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

Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry and the Dungeon Crawl Classics Roleplaying Game from Goodman Games.
Tales from the Smoking Wyrm No. 2 is another fine looking issue of the fanzine published by Blind Visionary Publications. It continues to provide long-term support rather than immediate support for use with the Dungeon Crawl Classics Roleplaying Game. This is not say that none of its content is not of use or even useless, for that is very much not the case, but rather that it requires a bit of effort upon the part of Judge to work it into her campaign. In fact, all of content is detailed, interesting, and worth reading. Published in April, 2020, following a successful Kickstarter campaign, where the previous issue, Tales from the Smoking Wyrm No. 1 strayed into the territory of the Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, this issue very much remains in the territory of Dungeon Crawl Classics.
Tales from the Smoking Wyrm No. 2 opens with ‘King of Beasts’. This is a new Patron, one who is the noble lion, wily tiger, nimble hare, slithering snake, and fluttering crow—and includes tables for invoking him as a Patron, suffering Taint when that goes wrong, and so on. The new spells include Speak with Animals; Bloodsense, which enables the caster to sense the blood in his quarry and track where they are; and Awaken enables the caster to activate a spirit animal, and so gains two boons and a bane from them. The roll is really for the length of the effect, which can be days or months, and then the Player Character gains the effect of a selected spirit animal. For example, the Toad spirit animal grants the ability to breathe underwater for thirty minutes and extra jumping distance, but becomes lazy and will act if there are immediate and obvious benefits.
The Dwarven Jäger is a subclass of dwarf, a warrior that allows the use of ‘Mighty Deeds of Arms’ like the Warrior Class, but prefers to fight with two weapons rather than a weapon and shield. They have a Deed Die that increases as they go up in Level for both attacks and damage, and if strong enough, can fight with a battle axe in each hand! This though, reduces the Class’ Initiative die. With ‘Mighty Defence’, the Dwarven Jäger can increase his Armour Class at a cost of stepping down his attack dice. Stats are also included for the throwing hammer and the hand crossbow. The Class is a serviceable variant, offering a viable alternative, especially for the player who wants a two-weapon wielding Warrior.
‘Rites & Rituals Part II’ continues the expanded use of magic and rituals in Dungeon Crawl Classics, begun in Tales from the Smoking Wyrm No. 1. Rituals are more powerful than normal spells, and their inherent power, unlinked to any god or deity, means that anyone can cast them. What this leads to is the creation of standardised rituals to achieve the same objective, but which are different from one cult or organisation to another. To support this aspect, it provides more than the one variant for several rituals, the variants being for different faiths, in this case, worshippers of Cthulhu and of Osiris. The rituals include Blessings of the Grave is a ritual that protects those buried in graveyards, cemetery, or necropolises, from raised via the animate dead and similar spells; Liturgy of Blessing, which brands the faith of a consenting worshipper with an imprint of their god, which puts them on the path to becoming a member of the clergy; and Rite of Consecration, which creates a sanctuary space for the specific deity. These are very nicely detailed, and of the two choices of deity, the rituals dedicated to Cthulhu rather than Osiris are probably more gameable, but both series of rituals do serve as examples upon which the Judge can base her own.
‘Cullpepper’s Herbal’ continues the regular feature begun in Tales from the Smoking Wyrm No. 1. Here there is a guide to creating decoctions and herbal restoratives, and this is followed by detailed descriptions of agrimony and bastard agrimony. This includes descriptions, flowering times, astrology, shoots, and more. In some ways, there is too much information here, on too few herbs, but for a Player Character with an interest in alchemy or herbalism, the degree of detail is wlcome.

As the name suggests, ‘Shoggoth’ continues the Cthulhu theme. This takes the Mythos monster which first appeared in At the Mountains of Madness and gives a potted history of its appearance in gaming before providing stats for its for use with Dungeon Crawl Classics. The Judge can roll for Shoggoth size, age, and martial abilities, such as poison glands, hypnotic glands, and of course, mimicry. They can also also have esoteric abilities like Assume Form and Bioluminescence, and all together this provides the Judge with the means to really individualise one Shoggoth from another, and so make them unknowable for the Player Characters.
Accompanying this is ‘Find Familiar (Cthulhu)’, which enables the Wizard with Cthulhu with Cthulhu or other Lovecraftian horror entity, such as Mother Hydra, Father Dagon, Nyarlathotep, and so on, as a Patron, to gain an appropriate familiar. Options include Zoog, (Brown) Jenkin, and Cat of Ulthar, but there is an emphasis on gaining a Shoggoth as a familiar. It cannot be fully grown, so is typically young or newborn (budded? decanted?), small or medium. Of these, having a Shoggoth as a familiar is going to be the most fun and again, this and the previous ‘Shoggoth’ article lets the player and the Judge really individualise a Shuggoth, whether a familiar or a threat.
Joel Philips’ ‘Onward Retainer’ continues the comic strip about the retainer in the fantasy roleplaying games begun in the first issue. It is nicely drawn and is a reasonable enough read, though not as funny as it is trying to be.
Penultimately, ‘What is the Smoking Wyrm?’ is the editorial in the second issue of Tales from the Smoking Wyrm. It is a more personal piece than in Tales from the Smoking Wyrm No. 1, recounting how Joel Philip got his start in gaming and how those adventures and characters influenced the creation of the ‘Onward Retainer’, so gives a bit of context. This is more interesting than the comic strip is either entertaining or amusing. Lastly, ‘Wyrm Words’ is a word search puzzle of Gygaxian words which is okay if you like that sort of thing, a waste of space if you do not, and this review leans towards the latter rather the former.
Physically, Tales from the Smoking Wyrm No. 2 is well written and the fanzine as a whole, has high production values. The artwork is good throughout, and the front cover again echoes the illustration from the Dungeon Master’s Guide for Advanced Dungeons & Dragons, First Edition, by Dave Trampier, which is based on the Street of the Knights on the Greek island of Rhodes. This is an illustration that the fanzine will return to again and again for its front covers.
Tales from the Smoking Wyrm No. 2 picks up where Tales from the Smoking Wyrm No. 1 left off. It is a second solid issue, especially if the Judge wants to add the Lovecraftian mythos to Dungeon Crawl Classics with the inclusion of Cthulhu—as detailed in Tales from the Smoking Wyrm No. 1—and Shoggoths. None of the content is necessarily ready to be dropped into a campaign, but for the Judge who wants to add the Lovecraftian mythos and more detailed herbalism, there is good amount here to further develop.

