childhood to patrol and enforce the law in these great cities. These are the Judges, trained to be the best, armed with the best equipment, and ready to patrol the streets as combined policeman, judge, jury, and executioner. They enforce the law and do so fairly—and none no more fairly than Judge Dredd himself, a figure who is both authoritarian and an anti-hero, the most well known and feared Judge in Mega-City One on the eastern seaboard of what was once the United States of America. On a daily basis, Judge Dredd has to deal with litterers and jaywalkers, slowsters and sponts, robbers and murders, smokers and boingers, illegal comic book dealers and gangster apes, and even Judge Death from a parallel earth. Over the years, the Judge Dredd comic has presented a carnival of crazy crimes and criminals, certainly more than enough to provide a rich, bonkers background for Judge Dredd: The Role-Playing Game when it was published in 1985.

Judge Dredd: The Role-Playing Game was published, like all good roleplaying games of its day, as a boxed set. Inside which could be found the seventy-two page Judge’s Manual, the one-hundred-and twenty-eight Game Master’s Book, a sixteen by twenty-two inch double-sided map sheet, a sheet of character cutouts, and four dice. The Judge’s Manual is the players’ book and explains how to create characters as well as the mechanics, whilst the Game Master covers background and running the game. Both the cutout characters and the double-sided map sheet are done in full colour, in 25 mm scale, one side of the map depicting an entrance to a stretch of underpass, the other the floorplans of a Shuggy (3D Pool) Hall. Each is used in the two scenarios in the Game Master’s Book. Notably, both the Judge’s Manual and the Game Master’s Book are liberally illustrated with both art and comic strips from Judge Dredd. All of which is superb. The artwork might be black and white, but it all comes from the comic strip which is also done in black and white. Remember that at this time, colour artwork really was a luxury! Nevertheless, the illustrations in Judge Dredd: The Role-Playing Game are very, very good.

Of course, what each player roleplays in Judge Dredd: The Role-Playing Game is a Judge. Relatively fresh out of the Academy, beginning characters are fairly bland,and mechanically at this point, there is little to distinguish one Judge from another. This extends to roleplaying too, since a Judge is not meant to express any emotion and his life is entirely focused on executing the Law, and certainly straight out of the Academy will not have any time for a private life. Now there is scope for a Judge to specialise as a Med-Judge, Tech-Judge, or even a PSI-Judge, but being able to do so straight out of the Academy is unlikely. This is not to say that roleplaying a Judge is akin to roleplaying an automaton, rather than thinking of playing robot, think of it as a Judge being highly dedicated. How he or she will react to the bizarre everyday life in Mega-City One is where there is scope for roleplaying as well his somewhat repressed personality.

Mechanically, a Judge is defined by eight attributes. These are Strength, Initiative, Combat Skill, Drive Skill, Street Skill, Technical Skill, Medical Skill and Psi Skill. Strength is used in hand-to-hand combat and measures how damage a Judge can do as well as how many Wounds he can take. Initiative represents a Judge’s agility and when he can act in combat; all combat actions are handled by Combat Skill; the Drive Skill enables a Judge to drive any vehicle, from his Lawmaster motorbike to a spaceship; the Street Skill represents his area knowledge as well as authoritarian presence and being able to spot lies; Technical Skill is ability to use and fix devices and machinery of all types, including computer use, picking locks, and defusing bombs; Medical Skill covers first aid, trauma surgery, diseases, and related knowledge; and Psi Skill, a Judge’s skill with psychic powers if he has any or resisting them. All of these are rated as percentiles, except for Strength which ranges between one and three.

Creating a Judge is simple enough. A four-sided die is rolled and one deducted for Strength. Everything else is determined by rolling two ten-sided dice and adding twenty to the total. If any Attribute is equal to forty or more, then the player can choose an Ability. For example, Agile and Instant Reactions for Initiative, Crack Shot and Knock Out for the Combat Skill, Avoid Collision or Lawmaster Leap for the Drive Skill, Analyse Chemical or Use Date for the Technical Skill, Aura of Cool or Sense Crime for the Street Crime, and Detect Intent or Psychic Block for the Psi Skill. (As an aside this combination of attributes as skills plus abilities does feel reminiscent of Warhammer Fantasy Roleplay.) If this is for the Technical Skill, Medical Skill, or Psi Skill, then the Judge can become a Specialist Judge like a Tech-Judge, Med-Judge, or Psi-Judge respectively. Judges who start with a Strength of one do get a bonus to the Psi Skill, but nevertheless, becoming either a Tech-Judge, Med-Judge, or Psi-Judge is unlikely but possible during character creation, being more likely as a Judge gains Experience Points, improves his attributes to first forty, then fifty, sixty, seventy, and so on. 

Judge Smith
Strength 2
Initiative 27
Combat Skill 34
Drive Skill 31
Street Skill 30
Technical Skill 34
Medical Skill 34
Psi Skill 31

Unless a player has to select an ability, character generation is quick and easy. Indeed, more attention is paid to the equipment carried by a Judge than to character generation! This is understandable, since this equipment plays a vital role in a Judge’s day-to-day duties, whether it is a Birdie Lie Detector, Pollution Meter, or his infamous Lawgiver handgun with its multiple ammunition types. Both Lawgiver and its multiple ammunition types—General Purpose, High Explosive, Armour Piercing, Incendiary, Rubber Ricochet, and so on—along with the equipment takes up a fair portion of the character sheet. Further, each Judge’s Lawmaster, a self-driving motorbike equipped with  twin 20 mm cannons and a Cyclops laser has its own character (bike?) sheet. It should also be noted that the Lawmaster is as good as any starting Judge in combat and when dealing with technical matters, and as is twice as capable as the average Judge when it comes to the Drive Skill. So in general, unless a starting Judge is brilliant and begins play with a high Drive Skill of forty and a Drive Skill-related Ability, it is definitely better that the driving be left to the bike!

Mechanically, Judge Dredd: The Role-Playing Game is simple and straightforward. It is a percentile system, a player rolling the dice to get equal to, or under the appropriate attribute, for example, Combat Skill in a fight or Technical Skill to access a computer. This can be modified by the situation or by equipment, such as the Birdie Lie Detector which adds a 50% bonus to a Judge’s Street Skill when attempting to determine whether a perp is telling the truth or not. Combat is more complex in that each combat round is divided into ten phases and when a Judge or perp can act and how many actions he has depends on his Initiative. For every ten points of Initiative—rounded up—a character has an action. So a starting Judge will have either three or four actions, acting on phases three, six, and nine or two, four, six, and eight respectively. Actions themselves are discrete in that a character can do just the one thing, so that might be to after a perp, crouch, use an object, aim a weapon, fire, dismount a vehicle, and so on.

The rules cover most situations, whether that is weapon malfunctions, breaking down doors, or vehicle combat and chases. What is notable is that a Judge only wears armour on his head, arms, and legs, and it only provides a 25% chance of protecting him. Then when he does take damage, it is rolled for on the personal damage table, the roll modified by the attack or ammunition type, such as +1 for High Explosive ammunition. Now Judges typically have between one, two, or three wounds, and whilst it is possible to lose one or two wounds when suffering damage, most of the time, a Judge will suffer Stun effects, which will lose him actions as well as temporary points from his Initiative attribute. What this means is that a Judge is actually stronger than he looks on paper, not by much, but this certainly emulates the brutal comic book violence of the source material.

The other notable thing about combat in Judge Dredd: The Role-Playing Game is that it is rarely initiated by a Judge. He is duty bound to issue a challenge for the perps to surrender first before taking direct action, and this takes an action. Similarly, aiming takes an action and a Judge is expected to aim unless he wants to shoot an innocent bystander by mistake. Further, he likely to issue another challenge later in the combat. The point is that as much as the mechanics in Judge Dredd: The Role-Playing Game focus on combat, combat, at least not to kill, is not the point of the game. This is supported by a solid example of play and an arrest. Further help in the Judge’s Manual for the player comes with sentencing—the next step after making an arrest, calling for backup, Justice Department organisation, and a guide to both Mega-City One and Mega-City One slang.

In comparison, the Game Master’s Book is almost rules light, nearly all of the rules to Judge Dredd: The Role-Playing Game being in the Judge’s Manual. Instead of rules, Game Master’s Book expands greatly on the setting of Mega-City One and running the game. There is excellent advice to that end as well as on how to write scenarios, before examining how to handle character generation, combat, making arrests, getting around Mega-City One, and running campaigns. Stats and background are provided for NPC Judges and the Sector Houses, out which the Judges will operate, plus all of the perps, criminals, punks, dunks, pongos, futsies, heisters, mobsters, psykers, and more to be found on the streets of Mega-City One. There are also rules for aliens and muties, and the city-blocks where most of Mega-City One’s citizenry lives, as well as stats and backgrounds for some of the most notable perps to appear in the comic strip, from the meaner than mean Angel Gang and the mobster Uggie Apelino and the Ape Gang to the vigilante Blanche Tatum and the infamous Judge murderer, Whitey. The Dark Judges—led by Judge Death—are listed under famous and infamous Judges along with Judge Dredd and Psi-Judge Anderson.

The Game Master’s Book also includes two scenarios—one short, one long. The first is ‘Firefight – On a Hot Summer’s Night’, a short encounter with car wreckers designed to teach the players how the game’s rules work. It is easy to run as a first encounter before the Game Master runs, the second, longer scenario, ‘The Ultimate Crime of Tony Thermo’. This is a fully detailed scenario, designed as a proper introduction to playing Judge Dredd: The Role-Playing Game, and sees the Judges attend a briefing, go out on patrol, deal with an issue or two before evidence of a crime in progress and having to thwart that. Where ‘Firefight – On a Hot Summer’s Night’ will last a single session, ‘The Ultimate Crime of Tony Thermo’ will probably last two. Overall, it is a solid starting adventure.

If there is an issue with the Game Master’s Book, it is twofold. One is that it feels jumbled in its organisation of its subject matters, so that stats and backgrounds for generic perps are one section, famous and infamous Judges in another, that of notable perps in another, and so on, interspersed sections on other subject matters. As a result it makes it a little difficult to find things in the book. The other is that it actually has one section which the players will find useful—an expanded section on sentencing, much more nuanced than that given in the Judges’ Manual. For the most part though, the Game Master will not be needing to consult the Game Master’s Book during play.

Physically, Judge Dredd: The Role-Playing Game is solidly produced. The books are well written and it is clear that the authors have done their research. Plus with access to hundreds of issues of 2000AD, both books make great use of the comic strip. What is clear from the examples and the scenarios is the successful efforts of the designers to match the humour of the comic, much of which poked fun at the gaming industry of the time. The maps and cutouts are excellent, the maps of course being designed to work with the range of miniatures that of course, Games Workshop produced for the roleplaying game. The dice though, are cheap, and well, nasty.

Reviews at the time of the publication of Judge Dredd: The Role-Playing Game were polar opposites and reflected the then divided camps of British roleplaying magazines. In the one corner was Games Workshop’s White Dwarf, in the other was GameMaster Publications, the spiritual successor to TSR (UK), Inc.’s Imagine magazine. The review in GameMaster Publications Issue 2 (December, 1985) concluded that, “It is a good interpretation of the strip in game form, and the books are lavishly illustrated with panels from the comics. Most importantly, the designers have researched the subject in meticulous detail, trying to capture all the bizarre sides of life in Mega-City One. Stats for all the Perps that have appeared in the strips are presented — which may or may not strike you as odd given the way most of them have been blasted to atoms by Dredd — and several tables provide methods for creating new mutants and other potential opponents. But everything is going to depend on your ability to think up new and fitting perps, crimes and city events if you are going to progress beyond see ’em and blast ’em over and over again.” Unsurprisingly, Jason Kingsley, reviewing Judge Dredd: The Role-Playing Game in White Dwarf Issue 73 (January, 1986), was far more positive. Awarding the roleplaying an overall score of ten out of ten, he concluded, “All in all, Judge Dredd - The Role-Playing Game is an excellent product, for detail, value and content. Dredd fans will be pleased with it.”

The retrospectives would begin in 1996 with Arcane #3 (February, 1996), shortly after the licence for the Judge Dredd: The Role-Playing Game expired. In the Despatches section, Paul Pettengale said of it, “It’s fast, it's frenetic, and it’s more than a little fraught; but above all Judge Dredd, The Roleplaying Game is - or at least was - damned good fun.” and that, “The two rule-books - one each for the player and the ref - flesh out the campaign setting, giving a brief history of Mega City One, its peoples and its many quirks. Both are enjoyable and, like the game itself, they last forever.” This was followed up later in Arcane #14 (December, 1996) when it was included in ‘Arcane Presents the Top 50 Roleplaying Games 1996’ in the twenty-first slot, stating that, “This is one of the best roleplaying systems ever created. It oozes atmosphere and spits out gritting violence and playability, and generally makes for a very good time indeed. The excellent way in which the rules are laid out (and written), helps referees to start running the game almost straight out of the box. In our eyes, it should have featured in the top ten.” More recently, The Grognard Files—rated the number one Roleplaying Game Talk Podcast of 2019—discussed Judge Dredd: The Role-Playing Game and interviewed Marc Gascoigne in Episode 18 (Part 1) and Episode 18 (Part 2) of the podcast.

Right out of the box, Judge Dredd: The Role-Playing Game is complete and relatively easy to learn and start playing. The rules are simple, and really covered in just a few pages, leaving the rest of books to detail and explore the maniacally rich and complex world of Judge Dredd and Mega-City One, which it does in meticulous detail. There is something to be said of the suggestion that Judge Dredd: The Role-Playing Game is more of a ‘roll-playing’ game rather than a ‘roleplaying game’, and yes, whilst there is an emphasis upon combat in the rules, apprehending suspects is the point of the game and that often does involve combat. Yet, there is roleplaying to be had in investigating crimes, interrogating suspects, and in general, dealing with the citizenry of Mega-City One. So in some ways, Judge Dredd: The Role-Playing Game should be thought of an action roleplaying game—a police action roleplaying game (rather than as a superhero game as it is sometimes categorised). Then there is the rich detail of Mega-City One to dig onto, whether as a Judge to patrol and explore, or as the Game Master to develop crimes and investigations.

By modern standards, Judge Dredd: The Role-Playing Game is perhaps a little one-note in what characters the players roleplay and somewhat limited at the start of play. So yes, it can be hard to distinguish between player characters and they are often less than competent as you might wish, but the setting and its humour is worth it. And that is even before a campaign escapes Mega-City One into the Cursed Earth or other Mega-Cities. Plus, the Judges will begin to diverge as their players choose different abilities and perhaps become Specialist Judges. For the Game Master though, Judge Dredd: The Role-Playing Game is not so one note, for it comes with  an incredibly rich background with which to work and develop her own cases, which only really covers the first decade of Judge Dredd and 2000AD.

A combination of simple mechanics and background rife with humour and grit, Judge Dredd: The Role-Playing Game is still very playable. Those mechanics, and that grit and humour would undoubtedly influence Warhammer Fantasy Roleplay the following year, but it is here that they were first seen. 

17th Century Minimalist: A Historical Low-Fantasy OSR Rulebook is the core rulebook for 17th Century Minimalist, an Old School Renaissance roleplaying game of smalltime tricksters, conniving thieves, stalwart ex-soldiers, swashbucklers with panche and gambling debts, and minor physicians, banding together out of necessity and the need for coin (glory optional). Published by Games Omnivorous and designed by the author of The Squid, the Cabal, and the Old Man for use with Lamentations of the Flame Princess Weird Fantasy Roleplaying, it is a rules-light Class and Level roleplaying game set in the seventeenth century which features firearms, no magic, a task-based experience system, and a fast, deadly combat system. Flintlocks are easy to use, but have a chance of misfire and take time to reload. Instead of magic, Illusionists use tricks and misdirection, whilst Plague Doctors apply treatments which might be interpreted as miracles or witchcraft. Cuthroats gain Experience Points for backstabbing, stealing rare items, disarming hard traps, and so on; Illusionists for entertaining crowds, doing tricks, wooing persons of note, et cetera; Plague Doctors for curing the Plague and other diseases and for discovering new flora; Soldiers for killing strong foes, doing mercenary work, and going to war; and Swashbucklers for dueling and doing bold stunts in combat. Lastly, whilst characters acquire Levels, they never increase their Hit Points, so combat is deadly. 

Characters in 17th Century Minimalist are defined by five abilities—Charisma, Dexterity, Strength, Intelligence, and Luck; Class (as above) and Level—up to Fifth Level as campaigns are intended to be short in 17th Century Minimalist; and Reputation. Character creation is quick and easy. A player rolls three four-sided dice for the five abilities and then rolls three four-sided dice and add two to replace the values of any ability with a value less than five. Then he chooses one of the roleplaying game’s five Classes, rolling a background from the table given for each Class. The process is quick and easy, and helped by the fact that each Class has its own character sheet for ease of play.

Our sample character is a Laid-off Infantryman, a Scots mercenary and Protestant fighting in the Thirty Years War. Currently there is a lull in the fighting and he is seeking his fortune elsewhere, or least the means to pay for his keep and wine, women, and song.

Name: James McTavish
Class: Soldier Level: 1
Background: Laid-off Infantryman
Charisma 08 Intelligence 06 
Dexterity 10 Luck 09 
Strength 13 Current Luck 09

Reputation: 6
Hit Points: 12
Armour: Leather Armour, steel helm
Main Weapon: Claymore, musket & ammunition (d10)

Special Abilities: Military Training (no disadvantage with large weapons, advantage with musket), Scars of War (advantage on reisting disease, drugs, alcohol), Combat Prowess (extra action if exact Strength rolled), Merciless (critical hit range equals Level, plus own Critical Hit table)

Mechanically, 17th Century Minimalist is fairly simple. Whenever a character wants to undertake an action, his player rolls a twenty-sided die against the appropriate ability, aiming to roll equal to or under it. Rolls of one count as criticals and of twenty as fumbles. Luck can be spent to reroll anything other than fumbles and between one and three points of Luck is regained at the end of each adventure. 17th Century Minimalist uses the Advantage and Disadvantage rules as per Dungeons & Dragons, Fifth Edition and the Useage Die mechanic as per The Black Hack.

Combat in 17th Century Minimalist is brutal—and not just because player characters have static Hit Points. To begin with, initiative is handled not by die rolls. Instead, each player puts a recognisable die into a bag, into which the Game Master adds one die for the opposition and one as a neutral die. When a player’s die is drawn from the bag, his character can act, when the opposition’s die is drawn, they can act, and when the neutral die is drawn, the round ends, all of the dice are placed back in the bag, and a new round begins. Rather than the back and forth of traditional initiative mechanics, initiative is a wild affair—the opposition might get to act, but not the player characters before the round ends, or vice versa, some or even none of the player characters might get to act before the round ends, and so on. It is wild, but it is brutal.

Fumbles mean that the attacker has hit an ally or that his weapon has broken, whilst Criticals simply add damage. When an attacker fails to land a blow in melee combat, the defendant can riposte, although with Disadvantage. Armour blocks damage a number of times equal to its Armour Value, from the one of Leather to the four of Full Plate, and be fixed, either by the player character or a craftsman. Weapon damage is determined by size—a four-sided die for small weapons, a six-sided die for medium weapons, and an eight-sided die for big weapons. Being reduced to zero Hit Points does not necessarily mean that a character is dead, though there is a chance of that along with maiming and scarring.

Firearms get their own section. The default type—muskets and pistols—is the flintlock. Inflicting damage equal to big weapons, they take time to reload and there is the chance that they might misfire or backfire. Rules for grenades are also given as is a table of rare firearms, such as the axe-pistol and Duck-feet pistol.
So for example, James Mactavish has signed as a guard for a caravan of refugees going to a region where their faith is accepted. It is attacked by mercenaries. They ride in on horseback, their sabres ready to strike. James’ player puts in a blue die into the initiative bag and the Game Master puts a red one in for the opposition and a white one as the neutral die. On the first round, she pulls the red die out first—a mercenary is going to attack James. His player rolls a twenty-sided die and gets a nine. This is under James’ Dexterity so he ducks the sword strike from the horse-mounted mercenary. Since the mercenary missed, James is allowed a riposte with a melee weapon, though it is rolled with disadvantage. He states that he is going to swing his halberd. His player rolls two twenty-sided dice, but with rolls of fifteen and nineteen, he misses. Next the Game Master draws another die out of the bag. It is the neutral die, so the round has ended. Both the red and the white dice go back in the bag and the next round begins.
On the second round, the first die out is a blue die, which means that James acts first. His player decides that James will ready his halberd and strike as soon as the mercenary, who has ridden away and wheeled around to come back for another attack, comes into reach. He rolls a nineteen, which is obviously not good enough, so he burns a point of Luck to reroll. This time, he rolls a one, which is a critical success. As a critical hit, it ignores Armour, so the Game Master cannot block the damage. In addition to the damage die of an eight-sided die, plus the standard bonus of a four-sided die rolled for more damage, because James is a Soldier, his player gets to roll on the Class’ own Critical Hit table. So rolls six on the eight-sided die and three on the four-sided die for a total of nine damage. Then on the Soldier Class Critical Hit table, he rolls a five, which means that he disarms the mercenary, smashing his sabre from his hand.Being ‘A Historical Low-Fantasy OSR’ roleplaying game, 17th Century Minimalist  does not include magic. It does however include abilities which to the uneducated might appear to be indistinguishable from magic. In particular, two of the Classes, the Illusionist and the Plague Doctor have such abilities. Thus, the Illusionist has a ‘Bag of Tricks’ with which he can create a ‘Fake Sound’ or perform a ‘Card Swap’ which enables him to make a character friendly to him, whilst the Plague Doctor can perform Treatments, such as ‘Send Rats’ to attack a target or ‘Apply Light Leeches’ to provide minor healing.

In terms of character progress, two other factors are tracked in 17th Century Minimalist. One is Experience, as in any other retroclone, but instead of tracking hundreds and thousands of Experience Points, in 17th Century Minimalist, a character receives single points. For every ten of these, a character can go up a Level, up to a maximum of five. They are received though, one at a time, for undertaking tasks particular to their Class as described above. The other factor is Reputation. This starts at six and rises and falls depending upon whether a character commits Virtuous—such as rescuing someone of note or slaying a witch—or Vicious—killing innocent folk or desecrating tombs—actions. Should a character’s reputation drop to one, he becomes Infamous and can Infamy tokens which can be spent to contact the criminal underworld or hire a retainer for free—a vile, vicious retainer. On the other hand, should it rise to twelve and the character becomes Famous and receives Famous tokens which can be spent to gain access to the local authorities or to receive an exotic gift. A character’s Reputation must remain at either one or twelve to continue receiving the Infamous or Famous tokens and will continue to remain Famous or Infamous until his Reputation rises or drops to six respectively. What you have in this Reputation mechanic is both a means of measuring what the populace at large think of a character and the nature of the character’s actions and their ramifications, basically a simple, binary Alignment system.

Besides rules for commerce, equipment, pets, and retainers, as well as alcohol, drugs, disease, and poison, there is very little in the way of world information in 17th Century Minimalist. It is assumed that Game Master and players alike will at least know something of the period, given that there is no bibliography. Similarly, it is expected that the Game Master has some experience in running roleplaying games, since there is scant advice given bar handling of supernatural monsters and their damage, and converting Armour Class and monsters from the Old School Renaissance roleplaying game of the Game Master’s choice. In fact, the one real issue with 17th Century Minimalist is the lack of advice when it comes to the creation and handling of NPCs.

The second half of 17th Century Minimalist is dedicated to describing its five Classes. The Cutthroat is a Hired Assassin, Former King’s Spy, or Nomadic Ninja who receives Luck Tokens to avoid death outside of combat, to reroll fumbles, and perform sneak attacks; and gain Advantage when climbing, wearing a disguise, sneaking, and so on. A Court Jester, Foreign-Fire Breather, or Apprentice of Magic, the Illusionist also has a sense of Déjà vu and so adds an extra die to the initiative bag, can earn money entertaining the crowds, and can perform various Tricks pulled literally from his Bag of Tricks’. The Plague Doctor, possibly a Aspirin Alchemist, Survivor of Leprosy, or Botanical Cataloguer, is educated and knows more Exotic and Dead languages, when wearing their beak-like masks they are immune to disease and can instil fear, know how to fight off the diseased—vermin and human alike, and can perform Treatments. The Soldier, possibly an Outlaw Traitor, Uncredited War Hero, or Disgraced General, can wield big weapons without Disadvantage and muskets with Advantage, make Strength checks with Advantage to resist the effects of alcohol, drugs, and disease, gain an extra action when their exact Strength is rolled with Strength tests in combat, and gain a wider Critical Range as well as having his own Critical Hit table. Possibly a Former King’s Musketeer, Self-Proclaimed Poet, or Duelling Artiste, the Swashbuckler gains extra Luck, can perform Swashbuckling Deeds such as shooting a firearm with double Advantage or inflict an extra die of damage, can use their Luck to test any situation, and cannot refuse a duel, and will either fight with a sense of Superiority, Egotism, Vanity, or Arrogance.

All five of these Classes are fun and flavoursome. All five also counter some of the brutality and deadliness of the setting, especially for the Soldier and the Swashbuckler Classes. Further, being reduced to zero Hit Points does not mean that the character dies. His player still has to roll on the Zero Hit Points table and that only grants a one in six chance of instant death—unlike NPCs!

Physically, 17th Century Minimalist: A Historical Low-Fantasy OSR Rulebook is a full colour, well written, charmingly presented digest-sized booklet. The artwork manages to fit the setting, despite being almost suited to a child’s storybook. As an artefact though, it has the feel of being handmade and it really does feel good in the hand.

The most obvious thing missing from 17th Century Minimalist is an adventure. There is however the 17th Century Minimalist ‘Mini Adventure Folder’ which includes five mini-adventures. There is also any number of Old School Renaissance scenarios, of which many of those published by Lamentations of the Flame Princess, including the author’s own The Squid, the Cabal, and the Old Man as well as No Better Than Any Man, Scenic Dunnsmouth, or Forgive Us, would be suitable as they share the same setting. That said, the more fantastical the nature of the setting, the less useful a scenario may be, depending to what degree the Game Master wants her 17th Century Minimalist game to involve the fantastic or the supernatural.

Yet as good and as charming as 17th Century Minimalist is, it is not perfect. First, it does not explain its core mechanic clearly enough, if at all, so it does not state clearly if the players are doing all of the rolls or both players and the Game Master are. Second, it does not tell the Game Master how to create or handle NPCs. Third, there is no background to the game. Now all of this can be overcome by the Game Master, who needs to decide how to handle the first two problems and possibly do a little research for the third. Or the author could publish a 17th Century Minimalist Game Master’s Guide and address all three issues.

Now despite its problems—all three of which can be overcome by the Game Master—there is a great deal to like about 17th Century Minimalist. The rules are simple, the Classes are both flavoursome and fun to play, and the system is deadly enough to make players think twice about fighting, but provides the means to ameliorate that deadliness by playing to their Classes. (As an aside, these Classes and the mechanics could be used to model a fantastic, gritty 19th Century Minimalist Wild West roleplaying game too.) Although, 17th Century Minimalist: A Historical Low-Fantasy OSR Rulebook does leave the Game Master with a few decisions to make that it really should not have done—though they are relatively simple fixes—there is no denying its brutal charm and flavour.