On the tail of the Old School Renaissance has come another movement—the rise of the fanzine. Although the fanzine—a nonprofessional and nonofficial publication produced by fans of a particular cultural phenomenon, got its start in Science Fiction fandom, in the gaming hobby it first started with Chess and Diplomacy fanzines before finding fertile ground in the roleplaying hobby in the 1970s. Here these amateurish publications allowed the hobby a public space for two things. First, they were somewhere that the hobby could voice opinions and ideas that lay outside those of a game’s publisher. Second, in the Golden Age of roleplaying when the Dungeon Masters were expected to create their own settings and adventures, they also provided a rough and ready source of support for the game of your choice. Many also served as vehicles for the fanzine editor’s house campaign and thus they showed another DM and group played said game. This would often change over time if a fanzine accepted submissions. Initially, fanzines were primarily dedicated to the big three RPGs of the 1970s—Dungeons & Dragons, RuneQuest, and Traveller—but fanzines have appeared dedicated to other RPGs since, some of which helped keep a game popular in the face of no official support.
Since 2008 with the publication of Fight On #1, the Old School Renaissance has had its own fanzines. The advantage of the Old School Renaissance is that the various Retroclones draw from the same source and thus one Dungeons & Dragons-style RPG is compatible with another. This means that the contents of one fanzine will be compatible with the Retroclone that you already run and play even if not specifically written for it. Labyrinth Lord and Lamentations of the Flame Princess Weird Fantasy Roleplay have proved to be popular choices to base fanzines around, as has Swords & Wizardry. A more recent retroclone of choice to support has been Mörk Borg.
Published in November, 2020, Strange Visitors to the City is one of three similar fanzines released by Philip Reed Games as a result of the Strange Citizens of the City Kickstarter campaign, the others being Strange Inhabitants of the Forest and Strange Citizens of the City It follows on from the publisher’s Delayed Blast Gamemaster fanzine, by presenting a set of tables upon which the Game Master can roll and bring in elements to her game. Whilst Delayed Blast Gamemaster detailed monsters, environments, and more, with a cover which reads, “Roll 2d6 and say hello to Evil”, Strange Visitors to the City is all about the encounter and all about encounters with evil coming to the city, the cover reading, “Roll 2d6 and Greet a Visitor”. For Mörk Borg, the city can most obviously be that of Galgenbeck in the land of Tveland, but it need not be, instead any city with a dark seamy underbelly where the strange is accepted and allowed to fester.
Strange Visitors to the City follows the format of Strange Inhabitants of the Forest and Strange Citizens of the City, consisting of four tables—or rather sets of entries—which populate and add detail to a large location, in this case, as with Strange Citizens of the City, a nameless city. In fact, Strange Visitors to the City is really a companion to Strange Citizens of the City, complementing it with another array of ghouls and grotesques, this time visitants and vermin passing in and out of the city gates. The issue opens with the eponymous ‘Strange Visitors to the City’ which presents a table of mostly villains or villain-like NPCs to be encountered in and about the city. Each is given their own two-page spread, with a large illustration, a full page of text providing background, and of course, notes and stats. The notes typically suggest how much money the Player Characters might make from their loot or handing in proof of their deaths, though not always—as the number of ‘No Reward’ entries suggest.
The entries include Sava Yegorovich, Collector of Soiled Souls, a legless traveller wreathed in toxic smoke, who visits the city on an arcanomechanical contraption to purchase vials containing soiled souls for his dreadful experiments that carries out in his laboratory deep in the forest. Babatyev Ilyich, Escaped Killer from Elsewhen, an extraplanar murderer who travels from world to world, killing, and then escaping to the next, though this time he is trapped, his route elsewhere having been destroyed. Now he is wanted by the authorities and there is a bounty on his head which grows as the number of bodies pile up, so there is a rush to find him. He usually attacks with his talons, but he can unleash a nightmarish fiend from the portal in his stomach! Nicolas Mocanu, Wizard of the Woods, rarely visits the city, but only does so when he needs spell and alchemical ingredients and components, and since he is short of time, he will hire likely adventurers to find them for him—and will pay handsomely if they do. The entry includes a list of some twenty items, like a Troll’s eye or the mummified remains of a beloved pet, each one a spur to entice the Player Characters to action.
Not all of the entries describe the vile and the villainous, though there are a number of visitors of extraplanar origins, murderers or not—and plenty of those. Otherwise, the less threatening includes Svetlana Botnari, Unliving Seamstress, travels to the city every full moon, and earns money with needle and thread, but is undead and the needles are her fingers, but despite this, her skills and speed are highly valued. Further, she is friendly, and is willing to hire adventurers prepared to protect her undead kin from raiders on the value where they live. Which means that the Player Characters might be protecting the undead from the living! Richards and Roger, a Ruffian and a Gentleman, are a pair of ordinary fish, magically transformed, enlarged, and enhanced, though without legs—instead they each wear a suit of armour with the necessary legs—and with their master and creator dead, they have taken up residence in the city. One works as a hired thug and goon, the other a gentleman trader, but are otherwise inseparable. They are easily found in the city, meeting up in a tavern to catch on their activities of the day.
‘Strange Visitors to the City’ takes up over half of Strange Visitors to the City. It presents a collection of monsters and the monstrous, many of them evil in nature, and if not that, evil looking. They are invariably challenging opponents should the Player Characters go after then for their bounty, if there is one, that is. As with Strange Citizens of the City before it, the entries described in the ‘Strange Visitors to the City’ table—and elsewhere in the fanzine—do all feel as if they would fit in the one city. A dark twisted city with a Slavic feel where arcanotech, a mixture of magic and technology is available.
‘Strange Visitors to the City’ is followed by a shorter table. This is ‘1d6 Unusual Places’, a companion piece to the ‘1d8 Places in the City’ in Strange Citizens of the City. They include Jelena Romanovna’s Home for Orphans, a three-storey tower where wayward children are taken in and unfortunately beaten until they accept training as pickpockets and thieves. The Broken Clock Tower, a spire located deep in the city centre, long abandoned and in a state of disrepair, such that some have called for it to be pulled down and replaced, but moans and the rattling of chains from within indicate that someone or something is using it still, but who? Adventurer and raconteur, Godzimir Mazur, has won a former gambling hall and turned it into coffee shop, but he has no head for business and it is failing. Can he be helped or would he be happier just to sell up?