The Pocket Companion: A Guide to Cities and Towns is overwritten, underdeveloped, unedited, contradictory, and repetitive. The Pocket Companion: A Guide to Cities and Towns is a frustrating book to read and therefore likely a frustrating book to use. These are not good words with which to start a review and these are not good words which as a reviewer that I want to write, but they have to be written. And as frustrating as it is to have to write them, they have to be written at the top of the review because they are the primary impression of the Pocket Companion: A Guide to Cities and Towns after having read it. It is also frustrating because it is very obvious what the authors of the Pocket Companion: A Guide to Cities and Towns were trying to do and it very obvious that the Pocket Companion: A Guide to Cities and Towns is full of ideas, and it is just about obvious that the Pocket Companion: A Guide to Cities and Towns is not without potential. Lastly it is frustrating that as a professional editor that there was nobody involved in the Pocket Companion: A Guide to Cities and Towns to help its authors reach that potential.

So what is the Pocket Companion: A Guide to Cities and Towns? Published by Wisdom Save Media, following a successful Kickstarter campaign, the Pocket Companion: A Guide to Cities and Towns is the second in the publisher’s series of ‘Pocket Companion’ supplements. The first, the Pocket Companion: A Tavern Guide, presented a plethora of inns and taverns, from highest of high-class establishments to the lowest of dives, from forests to mountains, villages to cities, and more. As its title suggests, the Pocket Companion: A Guide to Cities and Towns, widens the scope of the series to cover long established settlements large and well, larger. From mountains to swamps, jungles to deserts, the Pocket Companion: A Guide to Cities and Towns details some twelve cities which the Game Master—or Dungeon Master—can add to her campaign world.

Each of the twelve entries follows the same format. This begins with a listing of the settlement’s ‘Points of Interest’, ‘In a Nutshell’ gives a basic description of it, ‘Location’, ‘The People of …’ the settlement describes its inhabitants, ‘Trading and Taverns’ describes drinking establishments and the settlement’s trade, ‘Popular Establishments’ presents more taverns, blacksmiths, and other shops, ‘Locations, Shops and Sights’ describes particular districts, ‘Tourist Traps’ are more detailed descriptions of the settlement’s ‘Points of Interest’, and lastly ‘NPC’s’ details unique and individual characters.  Each entry is also accompanied by two tables, one of popular establishments and the other of important NPCs. In general, the Pocket Companion: A Guide to Cities and Towns is well organised and it is easy to pick things off the page.

The twelve towns and cities include Barrelside, a city divided between the rich north and heavily-taxed poor south, almost at war with each other, but renowned for its bards’ college; Greywater stands on stilts in a swamp, a known haunt of both pirates and smugglers; and Zha’rath is an island city which caters to pirates. So there is a fair degree of variety in the types of city presented in the supplement, but drill down and oddities appear. So the inhabitants of some cities have particular customs and do not like them being broken, even by outsiders, but not once is the reader told what these customs are. Everything seems to be local (except when it is not), there are always taverns and blacksmiths, and it seems that there is always one little shop hidden away, waiting to be discovered. Cities are never located by a river, they are always divided by it. Then there are the inconsistencies, such as the city which might be on the edge of a desert or in the middle of a vast expanse of desert or that a city has docks for the trade ships which use the river that the city straddles to reach the sea, a route which runs through treacherous gorges and over imposing cliffs. How exactly do the ships get to the sea?

Again and again, the Pocket Companion: A Guide to Cities and Towns leaves the reader—the potential user as Game Master—to decide on such matters. To literally do the development work that the book is so clearly crying out for. Perhaps the descriptions might have been helped by maps, but there is only one and that feels more like a wilderness map than city map. 

However, the dozen city descriptions are not the only content in the Pocket Companion: A Guide to Cities and Towns. It starts with four plot hooks, such as an empty city in sky and a series of bangs which come from a number of robed spellcasters lobbing spells at a tower and the guards attempting to stop them—sadly neither of the twelve detailed later on, and it ends with a set of tables for Urban Encounters and for developing the Underbelly—the city’s criminal underworld, and then spaces for the Game Master to write up her own. The tables are basic enough, but they are simple, clear, and easy to use as prompts for developing aspects of a settlement by the Game Master.

Physically, the Pocket Companion: A Guide to Cities and Towns looks clean and simple. The artwork is adequate, although it does not always seem quite relevant, such as stone bridge in a swamp town where everything is built on stilts.

In any book there has to be some merit, something worth the time of the reader or potential Game Master or Dungeon Master, but truthfully the Pocket Companion: A Guide to Cities and Towns is almost bereft. All for the want of an editor and somebody asking, in too many instances, if that was what the authors meant. What merit there is, is as a source of ideas perhaps, details to spur the reader’s imagination, because that is what he will have to work in order to make use of the contents of the Pocket Companion: A Guide to Cities and Towns.

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

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

—oOo—
Name: Lost Symmetry

Publisher: Chaosium, Inc.
Author: Benjamin Schäfer

Setting: Lovecraft Country in the Jazz Age of the 1920s

Product: Scenario
What You Get: 1.65 MB twelve-page, full colour PDF
Elevator Pitch: Sometimes the numbers add up to more than they should. 
Plot Hook: A missing brilliant mathematics student would never miss an exam, would he?
Plot Development: A missing friend, grumpy faculty staff,something for the bookhound in your life, sir?, and the Mythos comes home.
Plot Support: A new Mythos tome, two handouts, and a set of floorplans.

Pros
# Simple set-up
# Easily adapted to other times and periods
# One-shot or one-session scenario
# Potential addition to a Lovecraft Country campaign
# Nicely curmudgeonly NPCs
# Easy to run with little preparation
# Potential investigator introduction to the Mythos
# Could be played one-on-one
# Cinematic feel to a fun climax
# Possible sequel to Spark of Life

Cons# Needs editing
# Underdeveloped in places
# Why do the police turn up?
# No Sanity rewards

Conclusion
# Needs editing
# Simple, straightforward scenario with a cinematic climax 
# Decent one-shot or introduction to Lovecrafian investigative roleplaying

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

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

—oOo—
Name: Church of Chiropteran Wisdom

Publisher: Chaosium, Inc.
Author: Sal North

Setting: England Jazz Age of the 1920s

Product: Scenario
What You Get: 733.72 Kb seven-page, full colour PDF
Elevator Pitch: Shopping for sacrifices? 
Plot Hook: A missing person case points to a jewel on the English coast.
Plot Development: Several missing persons and a batty old shop.
Plot Support: Two NPCs, a new monster, and a Mask of the Crawling Chaos.

Pros
# Simple, location based scenario
# Easily adapted to other times and periods 
# One-shot or side-quest scenario
# Potential addition to Masks of Nyarlathotep

Cons# Unedited
# Underdeveloped plot
# Paucity of clues
# Underwhelming hook
# Tamworth, ‘Surrey’?

Conclusion
# Underdeveloped 
# Needs editing
# A Keeper project to improve?

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

—oOo—
The year 2000 is significant in the gaming hobby because it marked the beginning of the ‘d20 Era’, a period of unparalleled creativity by publishers large and small—and tiny, as they used the d20 System to power game after game, scenario after scenario, supplement after supplement, genre after genre. Some new, some old, some simple reskins. And there are publishers twenty or so years later who are still writing using the d20 System. As much as publishers explored different worlds and settings using the d20 System and its System Reference Document, at its heart was one roleplaying game, launched in the year 2000—Dungeons & Dragons, Third Edition. Just as Dungeons & Dragons, Fifth Edition is the top roleplaying game today, Dungeons & Dragons, Third Edition was the top roleplaying game of its day, and the advent of the d20 System let other publishers play in the Dungeons & Dragons sandpit, just as many had back in the early days of the hobby. The aim of this series of reviews is not to review Dungeons & Dragons, Third Edition itself, for that would not necessarily make for an interesting review. Rather it is to look at some of the interesting titles which came out of the d20 System boom that started twenty years ago.

From the off, the d20 System allowed publishers to ride the wave of popularity that was Dungeons & Dragons, Third Edition, and that started at Gen Con 2000 with adventures from publishers such as Atlas Games. Better known for roleplaying games such as Over the Edge and Feng Shui: Action Movie Roleplaying, Atlas Games would launch its Penumbra line of d20 System supplements with one of the very first adventures for Dungeons & Dragons, Third Edition—Three Days to Kill. What is notable about Three Days to Kill—beyond the fact that it was the first scenario published for Dungeons & Dragons, Third Edition, it that it was written by John Tynes, then better known as co-designer of Unknown Armies and the Delta Green setting for Call of Cthulhu. So what you had was a horror writer designing a fantasy adventure and that is evident in certain ‘Grim Dark’ tone to Three Days to Kill. The other notable fact about Three Days to Kill is that it sees me as a reviewer returning to where I started, having reviewed the scenario in 2001 at RPG.net. Of course this will be a more likely occurrence as we proceed into the next decade, but this does not mean that such titles are not worth reviewing or revisiting.

Designed for a party of player characters of First Level to Third Level, Three Days to Kill takes place in what is intended to be an isolated area in the Dungeon Master’s campaign. This is in and around the valley known as the Deeps, at the heart of which is Deeptown, a major stop along a long east-west trade route through a range of  mountains. The town’s primary interest is trade and supporting the constant movement of caravans which travel east and west along the trade road. The town council—as well as the Trade Circle, made up of Deeptown’s most important businessmen and which has a strong, if subtle grip on the town—are particularly concerned about maintaining the flow of goods and money through Deeptown. This includes accepting the presence of religions and faiths which would not be accepted elsewhere, such as the Sect of Sixty, which seeks to deceive and seduce through pleasure and hedonism. As long as no one temple or faith upsets the balance of trade through the town, they are allowed to continue ministering to their flocks. Upset or threaten that balance and the Town Council will see to it that the priests are driven from the town, the faith’s temple burned to the ground, and the faith banned in Deep Town. That is until the faith can renegotiate terms more favourable to the Town Council for the return of their priests to Deep Town.

Whilst there is an obvious balance being maintained in Deeptown, there is a more subtle counterpart beyond the earthen ramparts of the town. This is not maintained by the town council or the Trade Circle, but by a half dozen bandit ‘lords’ who prey upon the merchant caravans travelling in and out of Deeptown and the Deeps. They have learned to carry out well-executed assaults on the richer caravans, perhaps killing a few guards, but leaving travellers and merchants alive, in the case of the latter, perhaps to target them again on the way out of the valley or on a return journey. What they avoid is committing massacres. That only attracts the attention of the authorities in Deeptown and increases the likelihood of their retaliating.

As Three Days to Kill opens, neither of the top two bandit lords are happy with this balance of power. One has learned that his rival is seeking an alliance with outsiders to crush his forces and so take control of bandit operations in the valley. In order to counter this, he plans to hire a team of outside thugs, equip them, and have them assault the location where the rival is meeting his potential new allies. Not necessarily to kill, but to disrupt the meeting and in the process, undermine the alliance before it gets off the ground. Enter the player characters…

The player characters arrive in Deeptown almost like everyone else—accompanying or guarding a merchant caravan. They arrive just in time for the Festival of Plenty, an annual event put on by the Sect of Sixty. This is a pageant of wine, song, and ribald debauchery culminating in a performance of Passion of Arimbo, a popular folk tale about a farmer who follows a jolly devil into the rings of Hell. The player characters are free to participate in the festival or even work it as guards, and the scenario caters for either option. There is opportunity here for plenty of roleplaying for both the Dungeon Master and her players, enough for a session before the main plot comes into play. Alternatively, if the Dungeon Master wanted to run a shorter session, she could ignore the Festival of Plenty entirely and cut to the main plot. That though would be to miss a certain plot payoff if any of the player characters do get involved in the event’s debauchery, especially given who and what the Sect of Sixty actually worship.

The main plot to Three Days to Kill sees the player characters armed and equipped by one bandit lord to strike at another. The arming and equipping includes magical items as well as mundane ones, but the magical ones are very specific and for a specific purpose, all to be used during the assault. They consist of a Wand of Fireballs—with a single charge; an Orb of Sight—which provides low light, telescopic, and even X-ray vision; twenty Flare Pebbles; and a Sleep Arrow. A Wand of Fireballs with one charge rather than a Fireball Scroll because it models a rocket launcher; the Orb of Sight because it models low-light or IR Goggles; the Flare Pebbles because they model flashbang grenades; and the Sleep Arrow because it models a stun grenade or knockout dart. What this all models and what the climax of Three Days to Kill models—as it clearly states—is a Tom Clancy-style special ops mission in a fantasy setting. So the player characters will need to reconnoitre the villa where the meeting is taking place and plan how to carry out the assault. To that end the author includes advice on the strategies the player characters can use and their players can make skill rolls for their preparations as necessary.

Only on the journey to the villa will the player characters begin to learn that there is something amiss. There are others, priests of the Temple of the Holy Order from Deeptown, who were aware of the meeting between the bandit lord and his prospective allies—and they paid for it with their lives. However, this should not stop the party from continuing with its mission. And ideally, this mission should go as clockwork up until the point where it does not and all hell breaks loose—literally. For the truth of the matter is that the bandit lord is seeking an alliance with diabalists and when the player characters attack, they bring allies of their own. Ones that the player characters will not be expecting and are probably ill-equipped to deal with. And then there is the issue of just who killed the priests of the Temple of the Holy Order from Deeptown…

As written, Three Days to Kill consists of a simple background and a straightforward plot—at least as far as the player characters are concerned. In fact, the plot is quite complex and this will come out in play as it complications will disrupt the plans of the player characters, the bandit lord, and the Sect of Sixty. The background is detailed, covering the Deeptown and some of the surrounding Deeps valley, but is not specific, which has a couple of ramifications. One ramification is that Three Days to Kill is easily adapted to the setting of the Dungeon Master’s choice, or indeed the fantasy roleplaying game of the Game Master’s choice. This is because the author leaves plenty of scope for the Dungeon Master to supply that flavour, whether that is renaming the Sect of Sixty and the Temple of the Holy Order or relocating Deeptown to fit her own campaign world. The other ramification is that beyond a certain grim tone to the situation and plot, Three Days to Kill is lacking in flavour.

For the players, Three Days to Kill presents an interesting challenge, especially with low Level player characters. The instinct for players and thus their characters is to kill, after all, it goes to the heart of dungeoneering and thus Dungeons & Dragons. Now should the player characters decide not to obey their instructions and rush in, events are likely to backfire on them. Once they attack and events escalate, should they stay and fight, then again events are likely to backfire on them. Three Days to Kill is very much a get in, perform the strike, and get out again mission, just like the special forces missions it is modelling.

Physically, Three Days to Kill is well written and nicely illustrated. The artwork of  Toren Atkinson, Scott Reeves, and David White gives the book a gritty, grainy feel which hints at the dirty nature of the situation in and around Deeptown. Yet the layout does feel cramped and the maps—obviously done using Pro Fantasy Software’s Campaign Cartographer 2—do not match that style. Some of them do feel too clean and unfussy in comparison to the artwork and sometimes feel too big for what they are depicting. The rest of the maps are more detailed and convey more information.

At the time of its release, Three Days to Kill, looked rather sparse in comparison to other adventures. After all, there is not a lot of plot and what there is takes up barely a third of the scenario. Nor is there much in the way of flavour beyond the grim, dark tone. And yet there is both adaptability and utility in Three Days to Kill, it is easier to use because of it, and not only is both plot and assault on the summit well-handled, they are supported with further plot hooks and consequences which make the setting of Deeptown and the Deeps  easier to add to a campaign. Although Three Days to Kill might be more memorable for being the first scenario published for use with Dungeons & Dragons, Third Edition, than for its adventure, it does mean that adventure is not handily serviceable.

Far out beyond the Humanity Sphere lie the Glogotha. Located deep in the Dust Spheres, the remnants of alien civilisations ground up in the vast and ancient Everwar between the mysterious Erix Absolution and the powerful Concordant of Shelz, their names conjure up  images of wonder and great danger—the Paradox Spire, the Grove, the Resurrection Hive, the Delphia, the Glass Labyrinth… They are tombs of fallen cultures—mortuaries, amouries, data centres, research bases, and more. They can be surface facilities, or underground or under deep oceans of liquids other than water, orbital bases, ringworlds, or even dyson spheres. Many hold great secrets and ancient technologies which the Overseers, the caretakers of the Human Sphere, mysteriously covet. Recovering such technologies—fragments, baubles, and mechanisms—is the province of Scavengers.

Getting to the Golgotha requires permission from the Overseers as well as a Star Map. This is because they control access to the esoteric subspace fractures which enable Portal Ships to travel between worlds at faster than light speed—a science that along with true A.I. that mankind was unable to discover or develop before the Overseers made contact. Armed with a contract and a Star Map, the Overseers will plot a Scavenger team a course down the Fractureways out from inner machine planets, past the verdant pleasure worlds, sanctioned war worlds, and separatist fringe worlds to the dead empires of long ago where both the Erix Absolution and the Concordant of Shelz have forbidden humanity to go. Once they reach their target they have limited amount of time before either the Erix Absolution or the Concordant of Shelz becomes aware of their presence. Neither may notice every time a Scavenger team lurks on the fringes of their war, but when they do, the only thing the team can do is run. The technology of the Erix Absolution and the Concordant of Shelz is highly advanced and there is little that Humanity can do in the face of it. This is a danger that the Scavengers are likely to encounter as they are fleeing the Golgotha. There are other dangers they may face before then—the dangerous environments of each and every Golgotha, internal countermeasures and guardians of the facility where the desired mechanism is believed to be located, rival Scavenger teams, pirates, and other aliens with an interest in the Golgotha. And then there is the question of why a Scavenger team would go to such lengths and face such dangers to recover ancient technology for an incredibly advanced race? In the post-scarcity Human Sphere, simply enhancements to the personal genome—modifications, adjustments, and boosts—beyond human technology. The question is why? What does each Scavenger want from these enhancements? Who does he need to be better than?

This is the set-up for Golgotha: A Science Fiction Game of Exploration and Discovery at the Edge of Known Space published by Fire Ruby Designs following a successful Kickstarter campaign. It is a standalone Science Fiction humanocentric roleplaying game which uses The Black Hack for its mechanics. So it is an Old School Renaissance roleplaying game which uses simple, player-facing rules—that is, the players roll, but the Game Master never does—for faster play. Humans are the only player character species and the players have four Classes to choose from. These are Blade or warriors; Ghosts, adjusted by the Overseers to be capable of manipulating Glimmers, the remnants of Golgotha control architecture (this leaves them weak though); Pathfinders are scouts, navigators, pilots, and reconnaissance specialist able to spot ambushes and deal with Golgotha countermeasures; and Operators, who handle negotiations and similar situations, but also know how to make their escape. To create a character, a player decides on a concept, name, and past, and rolls three six-sided dice in order for the traditional six attributes—Strength, Dexterity, Constitution, Intelligence, Wisdom, and Charisma—with any roll of fourteen or more meaning that the next attribute value is set at seven. A character also starts play with a Talent from his selected Class, a unique piece of gear, and a Drive. The latter is his motivation for becoming a Scavenger and once per session grants his player a reroll if he can persuade the Game Master that the Drive is relevant.

Name: Earond Jackson
Class: Ghost Level: 1
Drive: To discover the secrets of the Golgotha
Hit Points: 5

Strength 13, Dexterity 13, Constitution 13, Intelligence 16, Wisdom 7, Charisma 16

Ability: Use Glints (Advantage)
Talents: Decipher (+1)
Weapon Proficiencies: Small Weapons (d3)
Equipment: Condensed Needle Pistol, a couple of interesting hats

To the player-facing rules of The Black Hack, the rules in Golgotha add rules for Portal Ships—ships are treated the same way as player characters—and the dangers of both space and of Golgotha, such as Countermeasures, the traps left behind by the original builders or occupiers of the now sepulchral planets. When exploring Golgotha, the Ghost Class has some advantage in that he has been given the ability by the Overseers to access remnants of Golgotha technology known as Glimmers. These being able to observe other parts of a Golgotha, hide the presence of a Scavenger party, illuminate an area, and so on. In mechanical terms these are simple attribute tests as per The Black Hack, often at varying degrees of difficulty for different effects. So the Access Glimmer is a Wisdom check which lets a Ghost open any door he touches, but at a +3 penalty to remotely open any door he has passed through in a Golgotha, and at a +5 penalty to open any door he knows about in a Golgotha. 

Additional threats come in the form of fellow scavengers like the Octos, who always operate in the armoured environment suits which contain the liquid atmosphere they need to survive and who strip and break down Golgotha to rebuild shell-like installations; Sharks, another aquatic species which needs breather masks to survive and goggles to protect their delicate eyes, which take any species it can as slaves; and the Goblin-like pirates with their multifaceted eyes and weird gait. Although the Scavengers are unlikely to encounter either the Erix or the Shelz, they may well encounter their client species. The Erix client species have an insectoid look to them and are typically led by the diamond-hard Erix machines, whilst the Shelz client species have a demonic cast to them. Whilst the client species are easy enough to use, the independent races are more difficult to bring into play, primarily because their motivations are not really developed. For example, the Goblins are described as pirates, but pirates for whom, why are they pirates, and what do they do with the captives and plunder they take?

The point of visiting the Golgotha is of course to find ancient, alien technology. Here Arthur C. Clarke’s Third Law which states that ‘Any sufficiently advanced technology is indistinguishable from magic.’ comes into play, the Game Master being advised to handle the various fragments, baubles, and mechanisms hopefully waiting to be found in the Golgotha as flavour  and as mystery rather than something quantifiable. This might not work in other Science Fiction roleplaying games, but in Golgotha the point is that such technology is not intended to be used by the player characters as in those other roleplaying games, but handed over to their Overseer patrons in return for upgrades. 

A typical Scavenger mission follows a three act structure. Taking up the contract and getting to the Golgotha, exploring the Golgotha itself, and then escaping before either the Erix or the Shelz become aware of the Scavenger’s presence. The design of Golgotha, much like the Scavengers’ exploration to find particular artefacts—or magical items—shows all of the hallmarks of the dungeoneering style of play and design of the ruleset the roleplaying game uses and inherited from the very first roleplaying game. Yet it differs in that obtaining the artefacts is for their use as currency with which to purchase upgrades—as opposed to straight Experience Points—and in that the design of Golgotha is done more by node than by room after connected room. This does not mean that travel between locations is necessarily ignored, but rather that it can be used for purposes of drama or flavour, and further, that Golgotha can be designed without needing to draw maps. Golgotha does include a few tables to help the Game Master design her own in terms of architecture and location, but these are more spurs for the imagination. Once a delve into a Golgotha is complete, it is time for the Scavengers to make their escape to the nearest fracture in space in the last act, and this is made all the more dramatic by the possibility that the Erix or the Shelz might appear. This is handled with a timing die, rolled as  a Usage die—beginning with a twenty-sided die and reduced to the next smaller die type on a roll of a one or two down to a four-sided die—which the Game Master has been rolling since the start of the mission whenever seems appropriate. Once one or two is rolled on the last die one or both of the combatants in the Everwar comes to investigate the intrusion in what it regards is its territory. 

If the Scavengers are successful, the Overseers will reward them with upgrades and genetic augmentations. In game terms, this is essentially a player character going up a Level, but thematically it is a nice explanation. However, it is not without its problems, and Scavengers may be left with genetic quirks as well as upgrades.

Rounding out Golgotha is a selection of example Golgotha, including the Hall of Whispers, a series of blisters on the wall of a chasm of the third moon of the gas giant Pellos, where physically dense memory core may be found, and the Inseminator, an industrial complex buried under acidic, toxic sludge in the crust of a greenhouse planet in the Suul system where an A.I. which controlled a massive breeding programme is believed to be found. Each of the twelve Golgotha, all written by Kickstarter backers, includes a summary, a description of its structure, function, quirks, guardians and other dangers, example encounters, and what might be found there. All are ready to run with some preparation upon the part of the Game Master, but all together, the dozen can serve as the basis for a campaign.

At its heart, Golgotha is an excuse to do dungeon bashes or delves in space. After all, it is a Class and Level system and the Golgotha are abandoned tombs or crypts—but with an advanced technological look and feel. Golgotha does not go out of its way to hide this, but instead presents a compelling set-up and thus the reasons why for its playing style. Apart from the Golgotha, the setting is only given cursory detail, leaving the Game Master to develop that herself. In fact, she has carte blanche and scope to develop the universe of Golgotha as she wants. Yet if there is anything really missing from Golgotha it is inspiration for player character motivation. There is mechanical motivation provided—that is, get artefacts, get augmented, go up a Level, but not personal motivation in the context of the setting. Instead it leaves it up to the player and the Game Master to decide what such motivations might be, and whilst that is obviously possible, it does feel as if both are coming to the decision cold. Thus some examples, some context, could have made the process easier. Similarly, some of the motivations of the various independent races could have been better developed and given context. 

Physically, Golgotha is a well presented book. It is well written and comes with a lot good full colour artwork that captures the feel of exploring and plundering the abandoned worlds of ancient civilisations. Overall, Golgotha: A Science Fiction Game of Exploration and Discovery at the Edge of Known Space combines the simple mechanics of The Black Hack with a compelling set-up which brings classic dungeon delving style of play—with its mysteries and dangers—to a high Science Fiction setting.

In Call of Cthulhu, sea voyages are never the restful trips that a sea cruise would suggest. Ever since ‘The Mauretania’ from Asylum & Other Tales, passenger liners have been hotbeds of Mythos activity, whether a passenger is inadvertently transporting an artefact of great importance and cultists want it back, the passengers are being prepared as a sacrifice to the Elder God of a madman’s choice, or the ship comes across some strange island or ship which just should be there. Simply put, in Call of Cthulhu, sea travel is never safe. Especially not sea cruises. But what if the investigators had to get aboard a vessel which had already suffered such a disaster? What if it was already in port and under quarantine and they just had to get aboard? This is the situation at the start of Autophagia: Fear & Infection in from the High Seas.

Published by Stygian Fox, Autophagia is essentially a mash-up between The Poseidon Adventure and The Thing From Another World. It is set in the roleplaying game’s classic era of the Jazz Age and does deal with mature themes—often in interesting historical context—which will require players to take an equally mature attitude when playing through the scenario. Its story and events are all confined to the middle of the New York harbour. Here the Essexia, sister ship to the Mauretania and Lusitania, has been placed under quarantine and ordered to anchor offshore, following reports of an outbreak aboard ship of a disease which has already caused the deaths of several passengers. It is designed to be run as a single session of claustrophobic horror aboard an oddly deserted vessel. The first problem for the investigators is getting aboard, but the scenario more or less handwaves this. Similarly, it all but handwaves anything that the investigators do before anyone aboard—crew or passengers—spots them, reports their presence, and they find themselves being interviewed by the ship’s captain in his cabin. The question is why bother spending so much time discussing either, even in such a cursory manner before dismissing both, if the point of the set-up is to get the investigators to the actual start of the scenario in the captain’s cabin? 

Alternatively, why not include some hooks and thus sufficient reasons for the investigators to want to commit an act which would break international law—that is, break a quarantine almost on the high seas? Then, why not follow it up with some challenges for getting aboard ship and once aboard, for getting around unnoticed—for a time—trying to achieve something related to their reason for being aboard? Not necessarily for the investigators to fail, but rather to add drama and tension to what is a dramatic and tense situation. In fact, what is actually a clever and interesting, even novel set-up, but one that is completely, utterly, disappointingly ignored by the scenario.

Once aboard though, the captain—who is more than a little reminiscent of the captain of the Golgafrinchan Ark Fleet Ship B from The Hitch-Hiker’s Guide to the Galaxy, though he has a cat rather than a rubber duck—will more or less gives his permission for the investigators to help the ship’s doctor, who has been overwhelmed by outbreak of the strange disease and subsequent events. What they discover is a ship almost in lockdown, the ‘almost’ being determined, naturally, by social class, and then by whether or not the passenger is suffering from the strange illness which has beset the ship. Thus the ill of First and Second Class, along with everyone of Third Class have been confined to Third Class cabins. This gives the Essexia a strange, even unnerving deserted feel when normally its halls and desks would throng and bustle with passengers. 