‘4d6 Rumours’ suggests things that the Player Characters might hear in taverns or down alleys, such as the ‘fact’ that Jelena Romanovna’s Home for Orphans is also the location of a black market every week or two; the burning of a red candle attracts the evil spirits of the dead, so anyone doing so is clearly an agent of death and destruction; or that if anyone who easts a sacred scroll is forever transformed into a being of unimageable power capable of surviving any encounter with evil. Plus, the scrolls taste great when smeared with honey! Some of the rumours connect to other entries in Strange Visitors to the City, but most do not. All will require some development by the Game Master.

Lastly, ‘2d4 Hired Goons’ presents another collection of hirelings, simply detailed and each with a special trait, such as ‘Conniving’ or ‘Experienced’. Few are obviously beneficial, such as the ‘Underworld Knowledge’ of Lukas Hofstetter, who can help the Player Characters find information about crime and criminals for a price, but most are not. Darin Masur is ‘Bloodthirsty’ and has trouble ending a fight or a battle if any opponents are still alive, and might even turn on his allies! He has a hatred of the city guard too and that is likely to get him into trouble as well as those who hired him. All seven NPCs are ready to drop into the city.
Physically, Strange Visitors to the City is very nicely presented. Although it makes strong use of colour, it uses a softer palette than Mörk Borg, but scratchier and stranger, though still easier on the eye. The artwork throughout is excellent.
Strange Visitors to the City is a set in some strange city where twisted men and women and other things lurk in the side streets, where great evil hides behind populism, and arcanotech is put to dark uses. It is the same city as populated in Strange Citizens of the City, and whilst it is a standalone title, Strange Visitors to the City strongly complements it. Although intended for use with Mörk Borg—and it shares the same doom-laden sensibility—the contents of Strange Visitors to the City would work with any retroclone or be easily adapted to the roleplaying game of the Game Master’s choice. However, they do all feel as if they live in the same city, a city waiting to be detailed. Perhaps a city that Philip Reed Games could detail in a future fanzine? In the meantime, Strange Visitors to the City is an entertaining and useful collection of NPCs and encounters for the Grimdark roleplaying game of the Game Master’s choice.

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

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

In the early days of the hobby, following the publication of first Dungeons & Dragons in 1974, and then Basic Dungeons & Dragons and Advanced Dungeons & Dragons, the nascent hobby was awash with creativity much of which would find an outlet in the fanzines of the day. Yet due to the vagaries of time and history, much of the content of those fanzines have been lost. What though, if a creator today, could delve back into that history and resurrect that content for today’s audience? This is the conceit behind The Lost Classes: The Arnesonian Classes, ‘A GATEWAY TO ADVENTURE supplement for use with the Original Edition Fantasy and Old School Essentials Retro Adventure Game’. Published by Appendix N Entertainment, this is an attempt to resurrect two Classes for Dungeons & Dragons that never made into print and present them for use with the Old School Renaissance. Conceit, because truth be told, the author has relatively little on which to base the new Classes he creates for the fanzine, and consequently, they are more his creation rather those of Dave Arneson, the co-creator of Dungeons & Dragons. This does not means that the floor Classes presented are bad, but rather that their heritage is perhaps not as strong as the author wish it to be.

Further, it should be noted that two of the four Classes are not Arnesonian and feel as if they are drawn from other sources, being the creation of the author. The two Arnesonian Classes are the Merchant and the Sage, whilst the two that are not are two of the Beast Folk Classes, the Chimpanzee Folk and the Duck Folk. Then, both the Chimpanzee Folk and the Duck Folk are presented as Races rather than Classes. In this way, The Lost Classes: The Arnesonian Classes supports both the ‘Race as Class’ of Basic Dungeons & Dragons and the ‘Race & Class’ of Advanced Dungeons & Dragons, or in contemporary terms, the ‘Race as Class’ of Old School Essentials Classic Fantasy and the ‘Race & Class’ of Old School Essentials: Advanced Fantasy.

The two Arnesonian Classes, the Merchant and the Sage, are highly skill-based. The Merchant knows more languages, and besides ‘Find or Remove Traps’ and ‘Open Locks’, has ‘Bargaining’ and ‘Appraisal’ for dealing with the buying and selling of goods (and treasure found too), and ‘Equivocate’, the ability to hide the truth, avoid commitment, and so on. Combined with the ‘Know Direction’ ability, and what you have is a Class dedicated to travel and trade. The Merchant is also a member of, owes dues to, a merchant’s guild, which the Game Master can use as a factor and influence in the Player Character’s life and career. The Sage also knows more languages and is a member of his own guild, but primarily specialises in ‘Sage Knowledge’, an academic area like Botany/Herb-lore, Astronomy, Theology, and Archaeology. The more Intelligent the Sage, the more areas of expertise he specialises in. Although not a spellcaster, the Sage Class can use arcane magical items, such as wands. Lastly—quite literally—the Sage has one special ability that he can use when dying due to a malicious act. This is the ‘Sage’s Cure’. If bestowed by a high-Level Sage, it can be really powerful, like not being able to make any Saving Throw ever again!