The unaffected of First and Second have greater freedom of movement, including spending time and eating in the dining hall. This presents the opportunity to investigate and interact with a number of the passengers and so learn more of what has been happening aboard. It also gives the Keeper a few nicely done and each very different NPCs to portray and roleplay. Of course, as the investigators proceed apace with their enquiries, there is a countdown ticking away in the background, the likelihood of even more passengers coming down with the strange sickness aboard the Essexia, which exhibits as a strange desire to gnaw and pick at your own flesh. And of course, the possibility that the investigators might come down with it themselves...

Autophagia is decently presented, a slim full colour book illustrated with a mix of period photographs and the occasional piece of artwork. Period deck plans are also included, alongside floor plans of various cabin classes. A menu adds an element of verisimilitude, since the investigators are likely to be spending time in the First Class Dining Hall. Unfortunately, the editing feels rushed and underwhelming.

Autophagia is not a scenario for the inexperienced Keeper, for whilst there are only three acts, once the investigators have been let loose by the ship’s captain, it is fairly freeform in nature. As a one-night mystery, the Keeper may need to rush things towards the scenario’s climax, but run over more sessions than just the one and she will have to improvise a little more. Despite the disappointing failure to initially capitalise on the novelty and challenging nature of its set-up, Autophagia: Fear & Infection in from the High Seas is a decent scenario, delivering a vile dose of masticating horror.

In 2017, Jon Hodgson, Ben Hodgson, and Rory Hodgson published The Forest Dragon: A Card Adventure Game, a simple, fantasy-themed push-your-luck style card game. Despite its simplicity, it enabled players to tell tales of forest exploration and proved to be a delightfully charming filler. In 2018, the young and old followed it up with a second game, not quite as simple, but still set in the same world as The Forest Dragon and a good little filler. This is a second game is The Forest Dragon: Bang & Twang, a game of pattern matching and tune twiddling with take that elements in which musicians gather at crossroads and campfires throughout the forest, get out their instruments, tune them up, and not only play, but play to out play everyone against a tune which is constantly changing!

Designed to be played by between two and six players, aged eight and over, Bang & Twang can be played in just ten minutes. Published following a successful Kickstarter campaign, it consists of sixty-seven cards divided into three types. The first are the ‘Bang’ and ‘Twang’ cards. These are double-sided ‘Riff Cards’ which have ‘Bang’ on one side and ‘Twang’ on the other along with illustrations of their instruments. They form the Riff which players are trying to match with the sixteen Sequence cards and will constantly be flipped and changing place in the sequence. Each Sequence Card displays a sequence of the ‘Bang’ and ‘Twang’ cards, which if a player can match with a sequence of the Riff cards, will award him the Victory Points on the Sequence Card. The third type of card is the Tune Card. They come in sets of eight, there being eight sets, each of a different colour in the game. Each set of Tune Cards does something different. So the green Tune Cards let the players steal Sequence Cards from each other; the red Tune Cards let players flip and switch the Riff Cards; and the yellow Tune Cards lets players interrupt each other.

Game play is simple, but is only ever done with the Riff Cards on the table, the Sequence Cards, and one set of Tune Cards. The Riff Cards are laid out to display either three ‘Bangs’ or three ‘Twangs’. The Sequence Cards and the selected set of Tune Cards are shuffled together and each player receives two cards. On his turn, a player is trying to bank a Sequence Card towards his Victory Point total. He does this by matching a Sequence Card with the current sequence of Riff Cards. If they do not match, a player can flip a Riff Card to its other side or move a Riff Card so that it does match and if they now match, the player can bank the Sequence Card. Alternatively, a player can play a Tune Card, which lets him do something special depending upon the colour set chosen. Ultimately if a player can do none of these, he can just flip a Riff Card.

Play continues like this until the deck of cards runs out. The player with the highest score wins and, well, that is that. Bang & Twang is simple. In fact simple enough for younger players to pick up and play with older players, but possibly too simple for more experienced players. So it works better as a family game. And whilst the different types of Tune Cards do add some variety in terms of replay value, but each set is too one note to replay too many times. One option here is to mix and match the Tune Cards, perhaps two sets at a time? Certainly there are not enough Sequence Cards to mix them all in, which might have made for more varied play.Physically, The Forest Dragon: Bang & Twang is bright and breezy, illustrated in the same style as The Forest Dragon. So very much like the illustrations of children’s storybooks. And that is charming. The rules themselves do feel as if they are written for adults rather than the younger age range the game is designed for, so for younger players, an adult or older player may want to supervise or teach the game.
The Forest Dragon: Bang & Twang is not without its charms—though nowhere as many as The Forest Dragon: A Card Adventure Game—but it is probably too light for hobbyist gamers to play too many times. Ultimately, The Forest Dragon: Bang & Twang is a decent family filler.

Much like the Miskatonic Repository for Call of Cthulhu, Seventh Edition, the Jonstown Compendium is a curated platform for user-made content, but for material set in Greg Stafford's mythic universe of Glorantha. It enables creators to sell their own original content for RuneQuest: Roleplaying in Glorantha 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?
Stone and Bone is a short scenario set in Dragon Pass wherever Shamans may be found.

It is a twenty-four page, full colour, 20.30 MB PDF with a one-page, full colour 2.79 MB addendum.

Stone and Bone is well presented with decent artwork and clear maps. It needs a slight edit in places.
Where is it set?
Stone and Bone is set in Prax amongst the Straw Weaver Clan of the Bison tribe during the dry season. Notes are included to enable the Game Master to set it elsewhere.

Who do you play?
Praxians who are members of the Straw Weaver Clan. A shaman and at least one Storm Bull worshipper will be useful. Notes are included to run the scenario using other character types, including non-Praxians.

What do you need?
Stone and Bone requires RuneQuest: Roleplaying in Glorantha. Access to the RuneQuest: Glorantha Bestiary may be useful for information about Scorpion Men, but is not essential to play.

What do you get?
Stone and Bone requires RuneQuest: Roleplaying in Glorantha. Access to the RuneQuest: Glorantha Bestiary may be useful for information about Scorpion Men, but is not essential to play.

What do you get?
Stone and Bone is a scenario with a strong focus on survival, stealth, and combat. It takes the form of a guard mission to accompany the clan’s shaman, Erhehta, on a journey to a ritual place in the No Salt There hills. The crotchety old sod will not reveal the exact reasons for the journey, nor will he prove to be particularly quiet—he is festooned with bones, and they rattle—or helpful. If necessary, the reasons will be revealed and if the player characters seem reluctant, there is room for negotiation in terms of reward.

The journey itself will be challenging and the player characters will need the Survival skill and hunting-related skills as it does take place during the height of the dry season, so there is little water to be found or food to be foraged. The likelihood is that this will place them at a disadvantage when they find something blocking their path—an old mining village cut literally into the rock of a ravine which has been occupied by a brood of Scorpion Men. One option would be to sneak their way through the village, but the player characters will have to do this on the way to the ritual site and on the way back… If they fail, a fight or a chase scene may ensure, but anyway, who wants a nest of Chaos on their doorstep?


The Scorpion Men-occupied village is the key action scene for Stone and Bone and so is described in some detail and accorded a nicely done map. There is solid advice for the Game Master on running encounters both in and out of the abandoned village, enabling her to scale them according to the danger encountered by the player characters so far. Along with a full write-up for Erhehta—an experienced NPC, Stone and Bone includes stats for some bothersome NPCs, the scenario’s antagonist, and some scuttling monsters.

The extra PDF lists adaptations to RuneQuest: Roleplaying in Glorantha of Bagog Rune spells taken from the RuneQuest Classic supplement, Cults of Terror. These are spells used by the protagonist in Stone and Blood.

Is it worth your time?
Yes. Stone and Bone is a well written, useful, and challenging scenario if you are running a campaign set amongst the Tribes of Prax. Especially if the player characters include a shaman amongst their number.
No. If your campaign is not set in Prax, then Stone and Bone is harder to use, especially as the time of year and the environment plays a strong role.
Maybe. Stone and Bone is flexible enough to be set elsewhere away from Prax, and there is advice and suggestions to help the Game Master adapt the scenario to her campaign, although she will have to provide the specifics.

Leagues of Gothic Horror Expansion is a supplement for Leagues of Gothic Horror, itself a supplement for Leagues of Adventure: A Rip-Roaring Setting of Exploration  and Derring Do in the Late Victorian Age!. This is Triple Ace Games’ roleplaying game of globetrotting adventure and mystery pushed into that most melodramatic genre, full of legends, ghosts, vampires, dark magic, great evils, sinister villains, and even romance—gothic horror. Leagues of Gothic Horror Expansion adds an array of new character options, a whole new culture, haunted upon haunted locations, and new monsters, NPCs, and heroes. There is a wealth of content in this supplement which will support a campaign for some time.
The options in Leagues of Gothic Horror Expansion open with new Talents for the player character, including Corruption Resistant, Evil Eye—which lets a character place a minor curse on others, (Monster) Hunter—which grants a bonus when hunting and investigating specific types of creature, and Past Life—provides access to a skill that the character may not have, but the ancestor might. Flaws range from Slow Healer to Opinionated and include genre standbys, Screamer and Fainter. Both pure Hammer Horror! Of the two new Leagues, Fairy Investigation Society is perfectly in keeping with the Victorians’ fascination with fairies, whilst the Gypsy Lore Society ties in with the background information given about the gypsies in the book’s second chapter. There is just the one new Ritual, that of Nightmare, which inflicts a terrifying dream upon the victim.  

The selection of new Weird Science devices showcases a pleasing degree of invention, such as Ecto-Armour which protects against ghostly attacks and Etheric Purgative Tablets which can expel a possessing spirit from its host, whilst many a player character is going to want a Miniature Gatling Gun. Unfortunately, it is only available from the Ministry of Unusual Affairs! Similarly, the Specimen Collection Vehicle, an internal combustion powered vehicle designed to safely collect and transport supernatural creatures and evidence, is also only available from the Ministry of Unusual Affairs. Both add a certain muscularity to a Leagues of Gothic Horror campaign a la Torchwood. As well as devices,  Leagues of Gothic Horror Expansion gives numerous occult relics. So the Babel Stone Amulet adds a bonus to the Linguistics skill, the Kladenets is a ‘self-swinging’ sword of Russian fairy tales, the Ghost Shirt and Fumsup both protect against bullets, genuine Lucky Heather does provide a luck bonus, and the Witch Pin can be used to determine if someone knows magic (though not if they are a witch). Witch hunting dominates the list of new occult tomes, such as Compendium Maleficarum, Daemonolatrione Libri Tres, and De Lamiis et Pythonicis Mulieribus. This a good selection of things to add to a campaign, giving the Game Master lots of potential and pleasingly, if there is a focus on Europe in the relics and tomes, it is tempered by a few interesting entries from elsewhere round the world..

Any coverage of the Gypsies—or Romany—is covering potentially contentious ground, but fortunately, ‘Gypsies & Szgany’ provides both their history and their background as well as ways to bring them in a game of Gothic Horror. It highlights how throughout their history, the Gypsies have been distrusted and discriminated against, with reputations for enacting curses and cheating and thievery. What the chapter does is separate the Gypsies into two groups—Gypsies and Szgany. In particular, it makes clear that it is the Szgany who are responsible for the poor reputation that Gypsies have in general. Whereas the Gypsies are sworn to defend all of humanity against evil, the Szgany have long fallen from grace, corrupted by supernatural horrors native to the Balkans, having turned to superstition rather than faith and sold their loyalty for gold, including knowingly vowing their loyalty to powerful vampires. This includes the ultimate vampire lord himself, Dracula, a la Bram Stoker’s novel. What this means is that the Game Master can still be seen to use Gypsies as villains and henchmen, so adhering to their role in the genre, whereas the Szgany are the true villains. At the same time, the Gypsy way of life and their culture can also be brought into play, whether that is as a Gypsy globetrotter player character or Gypsy rituals, and so on. 

Whether a haunted house or castle, the decaying mansion of a devil worshipping despot or a blood covered Aztec altar, or a vampire’s crypt or werewolf-stalked forests, supernatural sites in Leagues of Gothic Horror are meant to be special and should ideally offer the Game Master solid roleplaying potential which she can work up into a good encounter, scenario, or mystery for her players. Besides generic locations, the Leagues of Gothic Horror Expansion offers over fifty such supernatural sites, from Australia and Austria to Russia and the United States. Each comes with a suggested antagonist from Leagues of Gothic Horror or from one of the other supplements such as Guide to Apparitions or Guide to Mummies, plus a suggested number of bonus Style points for those using the optional Dark Places rule. Optional rules allow for Corrupted Sites where even just spending time in them means that a Globetrotter might accrue Corruption Points and Eerie Atmosphere which penalises a globetrotter’s Horror checks! Under these rules Castle Dracula is not a place you want to visit just because…! Finally every location comes with an adventure seed, suggesting how the Game Master might use it—which means fifty over adventure hooks.

The sites themselves include Devil’s Pool, reputably the most haunted site in Australia; Houska Castle in Bohemia, constructed over a void known locally as ‘the Gateway to Hell’; and Farringdon Street Station in London, an underground said to be haunted by a ‘Screaming Specter’. It is fair to say that the majority of the supernatural sites described do come from the United Kingdom, which does have a reputation of being particularly haunted, yet this is also in keeping with the Victorian focus of Leagues of Gothic Horror and Leagues of Adventure. It also addresses one of the issues with Leagues of Gothic Horror and that is a lack of supernatural places.

The longest chapter in Leagues of Gothic Horror Expansion is ‘Things That Go
Bump in the Night’, so monsters. Or rather some forty or so ghosts, monsters, greater horrors, unique villains, and more. The ghosts are categorised as types, such as the strong motive of the Avenger, the hope-sucking Leech, or the forlorn Lost, but also include variants like the Clanker, effectively a weaker, noisier poltergeist, or an alternative, spirit-like version of the Wendigo. The monsters include classics likeAnimated Armour and the Hangman Tree as well as more specific beings like the raven-swarm Sluagh of Scottish and Irish folklore, which rip the souls from the near dead. Greater horrors take a step up in terms of power and evil with demons such as Baal who grants or curses invisibility and Focalor, a duke of Hell specialising in the sinking of battleships, and then unique villains tie back in to several of the supernatural sites detailed earlier in the book. For example, Black Annis, the crone who lurks in the wilds of the Dane Hills of Leicestershire and is known to have a predilection for the flesh of children, and then Doctor Henry Howard Holmes, the infamous serial killer of 1890s Chicago. Doubtless though, the Game Master will have fun with Igor, a scientist henchman who keeps working for scientists already on a dark path over and over… Similarly Doctor Who fans will take a certain pleasure from encountering the giant, two-hundred-and-fifty pound rat known as the Mudger, lurking in London’s extensive sewer system. In addition to ghosts and monsters, Leagues of Gothic Horror Expansion includes two cults—the Benevolent Society of Saint Elizabeth of Hungary and Cult of the Horned God—both suited for longer term play and both suitably gothic in their origins. Certainly, the Cult of the Horned God echoes the stories of Dennis Wheatley, but both feel inspired by Hammer Horror.

Lastly, Leagues of Gothic Horror Expansion includes heroes both ordinary and unique. The latter includes Andrei the Bear, a Gypsy monster hunter, and Penny Dreadful, a masked avenger who hunts werewolves and vampires. Plus there is a whole of ordinary NPCs, including Gypsy Horse Dealer,  Gypsy Storyteller, and Reformed Szgany to tie back into the ‘Gypsies & Szgany’ chapter, and several sample, ready-to-play player characters, such as the Cursed Clergyman, Folklorist, Fortune Teller, Scarred Survivor, Stage Magician, and Werewolf Hunter.

Physically, Leagues of Gothic Horror Expansion is surprisingly all text—there are no illustrations. That aside, it is neatly laid out, the writing is good, and despite the lack of index, the contents are relatively easy to reference.

At its most basic, Leagues of Gothic Horror Expansion expands on the dearth of supernatural locations detailed in Leagues of Gothic Horror. Indeed, fifty or so adds a great number of them, but that is only a quarter of the book! Plus you do get a scenario hook with every location. In fact, half of Leagues of Gothic Horror Expansion is dedicated to new monsters and ghosts, NPCs and cults, plus new player character types. Which is exactly what a roleplaying game of gothic horror really needs and that is in addition to new character options and a nicely done treatment of the Gypsies! All together, Leagues of Gothic Horror Expansion is useful companion to Leagues of Gothic Horror, but the new supernatural locations make it an essential supplement.

A Light Extinguished: A Jumpstart For Scion Second Edition is a quick-start for Scion: Second Edition, the contemporary roleplaying game of modern myth and epic heroism in which not only do the gods walk amongst us, they often have children too. These children, the Scions of the gods, born to the magic of yesterday and the promise of tomorrow, are caught up in a war with the Titans, elder beings who rage against the human world and its wayward gods. As children of the gods, the player characters protect the interests of their parents on Earth whilst protecting humanity against the ravages of the Titans. Like other Jumpstarts from Onyx Path Publishing, A Light Extinguished is designed as an introduction to the setting and the mechanics. It includes an overview of the Storypath system, a three-act scenario, and five pre-generated player characters—or scions.

The Storypath system can be best described as a distillation of the Storyteller system—the mechanics of which date all of the way back to Vampire: The Masquerade—and certainly anyone familiar with the Storyteller system will find that it has a lot in common with the Storypath system, except that the Storypath system is simpler and streamlined, designed for slightly cinematic, effect driven play. The core mechanic uses dice pools of ten-sided dice, typically formed from the combination of a skill and an attribute, for example Pilot and Dexterity to fly a helicopter, Survival and Stamina to cross a wilderness, and Persuasion and Manipulation to unobtrusively get someone to do what a character wants. These skill and attribute combinations are designed to be flexible, the aim being any situation is to score one or more Successes, a Success being a result of eight or more. Rolls of ten are added to the total and a player can roll them again. 

To succeed, a player needs to roll at least one Success, and may need to roll more depending upon the Difficulty of the task. Should a character succeed, he can increase the number of Successes with an Enhancement, such as having a fast car in a race or the favour of a particular god or goddess, but he needs to succeed in order to use the Enhancement. Any Successes generated beyond the Difficulty become Threshold Success and represent how well the character has succeeded. These can be spent by the player to buy off Complications, for example, not attracting the attention of the Police in a car chase, or to purchase Stunts. These can cost nothing, for example, the Inflict Damage Stunt, whereas the Disarm Stunt costs two and the Critical Hit Stunt costs four. Characters in Scion: Second Edition often have Stunts due to their birthright, such as Loki, which grants the ability to positively influence someone, but only when the character lies.

Under the Storypath system, and thus in A Light Extinguished, failure is never complete. Rather, if a player does not roll any Successes, then he receives a Consolation. This can be a ‘Twist of Fate’, which reveals an alternative approach or new information; a ‘Chance Meeting’ introduces a new helpful NPC; or an ‘’Unlooked-for Advantage’, an Enhancement which can be used in a future challenge. Alternatively, a character gains Momentum which goes into a collective pot and which can be spent to add extra dice to a dice pool or used to fuel various Knack that the pre-generated characters possess (other options are available in the full rules). 

A Light Extinguished: A Jumpstart For Scion Second Edition focuses on three areas of action—Action-Adventure, Procedurals, and Intrigue. The first covers combat and is fairly straightforward. The second handles information gathering, which is divided into two categories. Leads start or continue the plot and so do not have to be rolled for by the players, whereas Clues provide extra information, are more challenging to find, and do require a roll. Intrigue covers social interaction and the reading and shifting of the attitudes of both NPCs and player characters.

The scenario in the Jumpstart is ‘A Light Extinguished’. It is a three act investigative scenario structured around the three areas of action—first Procedurals, then Intrigue, and lastly, Action-Adventure. In the first act, the player characters will investigate the crime scene, in the second they interrogate the witnesses, and in the third, they confront the culprit. It opens with the news of the murder of Bai Amari, the Luminary, the beloved Scion of Ra. Although the mortals are already investigating via the Supernatural Crimes Unit, the various parents of the player characters want to know more and send them to aid the detectives already on the case. Someone very powerful—or with powerful backing—must have carried out the deed and the gods are concerned that the unfortunate death is another omen hinting at the rise of the Titans and the coming war. 

The three acts are neatly organised and presented for ease of play and very much to showcase the three areas of action. There is advice for helping new players too, such as using the NPCs to help with the investigation, and the set-up scenes for each of the pre-generated characters are nicely personalised. If there is an issue with the scenario it is that as written the Storyteller learns the truth of the plot at the same time as the players and their characters. There is no explanation as to who or why until the third act and the confrontation. Essentially, there is no real overview of what is going on, and this lack of overview is a problem throughout the Jumpstart.

A Light Extinguished: A Jumpstart For Scion Second Edition comes with five pre-generated Scions. They include a gifted surgeon, the son of Loki, who works as a cab driver; a resilient huntress and archer, also the daughter of Loki; a scientist who is also a crack shot, the daughter of Agni; a tough firefighter and Emergency Medical Technician, the daughter of Brigid; and a rich wheeler dealer who prefers to talk rather than fight, the son of Xiuhtechutli. All come with backgrounds, playing tips, knacks, boons, and birthrights. Although each of these is explained individually, again there is no overview of how these works, which really leaves the Storyteller and his players to muddle through to some extent.

Physically, A Light Extinguished: A Jumpstart For Scion Second Edition is nicely presented. Everything is in full colour, the artwork is decent, and the layout neat and tidy. Unfortunately, there is a sense that it has been put together from parts rather than written from beginning to end, so there is a slightly rushed feeling to it and a lack of explanations in certain places. So not every aspect of the character is covered, the plot is not fully explained without the Storyteller reading through the whole thing, and the rules do feel out of order in places. What this means is that the Storyteller will need to thoroughly prepare ‘A Light Extinguished’ before she runs it, not only to grasp the plot, but also the rules so that she can explain them to her players. Since she will probably need to prepare separate sheets for each player character to explain their knacks, boons, and birthrights, an explanation of the rules would also be useful.

A Light Extinguished: A Jumpstart For Scion Second Edition should provide sufficient roleplaying and action for the group of five pre-generated Scions for a single long session or two or three shorter ones. It is not the easiest of jumpstarts to run or set-up, primarily because it does not give enough of an overview—in terms of the rules and the plot—to really help either the Storyteller or her players. This does not mean that the Storyteller cannot run ‘A Light Extinguished’, but some preparation is required and having access to Scion: Second Edition may prove useful. Once past these issues and with a little effort, A Light Extinguished: A Jumpstart For Scion Second Edition is a serviceable introduction to the roleplaying game demigods and mythic action in a contemporary setting.

As much as we get out of our hobby and as much fun as we have, it is often the case that it does not support its creators as well as it should. So when disaster or tragedy strikes, it places the creators in positions of unexpected financial difficulties above and beyond the difficulties caused by the disaster or tragedy itself. Such is the case with Sarah Newton, the author and publisher of Mindjammer – The Roleplaying Game: Transhuman Adventure in the Second Age of Space, Capharnaüm – The Tales of the Dragon-Marked: Fantasy Roleplaying in a World of Arabian Nights, Argonauts, and Adventure!, and Monsters & Magic Roleplaying Game. This is in addition to the numerous supplements and scenarios she has written over the years.
Unfortunately, and sadly, Sarah lost her husband of thirty years last year and as her many friends can attest, this has understandably affected her a great deal. In terms of the industry, it has hampered her ability to write, develop, and publish the imaginative and interesting gaming content which she is known for. In order to help support Sarah continue writing and creating the games we love, as well as support her through this difficult time, Solipsist RPGs has published a scenario from which all monies raised will be given to her.

The scenario is The Teuthic Temple. It is a one-page, molluscular scenario being sold ‘pay what you want’ and written for use with Sarah’s own Monsters & Magic Roleplaying Game. This is a retroclone which combines classic Dungeons & Dragons-style play with its Effects Engine to essentially bring narrative elements into the Old School Renaissance, almost as if it was ‘Dungeons & Dragons does FATE’. Despite the presence of these narrative elements, they do not mean that The Teuthic Temple cannot be run using the retroclone of the Game Master’s choice. To that end, notes are included to help the Game Master adapt the scenario and even add Squid or Octopus characters to a game. Certainly the squid and octopus-themed scenario should find a home in any aquatic or weird setting. So Green Ronin Publishing’s Freeport: City of Adventure or some link to The Squid, the Cabal, and the Old Man for Lamentations of the Flame Princess Weird Fantasy Roleplay from Lamentations of the Flame Princess. And given the nature of the scenario in The Sea Demon’s Gold from Arc Dream Publishing, it would certainly work as an equally odd companion to that too, and so bring it up to date for Dungeons & Dragons, Fifth Edition. Alternatively, rend it into the past and add it as an underworld location in the D1 Descent into the Depths of the Earth, D2 Shrine of the Kuo-Toa, and D3 Vault of the Drow trilogy of modules for Advanced Dungeons & Dragons, First edition.

Designed for a party of characters of First to Third Levels, The Teuthic Temple is built around a dungeon, the Teuthic Temple of the title. It is stunningly presented in full colour, just nine locations, but laid out like a squid and given a suitably crustacean, aquatic environment. It is an ancient ruined shrine, once a place of worship for the now dead Octopoi gods—who are definitely molluscular and octopoidal rather than Cthulhoid in design. Nevertheless, fanatical Octopoi priests and their Teuthic followers now guard the site, rather than going out and prothletising. Given the size and shape of the temple complex, it should be no surprise that it is fairly linear, but each location has a purpose and there are opportunities for both roleplaying and combat. As written, priest and wizard type characters are likely to get the most out of the adventure, it being a temple, but there is plenty of treasure to be plundered as well as Octopoi secrets.

As well as providing the dungeon itself, The Teuthic Temple provides six motivations or hooks to involve the player characters. These range from seeking an ancient artefact, such as the Sceptre of Fish Control or the Crown of Aquatic Command (possibly complete with Summon Fish spell?) and rescuing an abducted child to hoping to discover knowledge within the temple which help against a greater evil or needing to appease the spirit of the long dead god.

Physically, The Teuthic Temple is a five-page, 2.72 Mb, full colour PDF. The page count suggests that the scenario breaks its ‘One-Page’ concept, but this is not the case. Rather that it devotes one page to describing the dungeon itself, one page to map and scenario hooks, and one page to describing Teuthic characters—both Octopi and Sepoi (or squid)—in terms for both Monsters & Magic and other Old School Renaissance roleplaying games. It should be noted that both the front cover and the map are gorgeous pieces of work.

The Teuthic Temple is a simple straightforward adventuring site with plenty of gaming potential. Built around a pleasingly thematic dungeon, it comes with plenty of hooks to get the player characters involved and is perfectly setting neutral that the Dungeon Master can add it wherever she wants. Lastly, The Teuthic Temple is available as ‘Pay What You Want’, but best of all, all monies raised from its purchase go towards helping Sarah Newton make more games.

Heart of Atom Isa: A Short System Neutral Adventure in a Science Fantasy Future of Old is a scenario for Hypertellurians: Fantastic Thrills Through the Ultracosm, the roleplaying game of retro-Science Fantasy inspired by the artwork of Frank Frazetta and Roger Dean, the adventures of John Carter of Mars, Buck Rogers, and Barbarella published by Mottokrosh Machinations. Unlike the previous A Bride for a Vampire, which was a blend of the Gothic horror with the Science Fantasy, Heart of Atom Isa is very much grounded in classic Science Fantasy. It mixes Planetary Romance with a B-Movie supervillainess worthy of the Pulps of the twenties and thirties.