Both the Merchant and the Sage Classes are interesting, the latter perhaps more familiar because it was included as an NPC type in Advanced Dungeons & Dragons. Both though, are limited as adventuring Classes in the classic sense. The Sage in particular, has limited adventuring skills and whilst he knows a lot, the problem really is how to bring that knowledge into play and have it be useful in a game, since this is not a feature of Dungeons & Dragons-style roleplaying games. This is less of a problem for the Merchant, since the Class does possess abilities and skills that can be useful in a game. Nevertheless, the Game Master is going to have cater for the trading aspect of the Merchant in her campaign for a player to want to play it and use all of the Class’ abilities, whilst working extra hard to bring the areas of knowledge and expertise of the Sage into play and make them pertinent and useful. This may well be so challenging, that the Sage may still be best suited to an NPC role.

The other two Classes in The Lost Classes: The Arnesonian Classes are the Chimpanzee Folk and the Duck Folk. The Chimpanzee Folk is like the Sage in having ‘Chimp Knowledge’, which works like ‘Sage Knowledge’ and extra languages, but otherwise more physical with the ‘Climb Sheer Surfaces’, ‘Falling’, and ‘Tightrope Walking’ skills, whilst the ‘Evasion’ ability enables a Chimpanzee Folk to tumble out of melee and avoid an opponent’s usual bonus to hit. The Duck Folk is viewed as an aberration, touched by Chaos, by almost everyone bar other Duck Folk and the most knowledgeable of Sages. A Duck Folk has the innate abilities of ‘Know Direction’ and ‘Natural Swimmer’, but also loathes the undead, so can ‘Turn Undead’ and has bonuses in combat against the undead with ‘Undead Slayer’. Rounding out The Lost Classes: The Arnesonian Classes is a more detailed examination of both the Chimpanzee Folk and the Duck Folk as Races and the fanzine’s own ‘Appendix N’. In the case of the descriptions of the Chimpanzee Folk and the Duck Folk as Races, it does flesh both out, whether they are being played as ‘Race as Class’ or ‘Race & Class’.

Of the two, the Chimpanzee Folk feels more sensible than the Duck Folk. In both cases, the inspiration is obvious. The Chimpanzee Folk is inspired by Doctor Cornelius and Doctor Zira of Planet of the Apes, whilst the Duck Folk feels inspired by the Humakti undead-hating Ducks of Glorantha of RuneQuest: Roleplaying in the Glorantha as much as Howard the Duck and Duck Tales.

Physically, The Lost Classes: The Arnesonian Classes is well presented. It is well written and the artwork decent enough even if the major inspiration upon the illustrations of the Duck Folk is Disney.

The usefulness of The Lost Classes: The Arnesonian Classes is debateable. The easiest Class to play and include in a campaign is the Duck Folk and that is also the silliest, the one most likely to stick out in a standard campaign, and the least interesting. The Chimpanzee Folk is not quite as silly, but not as easy to bring into play, because catering for the knowledge aspect of the Class, as with the Sage Class, shifts some of the emphasis of play away from action and adventuring. As does the need for trade and barter with the Merchant Class, but that Class does include adventuring skills alongside those required for trade and barter. This does not mean that the Classes in The Lost Classes: The Arnesonian Classes are unplayable, but rather that in many cases they make demands of a campaign that will need to be accommodated. Consequently, the best use of the Classes in The Lost Classes: The Arnesonian Classes is to create worlds where they fit rather than shoehorn them into standard fantasy worlds where they do not.

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

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

Crawling Under A Broken Moon Fanzine Issue No. 5 was published in in December, 2014 by Shield of Faith Studios. It continued the detailing of post-apocalyptic setting of Umerica and Urth which had begun in Crawling Under A Broken Moon Fanzine Issue No. 1, and would be continued in Crawling Under A Broken Moon Fanzine Issue No. 2, which added further Classes, monsters, and weapons, Crawling Under A Broken Moon Fanzine Issue No. 3, which provided the means to create Player Characters and gave them a Character Funnel to play, and Crawling Under A Broken Moon Fanzine Issue No. 4, which detailed several Patrons for the setting. The setting has, of course, gone on to be presented in more detail in The Umerican Survival Guide – Core Setting Guide, now distributed by Goodman Games. The setting itself is a world brought about after a rogue object from deep space passed between the Earth and the Moon and ripped apart time and space, leaving behind a planet which would recover and it inhabitants ruled by savagery, cruel sorcery, and twisted science.

Crawling Under A Broken Moon Fanzine Issue No. 5 is where the fanzine really begins to deliver on its promise of gonzo post-apocalyptic content. This is because it has to take its inspiration—its very obvious inspiration—and adapt that without incurring any legal issues, making it playable, and making its source recognisable. This is because that inspiration is He-Man and the Masters of the Universe, the cartoon series based on the toy line from Mattel of the same name. Unfortunately, the history of He-Man and the Masters of the Universe and gaming has been decidedly spotty, including a poorly received Masters of the Universe Roleplaying Game published by FASA, Inc. in 1985 and the more recent He-Man and the Masters of the Universe Battleground miniatures skirmish game from Archon Studios. Sadly, the planned Legends of Grayskull: Masters of the Universe Tabletop RPG using Cortex Prime from Fandom, the company behind Dungeons & Dragons online tool D&D Beyond, is yet to appear. In the meantime, there is Crawling Under A Broken Moon, Issue No. 5, which serves up something almost, but not quite like He-Man and the Masters of the Universe.

The issue introduces a land that lies in the northern reaches of Umerica. This is Aetheria, where the Masters of Castle Oldskull do fierce battle with the lich Skull-Or and his mighty minions in the Darklands beyond! The setting is introduced in ‘The Kingdom of Aetheria’, a land of forests and wetlands surrounding the Great Inland Sea, whose scattered tribes were united by the mighty hero, Mach-O [sic] with the strength of his sword arm and mystical arts. Dotted here and there throughout the kingdom are the ‘Grey Castles’, actually bunkers from the Forgotten War, in which can be found powerful arms and armour and even vehicles. The great Aetherian Heroes, worshipped as such by the populous, and employed by the kingdom’s rulers as protectors, covet this leftover technology, so controlling it is important. Thus, many provincial rulers take these bunkers as their headquarters and armories, controlling the flow of the technology into the hands of hired heroes.

This hero is detailed in ‘The Aetherian Hero Character Class’. Each follows the code of Mach-O in fighting evil, though the interpretation varies, so that some just fight evil and do nothing else, whilst others undertake other duties. Either way, the Aetherian Hero expects to be paid for his services. The Aetherian Hero will also need to achieve a great deed or survive a Character Funnel, if he is to be rewarded with a hero’s name and whilst he is trained in the use of most weapons and armour, he regards using anything other than Forgotten Tech artifacts or Aetherian Tech arms and armour as dishonourable and anathema. The Aetherian Hero Character Class begins play with set of Aetherian Armour and one Aetherian weapon, but can go to a Grey Castle at each Level and ask for more. The origins, material, appearance, and even Armour Class bonus of the armour is randomly determined, whilst the Aetherian Tech weapons are impressively oversized, so are not as easy to use, but do inflict extra damage and impress or intimidate in equal measure.

The Class also possesses an Honour Die, which is added to feats of Strength, attempts to intimidate or impress, and all damage rolls with melee or Forgotten Tech weapon attacks. However, it can be lost if the Aetherian Hero uses normal weapons and armour, undertakes menial labour the likes of which the peasantry would do, or refuses a challenge offered by an opponent of worthy stature. Overall, the Aetherian Hero Character Class has the feel of the big dumb, but honourable barbarian warrior, offering a technology-focused option in feel rather than play.

The technology itself is discussed in ‘Forgotten Tech of the Un Men’, the Un Men being robotic warriors programmed with human consciousness. Their technology is leftover from the Forgotten War, and whether it is a blaster, jetpack, armour, or personal vehicle, requires a power cell to work. Worse, the technology is temperamental and if it is used too often—even in the course of a day—it can suffer a meltdown and drain the power cell. The meltdown means that it simply stop functioning after rebooting, suffers a delay in its function, or even detonate! Common devices, once ubiquitous and cheap before the Forgotten War, include Power Harnesses and Power Swords, their abilities varying from device to device.

‘Into the Dark Lands’ describes the blighted, rocky land that lies to the north of Aetheria under sulphurous clouds, riddled with tunnels leading to horrible sites of ancient power and evil. It is home to two different factions which would change Aetheria if they could. The warrior Black Sun leads a number of Aetherian freemen and Tree-Hobbits against the southern kingdom in an attempt to reform the conditions of the common man, whilst the Warrior Lich, Skull-Or, powerful and corrupt wizard-hero

of Aetheria who was imprisoned in Castle Oldskull byMasters of Aetheria, where he learned its darkest secrets before escaping into the Darklands. That secret is very dark indeed—especially for wizards—and adds a nasty twist to the inspiration for Crawling Under A Broken Moon, Issue No. 5. Both Black Sun and Skull-Or are fully statted, so can appear as NPCs in the Game Master’s campaign, and in the case of Skull-Or, cackle a lot. The article really focuses on the NPCs, so the Dark Lands are underwritten.

Penultimately, ‘Castle Oldskull and the Masters of Aetheria’ details Castle Oldskull, a sapient extra dimensional fortress dedicated to the eradication of ‘evil magic’. Interestingly, it is possible for a First Level Player Character to pledge himself to Castle Oldskull and join the Masters of Aetheria. A successful applicant needs to complete a dangerous quest and only then will he become a squire. There are benefits, including healing and free ammunition for ranged weapons, but members cannot use sorcery and nor can they kill evil sorcerers. They have to be returned to Castle Oldskull for imprisonment. Included are descriptions of the current Masters of Aetheria—Mighty Man, descendant of Mach-O, Maste-at-Arms, cyborg with excellent scientific skills, Slam Man who magic helm is so tough he can survive any blow to the head—and more, most notably Geek-O, an inept and bumbling magician from another dimension! Castle Oldskull is essentially a character in its own right with its own agenda, not always aligned with those of the Player Characters.

Lastly, the regular column of ‘Twisted Menagerie’ details two new monsters. These are the ‘Serpentoid’, a muscular two-headed serpent man with an evil outlook and a liking for the mutagenic herbs that grow in the Dark Lands, each has a different mutation, like a prehensile tongue or a hideous rattle, and an ‘Un-Men’, one of the Robotic Tyrants from the Forgotten War, rarely found, but if so, typically in hibernation mode. These range from flamethrowers and plasma cannons to extension arms and Hypno Vox, and that is in addition to the Drones—effectively flying blasters—hosted by each ‘Un-Men’. Together, these add an extra pair of threats to the Dark Lands and are decently done.

Physically, Crawling Under A Broken Moon Fanzine Issue No. 5 is serviceably presented. It is a little rough around the edges, as is some of the artwork, but overall, it is a decent affair.

The problem with Crawling Under A Broken Moon Fanzine Issue No. 5 is that much of its contents have been represented to a more professional standard in the pages of The Umerican Survival Guide – Core Setting Guide, so it has been superseded and superseded by a cleaner, slicker presentation of the material.