Although Heart of Atom Isa is written with Hypertellurians: Fantastic Thrills Through the Ultracosm in mind, it is all but systemless, and so like A Bride for a Vampire, it can be adapted to almost any set of mechanics. This extends to the four given pre-generated Hypertellurians, who come with strengths and weaknesses, plus a drive, all ready for the Game Master to adapt to the roleplaying of her choice. Hypertellurians: Fantastic Thrills Through the Ultracosm is of course, an Old School Renaissance Science Fantasy retroclone, so there are plenty of other retroclones which Heart of Atom Isa could be adapted to, but then again, it would equally work as well with Evil Hat Productions’ FATE Core. The given pre-generated player characters include a Victorian-era Ultranaut adventuress, a fez-wearing formless alien green blob fascinated by magic, a greedy ex-Pharoah, and a beetle-man general cut off from his Hive. The playing group is free to adapt these or use the the versions provided by the publisher.

As written, Heart of Atom Isa is designed to be played by four players in just one or two sessions. The scenario is thus relatively short, consisting of three scenes, but with plenty of scope for player input. The player characters are ultracosmic explorers, discovering the wonders of the multiverse aboard their silver bullet rocket, the Atom Isa. Unfortunately, when visiting the desert world of Sonnos, the ‘heart’ of the Atom Isa is stolen. It can still travel through space, but not with any sense of finesse, but it can no longer traverse across or through the Ultracosm. The culprit is Argencia, the feared Silver Sorceress known to crush men. As the scenario begins, they have discovered where the archvillainess lives—or hides depending upon your point of view—and that is amongst the nomadic tribe of Zelteens, who live and travel on gargantuan hermit crab-like beings, known as Tremendostaceans.

In the first part of the scenario get to visit the Zeldeens amongst their walking village of connected Tremendostaceans with their tremendous conical shells upon which stand the Zeldeens’ houses and connecting bridges, and visit one of their famous markets where traders from all over the Ultracomos come to deal. This can be in anything from strange paints (Dulux is not going to be offering these paints any time soon) offered by Magnus the Paint Seller and explorer’s gear from Taque’s Emporium for Explorers & Fortune Hunters such as a breathing bowl helmet to Lomarc’s Fashionistas of Tomorrow at which can be found figure hugging, shrink-to-fit Helix second skin onesies and Extra Teeth and Nanny Nontyvia’s Reclaimed Relics where you can find Relic-shards of the A.I. saints. Add in a table of random events, whatever the player characters want to do, and the opportunity to do some shopping, should provide plenty of opportunity for some fun gaming and roleplaying.

The second part sees the crew of the Atom Isa chase Argencia off Sonnos to her secret lair on a distant, icy moon. (Of course it has to be an icy moon, the player characters have been on a desert planet!) Naturally—or rather unnaturally (which is perfectly natural when you are dealing with a feared archvillainess like Argencia)—Argencia’s lair is just a little bit weird and a whole lot creepy, including keeping a harem of physically fit and attractive men and women for pleasure and decoration because, well because… In addition, Argencia has actual minions at her command, so if the player characters want a fight, then they will give it to them. Conversely, Argencia herself is intended to be sexy and slinky, preferring to use her charisma, bargains, and seduction to get what she wants. Or get away with what she wants. Ideally, she should give the Game Master plenty to get into in terms of roleplaying, but the sex appeal of the character may not be to be the taste of every playing group. Now Argencia is designed as a B-Movie, Pulp villain, and so this does fit the archetype, but the Game Master needs to be aware of this prior to play and may want to take her players’ sensibilities into account. Of course, like any good Pulp villain, there is a means for her to make her escape and be ready to make a comeback in a future scenario.

Physically, Heart of Atom Isa is a slim,digest-sized book. Done in full colour throughout, the artwork has a pleasing cartoonishly pulp look to it. In particular, the thumbnail portraits of the pre-generated player characters are really good. The adventure is mostly presented in an almost bullet point style, making it easy to pick up off the page.

Heart of Atom Isa is really easy to pick up and run and easy to adapt to the roleplaying game mechanics of the Game Master’s choice. A minimum of preparation is required and the Game Master could easily run Heart of Atom Isa as a completely systemless adventure with even less preparation. Whether running as a one-shot or as part of an Ultracosmic Saturday morning style serial, Heart of Atom Isa: A Short System Neutral Adventure in a Science Fantasy Future of Old is a tongue-in-cheek, pulpy, fun scenario.

Like any roleplaying game with its own set of monsters, familiarity breeds contempt. One exposure to them too many and they become less impressive, less of a threat, and so they lose their impact. So it is with Dungeons & Dragons and the contents of the Monster Manual and so it is with Call of Cthulhu and Trail of Cthulhu and other roleplaying games of Lovecraftian investigative horror. Now for Dungeons & Dragons the common solution is to provide an ecology guide to a particular monster or a whole new bestiary, but for roleplaying games of Lovecraftian investigative horror there is less obvious scope for creating and adding more monsters to the canon of the Cthulhu Mythos. There is though, plenty of scope for variation, reinterpretation, and making connections, which is exactly what Hideous Creatures: A Bestiary of the Cthulhu Mythos does.

Published by Pelgrane Press, it should be made very clear from the start that whilst the mechanics of Hideous Creatures are designed for use with the Gumshoe System of Trail of Cthulhu, the rest of the supplement’s content will work with just about any roleplaying game of Lovecraftian investigative horror. And even then, adapting the mechanics of Hideous Creatures to any other roleplaying game of Lovecraftian investigative horror should not present too much of challenge given that for the most part the creatures and monsters it presents and re-presents are already present in those other roleplaying games of Lovecraftian investigative horror. So whether for Call of Cthulhu or Cthulhu Hack, Delta Green or FATE of Cthulhu, this is a supplement which should prove useful to the Keeper or Game Master of those games, not just Trail of Cthulhu.

As the title suggests, Hideous Creatures: A Bestiary of the Cthulhu Mythos examines the creatures of the Mythos—not the gods and deities, but the various races, beasts, things, and horrors. It builds around some fifteen or so such examinations previously available as single write-ups, all written by Kenneth Hite, to which Gareth Ryder-Hanrahan, Becky Annison, Helen Gould, and Ruth Tillman have added another sixteen. So some thirty-one of them, from Bat-Things, Bholes, and Black Winged Ones to Wendigo, Worm-Cultist, and Y’m-Bhi. Many of them will be familiar, such as Byakhee, Deep Ones, Ghoulds, or Shoggoths, but others are new. Yet whether old or new, all draw inspiration from and are described to some degree in some of the writings of H.P. Lovecraft, August Derleth, Robert Bloch, and others. Each entry comes with an overview of the hideous creature, accompanied by its stats in the game. After that, each and every entry in the book gets a whole not more interesting, for overview and the stats mere serve as the chassis upon which is mounted various ideas, developments, and suggestions. They include possible alternative abilities; variations upon the explanation and interpretation of what each hideous creature is; Mythic Echoes draw parallels between the hideous creature and monsters and creatures of various myths around the world; the ‘Investigation’ second provides clues for each and every one of Trail of Cthulhu’s investigative abilities; ‘Scenario Seeds’ are adventure ideas; and lastly, the Bibliography provides a thumbnail description of the hideous creature’s source in the Mythos fiction as well as other works of note in which it—or an alternative version—has appeared over the last century. 

So, what Hideous Creatures provides is not just thirty-one horrible monsters and alien races, but over three hundred possible extra abilities across the thirty-one entries, over three hundred variations, over one-hundred-and-fifty parallels and connections with the Mythic Echoes, over nine hundred clues tied into Trail of Cthulhu’s Investigative Abilities, ninety or so scenario seeds, and thirty-one bibliographies and sample clues. It should be noted that the variations are designed to be ‘intentionally self-contradictory’, whilst the scenario seeds are based upon the classic or baseline versions of the Mythos creatures and monsters. It seems churlish to reduce the supplement to just numbers, but what it showcases is the scope of the supplement’s imagination and just the sheer number of ideas on show. 

So for example, Night-gaunts, the winged creatures with barbed tails, prehensile paws, and inward horns upon their heads, traditionally known for their blankness of their faces and their predilection for tickling their victims are suggested as having a face like a roiling storm, a shifting plasticity, or a void which opens onto a Great Abyss. They might not be slender, but as their name suggests—gaunt, with wings like a moth or a flying squirrel or… Instead of simply tickling to make a victim laugh, a Night-gaunt’s barbed tail renders him agonizingly breathless or recoiling in helplessness as spiders scuttle over the skin. New possible abilities include Chest Crunch as a Night-gaunt lands upon a victim’s chest and crushes his lungs, or Tracking, enabling a Nigh-Gaunt to track a victim it has already touched via its sense of smell, whether on the Earth, the Moon, or in Dream. Variations include Night-gaunts capable of assuming the faces of those it has killed or of anyone currently dreaming, actual investigation of or curiosity about Night-gaunts enables them to filter into the dreams of the foolish and so attract their attention, and Night-gaunts themselves are immune to the most harrowing of Mythos manifestations or locations. Mythic echoes draw parallels between the Night-gaunt and the legend of the Night Hag, amongst others… Amongst the Clues, Anthropology links cultures around the world with traditions of dark shapes crushing or tickling their victims, whilst Cop Talk reports many people hearing the missing girl laughing ‘from upstairs’, but can she have been upstairs from everyone on the whole block? Of the three scenario seeds, ‘Precious’ looks to be highly entertaining, as the 1928-1929 archaeological dig at Lydney Park by Tessa Wheeler and Mortimer Wheeler unleashes something which haunts and hunts those associated with the dig, including one J.R.R. Tolkien! The bibliography starts with H.P. Lovecraft’s ‘The Dream-Quest of Unknown Kadath’ before suggesting authors as diverse as W.H. Pugmire, Brian Lumley, Gene Wolfe, and more. Lastly, the handout takes the form of a flyer put out by a husband whose wife disappeared upon Silverstrand Beach, warning others and calling for the attention of the authorities.

As well as examining many of the familiar, Hideous Creatures examines nine new creatures—Bat-Things, Black Winged Ones, Gaseous Wraiths, Medusas, Raktajihva, Ultraviolet Devourer, Vampirish Vapour, Worm-Cultist, and Y’m-bhi. Of these, Raktajihva actually comes from a letter written by H.P. Lovecraft and is interpreted as an avatar of the Bloody Tongue, whilst for Call of Cthulhu purists, whilst the Worm-Cultist may not necessarily be new. Something similar, named the Crawling Chaos, does appear in Shadows of Yog-Sothoth, the very first campaign for Call of Cthulhu.

Physically, Hideous Creatures is as well laid out and as well written as you would expect for a book from Pelgrane Press. If there is a downside in terms of the presentation, it is that the artwork is not quite as good as in other supplements for Trail of Cthulhu. That said, the handouts for each and every one of the entries in the supplement are excellent.

Ultimately, Hidden Creatures takes its inspiration from H.P. Lovecraft’s own assertion that stories of vampires, werewolves, and even ghosts had become too familiar and too formulaic to evoke true horror—“Horrors, I believe, should be original – the use of common myths and legends being a weakening influence.” Unfortunately, with the proliferation of the Mythos in fiction, games, and other media, the authors of Hideous Creatures suggest that, “Almost a century after he wrote, his own monstrous races have likewise begun to seem like comfortable story furniture rather than unnerving signals that the world is horrible and wrong.” Hideous Creatures: A Bestiary of the Cthulhu Mythos is a counter or solution to this problem, presenting a plethora of ideas and variations which successfully makes the familiar unfamiliar, and providing inspiration upon inspiration for the Keeper or Game Master—whatever the roleplaying game of Lovecraftian investigative horror.

Hearts and Minds: Saving a World on the Brink of War! A Mindjammer Adventure is a sourcebook and scenario for Mindjammer – The Roleplaying Game: Transhuman Adventure in the Second Age of Space, the Space Opera setting with a harder, more contemporary Science Fiction edge published by Mindjammer Press. Set some fifteen thousand years into the future during the Second Age of Space, it takes place on the world of Olkennedy whose society stands on the brink of civil war. Originally settled eight thousand years ago during the First Age of Space, like so many planets settled then, the original colonists were forced to survive with no contact from Old Earth, a local astronomical event forcing some into stasis, the others to survive as best they can. When the surviving original colonists awoke, their reappearance led to tensions between them and the society which had survived, regressed, and was building anew. These tensions have been exacerbated in the last two decades when long spread rumours of aliens were confirmed with the arrival of the Commonality.

In the Second Age of Space, the New Commonality of Humankind presides over an expanding sphere of influence and control, seeking to maintain and protect its culture as it maintains and protects those of other worlds through the offices and agents of the Security and Cultural Integrity (SCI) Instrumentality. Yet not every world wants or is ready to accept the influence of or integration into the Commonality. So it is with Olkennedy. There are many on the world who do not believe that the Commonality when it says it protects the rights and cultures of those worlds it adopts and in particular, they fear the loss of individuality should they accept implants which grant them access and membership of the Mindscape, the virtual world which connects the Commonality. There are a great many who would take up arms to protect the loss of such rights and culture, and there even more who could be persuaded to join them. Opposing views clashes, tensions rise, and civil war  looms. It is into this febrile situation that the player characters step.

The first half of Hearts and Minds is devoted to detailing and describing the world of Olkennedy, its people, history, and culture. Or rather it focuses on the area which can support life, a crater deep enough to hold an oxygen-rich atmosphere and which has a subtropical climate, including a sea, with snow layers to the north. The planet has a high gravity, is subject to high winds and storms, and has a short day. The generally self-reliant inhabitants have had millennia in which to adapt to this. The planet is home to five distinct nations. Columbiana is youngest, but the most advanced and most dominant, its citizens mostly descended from the colonists—known as the Awoken—who emerged from stasis a millennia ago, whilst Van Kuvrai is home to the descendant of the colonists who did not enter stasis. Nwasha and Omianto are home to the Nwasha pithecines who were originally developed as labour by the original colony. Nwasha is primarily an arboreal culture whilst Omianto is more industrialised. Lastly, Akantack hominids, similarly developed as a labour force by the original colonists are nomads who live in the Snow-Layer which runs around the rim of the Crater or the Akantack Sanctuary. Although the five nations of Olkennedy have existed peacefully for a century, now their planet’s membership of the New Commonality of Humankind threatens to bring them into conflict once again.