Crawling Under A Broken Moon Fanzine Issue No. 5 is a big improvement over Crawling Under A Broken Moon Fanzine Issue No. 4. It has more usable content, even if it is devoted to one theme. And what a theme it is! Over the top, ever so slightly tongue in cheek post-apocalypse Swords & Sorcery, very knowingly inspired by Saturday morning cartoons of the eighties, given an ever so slight, but dark twist. The result is engaging and entertaining, with easy to spot and embrace references, such that even the gamer with the barest of knowledge of He-Man and the Masters of the Universe (and to an extent, She-Ra: Princess of Power) can play with the contents of Crawling Under A Broken Moon Fanzine Issue No. 5.

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

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

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Name: Mail Order BribePublisher: Chaosium, Inc.
Author Jade Griffin

Setting: Jazz Age Boston, MassachusettsProduct: Scenario
What You Get: Forty-Five page, 11.37 MB PDFElevator Pitch: Marriage or madness. Is there a choice?Plot Hook: Ownership of a new possession turns into a fight for possession and possession.
Plot Support: Staging advice, six pre-generated Investigators, sixteen handouts, one a map, one NPC, and two Mythos monsters.Production Values: Good.
Pros# Excellent title# Potential sequel to Taken for Granite and Deep-Seeded Secrets# Potential addition for a Lovecraft Country campaign# Delightfully creepy, creepy antagonist# Decent handouts# Pediophobia# Gamophobia# Scoleciphobia# Ophidiophobia# Arachnophobia
Cons# Needs a slight edit# Does force the Investigators into a terrible situation
Conclusion# Which is worse? The monster you deal with or the monster she wants?# Why I do declare, that Southern accent is pure evil. Evil, I tell you!

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

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

—oOo—
Name: The Oracle of YuggothPublisher: Chaosium, Inc.
Author: Quico Vicens-Picatto

Setting: 23rd Century PlutoProduct: One-shot
What You Get: Twenty page, 9.13 MB Full Colour PDF
Elevator Pitch: Memory, mazes, and madness on Pluto
Plot Hook: “UNKNOWN”Plot Support: Six pre-generated Investigators, one map, and one Mythos monster.Production Values: Colourful
Pros# Fantastic cover# Highly detailed Investigators# Interesting new Occupations# Athazagoraphobia# Mazeophobia# Mnemophobia
Cons# Needs a good edit# Unpleasant Investigators# Weird Sanity losses# The Sanity losses never let up# Highly detailed Investigators# No plot or investigation
Conclusion# Uncompelling Sanity-scouring slog# No objectives or agency except to suffer for what they are and what they did

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

—oOo—
Published in April, 1994, the Planescape Campaign Setting was as a radical a setting for Advanced Dungeons & Dragons, Second Edition as could be imagined in the 1990s. Perhaps even more imaginative than the Spelljammer setting published five years before that Planescape would ultimately replace in terms of both tone and scope. Based on the earlier Manual of the Planes for Advanced Dungeons & Dragons, First Edition, it introduced a multiverse that was in part familiar to an audience from that supplement, but in way that was totally unfamiliar. Where perhaps the Manual of the Planes had been a means for the Player Characters—typically of a high Level—to traverse from one plane of existence to another, what Planescape provided was a base of operations, a city, rife with politics and factionalism, from which the Player Characters could leave to visit and come back from realms that before they could have only dreamed of visiting. Whether it is the Astral Plane or the Ethereal plane, the Inner or Elemental Planes of Air or Water or the Quasielemental Planes in between, for example, Paraelemental Plane of Smoke or Paraelemental Plane of Ooze, the Outer Planes divided between the Upper Planes of Good such as Arcadia or Mount Celestia, the Lower Planes of Evil, like the Abyss and Acheron, and the Boundary Planes of Neutrality, such as Bytopia and Elysium, or even whole other worlds on the Prime Material Plane, for example, Krynn of Dragonlance or Athas of Dark Sun, the Player Characters could come and go as they pleased. For the most part, that is. For they needed to know how, they need access to a portal or door, a gate key to pass through, and sometimes, they needed permission. For all of that, they needed to be in Sigil: The City of Doors.
Sigil: The City of Doors literally floats at the centre of the multiverse, spread around the inside of a torus turning atop a towering mountain spire with the surrounding Outlands radiating out below, a cramped city of spires, bureaucracy, and industry under greasy clouds that spit rain upon its streets. It is a neutral point in which all manner of creatures are likely to be seen living, working, visiting, and abiding on its streets. Angels, Avatars, Modrons, Baatezu, Tanar’ri, and Yugoloths—Baatezu, Tanar’ri, and Yugoloths because the Planescape Campaign Setting was published at the tail end of the Satanic panic of the eighties in which references to devils and demons were removed from Dungeons & Dragons to avoid ill-founded allegations that Dungeons & Dragons promoted Satanic worship—could all be found in Sigil. Normally adversarial, they were bound to keep the peace in Sigil because the city’s mistress, the Lady of Pain, caring of the city, callous of its citizens, wreathed in glittering, keen-edged blades, can simply deny them access to the doors to elsewhere in the multiverse. This does not mean that many do not covet possession of Sigil itself, but to move against the city and the Lady of Pain would be to raise her ire and perhaps even spark a war across the planes as the other factions try to prevent such a takeover. There is also the need for a neutral meeting place, especially with the ongoing Blood War between the denizens of the Nine Hells and the Abyss, which to date the Lady of Pain has prevented from spilling onto the streets of the city.
Below the city—far below the city—lies the Outlands, or the Plane of Concordant Opposition. Although the Plane of Neutrality, it is marked by a number of realms close to the Great Ring. These include Tir Na Og, ‘The Land of Youth’; the Palace of Judgement, ruled by Yen-Wang-Yeh, Judge of the Ten Law Courts and King of the Eighteen Hells; the Caverns of Thought, fizzing with the energy of brain waves and thought, whose cold and heartless tunnels always lead back to the court of the god-brain, Ilsenine, god of the Mind Flayers; and the Dwarven Mountain, a realm of merrymaking, belching smoke, and labour. Beyond lie the Inner Planes of the elements and quasielements, and the Outer Planes of morality or alignment. Also connected to Sigil and the Outlands via doors and portals and other means of planar transport are the worlds of the Prime Material Plane, and both Astral and Ethereal Space. From the start, the setting of Planescape is epic in scale.
As befitting a boxed setting for Advanced Dungeons & Dragons, Second Edition from the nineties, the Planescape Campaign Setting is richly appointed It includes four books, four posters, and a DM Screen. The books consist of ‘A Player’s Guide to the Planes’, designed to introduce the Planescape setting for player and Dungeon Master alike; ‘A DM’s Guide to the Planes’, containing detailed information about the setting for the Dungeon Master’s eyes only; ‘Sigil and Beyond’, a guide and more to the city that formed the heart of the setting; and the ‘Monstrous Supplement’, which provides the additions particular to the Monstrous Compendium—the equivalent of the Monster Manual for Advanced Dungeons & Dragons, Second Edition. The four posters in turn depict the heraldic-like icons for the setting’s sixteen factions, and maps of the Outlands surrounding the city of Sigil, the Outer Planes, and Sigil itself.
The starting point is the thirty-two page ‘A Player’s Guide to the Planes’ and right from the opening paragraph, it is clear that this is no ordinary boxed set and no ordinary setting. The reader is assailed by liberal doses of Cant, served up by berks, bashers, and barmies—fools, thugs, and crazies—who engage in chants, garnishes, and dark—gossip, bribes, and secrets. Drawn from a mixture of Elizabethan and Dickensian slang, it is jarringly in-game and jarringly informal, but it accentuates the differences between this and any other campaign setting for Dungeons & Dragons, before and since. It introduces the key concepts to Planescape, both in terms of play and design, and these are the idea of the ‘Centre of the Multiverse’ is both subjective and nonsensical; that the Multiverse consists of rings, such as the Outer and Inner Planes, and even the Outer Rings are ringed by a Great Road which lead on to the next infinite plane; the ‘Rule of Three’, that everything—good or bad—comes in threes, thus the Prime Material Plane, the Inner Planes, and the Outer Planes; Law, Chaos, and Neutrality; and so on. The denizens of the Planes also come in three types. These Primes, who were born on the Prime Material Plane, Planars, born on a plane, and Petitioners, the departed spirits of Primes and Planars, who seek to cement a union with the powers of their plane. Petitioners and other beings can be a Proxy, an agent of a Power bestowed with gifts in return for loyalty, whilst a Power is a deity who rules over a plane.
In terms of what the Planescape Campaign Setting offers the player, ‘A Player’s Guide to the Planes’ gives one broad choice, a number of new Races, and more importantly, Factions. A Player Character can either be a Prime, from the Prime Material Plane, which means that they are not subject to the effects of Monster Summoning spells or general planar magic, or a Planar, who can be subject to those effects and more—like Protection from Evil, but inherently has the power to see the gates between the Planes. The new Races are the Bariaurs, goat-like centaurs, whose males have a headbutt attack with their horns and females have stronger senses; the Githzerai, humourless ascetics with a loathing of the Githyanki and the Mindflayers; and Tielflings, halfbreed-orphans often reviled for their supposed ties to the darker powers. The Planescape Campaign Setting marked the introduction of the Tielfling.
The Planescape Campaign Setting does not include any new Classes, but does instead give cultural notes on all of the standard Classes. Instead, what it does introduce are factions. There are sixteen of these, complete with official faction title, faction philosophy, primary plane of influence, allies and enemies, eligibility for membership, and both benefits and restrictions. In general, there are no restrictions in terms of Race and Class for any one faction, though there are exceptions. For example, the Athar do not believe that there are such things as gods, so have a dislike of priests, but gain protection from certain divine spells; the Bleak Cabal believe that the multiverse does not make any sense and so are immune to any spell that causes madness; the Dustmen believe that everyone is dead, but some are dead than others, and benefit from a pact with the undead who will ignore any Dustmen member; the Free League cannot decide upon the exact nature of the Multiverse, so openly debate it and have an immunity to charm effects, since they each of their own mind; and the Mercykillers want to bring about the perfect world through justice, so allow only Lawful members and have the ability to detect a single lie per day. In general, these are relatively minor abilities, but alongside them, what each provides is an idea and a belief, which of course, roughly aligns with those of other factions, whilst bouncing off those of others. Plus, of course, they are a great set-up for scenarios, plots, and storytelling.