As well as the inhabitants and cultures of Olkennedy, Hearts and Minds details the colony’s ecology, flora and fauna, major cities such as Craterport Down, technology, and more. Scenario hooks and random events are provided for both wilderness and urban settings, such that there is more than enough information here for the Game Master to run her own adventures. Together with the Genotype for the Akantack hominids, there is also information enough to create characters native to Olkennedy and perhaps explore some of its history, for example, why the Awoken emerged from stasis when they did or what were conspiracy theories surrounding the Commonality’s presence prior to the Disclosure, the traumatic event which revealed the existence of the New Commonality of Humankind to the Olkennedians. 

Of course, Hearts and Minds is designed to explore a clash of cultures, that is between the Commonality culture and a relatively newly found culture, that of Olkennedy. Whilst some Olkennedians accept the presence of the Commonality, many do not and they have coalesced around the Fiver separatist movement, named for the five nation on Olkennedy. In the years prior to the arrival of the player characters, its activists have been actively attacking the Commonality presence on planet, fomenting riots, causing unrest and engaging in acts of ‘terrorism’ or ‘freedom fighting’—depending on your point of view. This is not helped by factionalism within the Commonality itself. Two factions are detailed. The Integrator faction want to bring newly discovered planets into the Commonality, whilst the Dialogic faction wants to maintain a conversation with each newly discovered world rather than simply bring into the Commonality.

The second half of Hearts and Minds is the adventure itself. The most obvious role for the player characters will be SCI Force agents, sent to Olkennedy because of the deteriorating political situation, but they might also be diplomats, soldiers of the Armed Forces Instrumentality, merchants, scientists, or a mix of all six. Their roles of course will colour their approach to handling the situation on Olkennedy. For example, soldiers of the Armed Forces Instrumentality are more likely to commit to a military solution, whilst diplomats will seek a more conciliatory solution. Whatever their roles, throughout the scenario the Game Master will be tracking the effects that their actions have using Mindjammer’s Plot Stress mechanics. Essentially, through their actions, it is entirely possible for the player characters to sway the opinion of the Olkennedians towards or away from accepting the presence or membership of the Commonality—or somewhere in between.

The adventure is played out over four episodes and an epilogue, the latter being when the Game Master will assess the actions of the player characters and determine the ultimate outcome of events on Olkennedy based on them. There are plenty of opportunities for both roleplaying and conflict, but Mindjammer being a Transhuman Space Opera roleplaying game, there are lots and lots of opportunities for action. Now much of the action may well look a little like a cliché in places, but the action scenes are well handled and once the player characters get involved, with their wide array of Aspects being brought into play, the action will be anything but. If there is an issue with Hearts and Minds, it is that running it is a challenge. This is because it explores numerous options and their consequences as the scenario proceeds, and it is all too easy for the Game Master to get lost in them. The likelihood is that the Game Master will need to work harder to keep track of everything, especially of the consequences of the player characters’ actions and decisions, and when combined with having to present the scenario and roleplay its many NPCs, she may well find she has a heavier workload than is the norm.

Physically, Hearts and Minds is well presented behind its Eugène Delacroix’s ‘Liberty Leading the People’ inspired cover. The book is mainly done in black and white, but touches of colour are used to bring out its maps. The artwork is excellent, although a little dark. The writing and editing are well done, but if there is one thing that the book lacks, it is an index. Although less than a hundred pages in length, there is a lot of information in Hearts and Minds and having a better means of finding things would make it easier for the Game Master to run.

Originally published in 2015, the politics present in Hearts and Minds, although set on a Science Fiction world in the far future do feel relevant today. The adventure and situation explores deeply polarised political views, threats to cultural identity, loss of status, and so on, which escalate into civil unrest, acts of violence, and even terrorism. Of course, Hearts and Minds is a fiction, but undeniably there are parallels with contemporary politics, whether in the United Kingdom, Europe, the USA, and elsewhere. How much a gaming group wants to read into the scenario is another matter. It can be played with or without the group drawing the parallels.

Hearts and Minds can be played as one-shot or a convention scenario, and there are guidelines given to that end. Yet to do so, would be to miss a lot of the depth and nuance to the scenario’s set-up, to all too easily and quickly side with one polarised faction or another. Played as a full scenario, and what Hearts and Minds does is present an exploration of Mindjammer’s core themes—cultural conflict, the rediscovery of strange new worlds, and the personal conflicts which arise from them, all played out against an advanced Space Opera background. Simply, Hearts and Minds: Saving a World on the Brink of War! A Mindjammer Adventure is the ideal first scenario to showcase what the roleplaying game is all about.

Published by Hydra Cooperative, LLC, Lorn Song of the Bachelor is an Old School Renaissance fantasy scenario for the roleplaying game of your choice. If choosing a retroclone, it works with any that use ascending Armour Class, and in terms of setting, it would work with any which involve elements of colonialism, imperialism, and mercantile adventuring companies, such as the East India Company or the Dutch East India Company. So it would work with Arion Games’ Maelstrom as much as it would Triple Ace Games’ Leagues of Adventure: A Rip-Roaring Setting of Exploration and Derring Do in the Late Victorian Age! or the same setting as Hot Springs Island or that of Crypts of Indormancy. It would also work as far off location in Empire of the Petal Throne: The World of Tékumel. The scenario does also mention the use of firearms, but they are not integral to its play and the Game Master can easily ignore their inclusion.

Obviously, the scenario’s themes of colonialism, imperialism, and mercantile adventuring companies are contentious issues, even difficult ones for some, but the author of Lorn Song of the Bachelor makes clear that they are unavoidable given the legends and history of the region that the scenario is based upon, and that they are open for the players and their characters to explore and make choices about. To that end, no obvious incentive is provided to involve the characters in the situation detailed in Lorn Song of the Bachelor.

Although is a sandcrawl of sorts, Lorn Song of the Bachelor is quite different to the previous sandcrawls published by Hydra Cooperative, LLC, such as Slumbering Ursine Dunes and Misty Isles of the Eld. It is as far away from the Hill Cantons as can be imagined, being a riverine and dungeon crawl inspired by a story from the island of Borneo. It shares much with the lovely fanzine, MR-KR-GR The Death-Rolled Kingdom—crocodilian gods, forgotten monkey-empires, dangerous waters, and exotic fantasy—and indeed, they share the same author, Zedeck Siew. And just like R-KR-GR The Death-Rolled Kingdom, Lorn Song of the Bachelor feels humid, sweaty, and sun-drenched, strange, and exotic.

In essence, Lorn Song of the Bachelor is all set-up. At the far reaches of a river, in the lands of the tribe known as the Gleaming Fins, grow great trees from whose heartwood can be extracted a valuable incense, Dreaming Agaru, which aids divination of all sorts with flashes of true inspiration. So the Company sends trade factors and loyal mercenaries—all bad teeth and bad breath—up river to trade and harvest the heartwood of these trees. Yet that trade is threatened by the Bachelor, a giant albino crocodile, which has been the scourge of the river for centuries, having killed all of the other crocodiles. Long has it preyed upon the boats of the Gleaming Fins tribe, upending them and tipping the men into the water to be snapped up. Many times the tribe has hunted the great riverine beast, even killing it, but always it returns. Is the Bachelor a god? Is he immortal? Now it takes the Company’s boats too and so threatens its investments and revenues.

The most obvious way into this for the player characters is to be hired by the Company—akin to Conrad’s Heart of Darkness—but what they will discover is faction upon faction within the lands of the Gleaming Fins. The one-armed, silver painted Vartu Si Sartu, Gleaming Fins chief wants the Company gone; the untattooed, jade finger-nailed and abacus-wielding Company merchant, Machivir Sanna Krau, wants the Bachelor dead; and the wrinkled, incense-infused, firefly surrounded witch and midwife, Sati Wu Sati, wants the curse of the Bachelor on the river lifted and the breaking up of the crocodile cult dedicated to him. These are not the only factions and not the only motivations threading their way through Lorn Song of the Bachelor. The player characters will need to weave their way through these to learn the secrets that lie at the literal heart of the Gleaming Fins territory.

Lorn Song of the Bachelor is presented in a sparse fashion. Descriptions are kept to a minimum, often supported with a table or two of further elements waiting to be found and interacted at each location. There is often a bullet-point or list-like quality to the writing, making it accessible and easy to work with. In terms of scale the adventure really only consists of eight locations, each roughly a half day apart, and a small dungeon of just seven locations, a ruin left over from the Monkey Empire. Here the descriptions are richer and weirder, perhaps even more wondrous.

Of course, the presence of the Bachelor, the albino god-crocodile, lurks throughout the scenario and will become an active threat whenever the player characters are on or by the water. Unsurprisingly, this is very likely to occur given the location of various places in Gleaming Fins territory, and ideally it should, since the Bachelor is mystically linked to parts of this land and should he be hurt, there are repercussions for these locations. This perhaps one of the two weakest parts of the scenario in that it does not seem quite strong enough in effect and will need to be carefully worked in by the Game Master. The other is that the solutions to the scenario, there being several given the number of different factions present in the region, are not clear. Now part of this is intentional, as after all, they should not be obvious, but the players will need to work as hard to get at them as the Game Master will in presenting them.

Physically, Lorn Song of the Bachelor is a lovely little book. It is well written with its peoples and personalities, its places, and its strangeness being described with a very simple economy in terms of its words. Whilst the cartography is clear and strong, the minimum of description in the writing is paired with utterly delightful artwork, light, if not ethereal, ranging from the inhabitants of the Gleaming Fins lands and the weird objects found there to the strange vistas of the Monkey Empire ruin and the bestiary found at the back of the book.

The isolated and exoticism of Lorn Song of the Bachelor does mean that it may not be easy to add to an ongoing campaign, since it may well be far away from the campaign’s main locations. However, that does not stop it from being a lovely little adventure, a mini-sandbox into which the player characters can come and explore and perhaps aid one faction or another. It is simply presented with artwork which evokes so much of the strangeness and exoticism of the Gleaming Fins lands. Although the formatting means it looks simple, there is a lot of detail and flavour to Lorn Song of the Bachelor which together evoke visions of a very different world and of a very different fantasy to which a Western audience is used.

From Chaosium, Inc. with the Miskatonic Repository for Call of Cthulhu, Seventh Edition and the Jonstown Compendium for RuneQuest: Roleplaying in Glorantha and HeroQuest Glorantha (Questworlds) to Wizards of the Coast with the DM’s Guild for Dungeons & Dragons, publishers are seeing the benefit of fan-based content. Free League Publishing, the Swedish publisher best known for roleplaying games as Mutant: Year Zero – Roleplaying at the End of Days, Coriolis: The Third Horizon, Tales from the Loop – Roleplaying in the '80s That Never Was, Forbidden Lands – Raiders & Rogues in a Cursed World, and Symbaroum, has its own platform for user-made content in the form of the Free League Workshop.
Slaves to Fate: An Adventure of Endless Winter is a short scenario for the near-Dark Ages fantasy roleplaying game, Symbaroum. Published by Earl of Fife Games, it is a focused affair actually intended as an introduction to a new campaign, Forever Winter. Consequently, it is linear in structure, it requires a particular set-up, and places a big responsibility with one player. The set-up is quite simple. The player characters are slaves. Mostly Ogres and Goblins, but also a mix of other races and occupations, so the player characters then. They should all be beginning characters and their players should decide how and why they ended up enslaved in the first place—captured by slavers, sold into slavery, to pay off a debt, and so on. One of the player characters should be a Changeling, and whilst Slaves to Fate provides enough in terms of motivation and background for this character, his player is free to create whatever character type he likes and there is still room for him to add elements to his backstory if he so desires. Alternatively, the Game Master can simply create this character as an NPC.

As the scenario opens, the player characters, as part of the slave coffle, have been taken north into the Davokar Forest where they are being worked all but to death felling trees and preparing lumber for shipment south. As the temperature drops and the player characters try and cope with exhaustion and not enough food and water, there is opportunity for them to escape. Several methods are discussed, but whatever the means, the player characters find themselves hounded from their camp by marauding beasts. Ultimately, they will find refuge, but all too quickly it becomes a prison and again they must escape to confront the forest itself…

The scenario does call for a degree of buy-in upon the part of the players, not least of which upon whoever will be playing the Changeling. Some players may object to being pushed from pillar to post, and may just simply refuse to the trust the Changeling, whether a player character or an NPC. To an extent the scenario includes advice on what happens if either the Changeling or the player characters die, but to get the fullest out of Slaves to Fate, the Game Master may want to talk to her players about the expectations of the scenario before play begins. Certainly she will need to do that with whomever is playing the Changeling.

Physically, Slaves to Fate is a 4.63 Mb, fourteen page, full colour PDF. The layout is clean and tidy and the illustrations are good, and generally well written even if it needs an edit in places.

In fact, Slaves to Fate is not a new adventure, it having been adapted to Symbaroum from previous versions for Zweihänder – Grim & Perilous, Shadow of the Demon Lord, Demon Gate, and the Genesys roleplaying game. The grim, near apocalyptic nature of the scenario though, fits the Dark Ages feel of Symbaroum as much as it does Zweihänder – Grim & Perilous and Shadow of the Demon. The scenario can only work as a prelude, the set-up for the campaign to come, Forever Winter, it otherwise being too linear and too bleak to really work as a one-shot. As the set-up to a campaign, Slaves to Fate works well enough and will hopefully lay the groundwork for the Forever Winter campaign.