The second of the four books in the Planescape Campaign Setting is the sixty-four page ‘A DM’s Guide to the Planes’. In addition to describing the numerous planes of the Inner Planes and Outer Planes, and their cosmology, this book explains how magic and magic items work across that cosmology. Naturally, everyone has a view on why magic and magic items work differently from one plane to the next, but again, unsurprising, the ‘Rule of Three’ applies. The caster needs to be aware of the effect of the spell on the target’s home plane, the position of other planes involved in the spell, and the availability of extradimensional space, but beyond that it does a bit complicated as which spell or magical item works where, and knowing that becomes a bit of hassle for the prospective arcane spellcaster. In fact, mechanically, this is the most complex part of the Planescape Campaign Setting. However, the setting provides an easy way around it—Spell Keys. Which are like the Door Keys that enable the Player Characters to access portals and thus other planes, but they allow a Wizard to cast spells freely on a particular plane, whilst a Power key does the same thing, but for a Priest’s spells. Magical items tend to be less effective the further they are taken from the plane where they were crafted. The combination of keys—Door Keys, Power Keys, and Spell Keys—are a toolkit for the Dungeon Master who can use them to craft and push the direction of her game by choosing when they become available and how they become available.
The ninety-six page ‘Sigil and Beyond’ is the third and longest book in the Planescape Campaign Setting. It begins with advice for the Dungeon Master on how and why she should run a Planescape campaign. ‘A Player’s Guide to the Planes’ suggests campaigns involving all Prime or all Planar Player Characters, or a mixed group, whilst the ‘A DM’s Guide to the Planes’ emphasised the fact that the tone of a Planescape campaign is about ideas and philosophies, and that those can lead to terror and treachery as well as mercy and goodness, most obviously through the factions, but also across the planes, tied as they are, to Alignment. In fact, it could be argued that Alignment plays a role in the Planescape Campaign Setting like no other setting for Dungeons & Dragons ever before. The differences continued to be highlighted throughout the advice, that Planescape is not about straight dungeoneering and plunder, but quests and objectives, exploration and experiencing a sense of wonder, interesting with and against the factions, not about being bullies and beating everything in sight including gods and taking their powers. The advice also covers possible adventures written for low, medium, and high-Level Player Characters.
The bulk of ‘Sigil and Beyond’ is devoted to describing both the various Realms and Towns of the Outland and the City of Doors itself. There are some extra notes on the factions too, but the main focus is on Sigil, which is given enough detail for the Dungeon Master to use and bring to life. Rounding out ‘Sigil and Beyond’ are a pair of campaign quick-starts. ‘For the Price of a Rose’ is designed for low Level Player Characters and is intended to get them from the Prime Material Plane to Sigil, chasing a gang which has been stealing from the world and thus annoying the gang enough to want revenge, whilst ‘Misplaced Spirit’ can be used as a follow on to ‘For the Price of a Rose’ or used to start a campaign with all Planar Player Characters. This has the Player Characters chasing after a petitioner who has escaped the Palace of Judgement, so it gives them the opportunity to run round the city. There are also a pair of new spells and a list of the Cant, which the Dungeon Master can annoy her players and their characters with by learning and using!
The fourth and last book in the Planescape Campaign Setting is the thirty-two page ‘Monstrous Supplement’ presents twelve new monsters for the setting. Some of the entries are tough, like the Aleax, the physical manifestation of the vengeance enacted by a Power, or the Spirit of the Air, a winged monkey-minion of a Power of air and wind, so not necessarily immediately useful. Whereas, the Cranium Rat, vermin whose intelligence is boosted the greater its numbers, including spellcasting, and the Dabus, odd, berobed humanoids who speak in speech bubbles and iconography and are tasked with repairing the City of Doors, are likely to be encountered in Sigil. The longest entry is dedicated to the Modron, the polyhedral creatures of absolute order from the plane of Mechanus. It is more an interesting mix than a useful mix, and is the core set’s biggest omission and disappointment.
The extras in the Planescape Campaign Setting are not perhaps as useful as they could have been. The four-panel ‘DM Screen’ is serviceable, containing a mix of standard tables from the Player’s Handbook and Dungeon Master’s Guide for Advanced Dungeons & Dragons, Second Edition, along with the few tables from the Planescape Campaign Setting, so more of the former than the latter. This consists of the ‘Faction Reactions’, ‘Wizard School Alterations by Plane’, and ‘Magical Items in the Planes’. So not necessarily all that useful over the standard screen for the roleplaying game. Similarly, the poster showing the heraldic icons of the factions is nice, but not useful, whereas the poster maps of The Outlands, the Outer Planes, and Sigil, are much better and more useful, including extra content on their reverse side.
Of course, the other major difference between Planescape and other campaign settings for Dungeons & Dragons is the physical design. The palette of green, Verdigris, and brown, the use of Exocet typeface which replaced the letter ‘t’ with ‘+’, and the stunning artwork of Tony DiTerlizzi which wraps sinuously around the text and echoes the administrativia and grotesquery of Mervyn Peake’s Gormanghast novels. This is in addition to the iconography of Dana Knutson, who created the symbols for the factions and most notably, that of the Lady of Pain, which adorns the front of the box and each book.
—oOo—The Planescape Campaign Setting would win the 1994 Origins Award for Best Graphic Presentation of a Roleplaying Game, Adventure, or Supplement, but the reviews were limited in number. The Planescape Campaign Setting was reviewed by Rick Swan in ‘Role-playing Reviews’ in Dragon Magazine Issue #207 (July, 1994), giving it a rating of six out of six, or ‘The Best’ as well as describing it as “…[A] spectacular boxed set and TSR’s most ambitious campaign world to date.” and “…[D]esigner Zeb Cook’s finest effort since 1985’s Oriental Adventures and may be his masterwork.” He praised the boxed throughout, before ultimately concluding with a warning: “By covering so much ground and hinting at so many possibilities, the PLANESCAPE set raises expectations that may be tough to meet. Despite five books of material, there’s only enough room to give a taste of what’s in store, hence the tantalizing asides about dungeons made of giant skulls, a link between Toril and Krynn, and cities that change planes when their populations change alignments. This set is a box of promises, and if subsequent supplements fail to deliver, there’s going to be an awful lot of disappointed berks.”
Scott Haring, reviewing the Planescape Campaign Setting in ‘Pyramid Picks!’ in Pyramid Vol. 1 #8 (July/August, 1994) opened with, “I’ll cut to the chase — Planescape is the finest game world ever produced for Advanced Dungeons & Dragons. Period.” He described it as being, “…[E]verything us cool, jaded, disaffected gamers always complained that AD&D was not — sophisticated, almost adult roleplaying.” Praising the Planescape Campaign Setting throughout—best especially the artwork of Tony DiTerlizzi—Haring concluded with, “Planescape is a revolutionary product, a breakthrough for TSR. If you think you’ve “graduated” from AD&D, that you’ve evolved past it, go back and take a look at Planescape. This is the game world that will get you playing AD&D again.”—oOo—
The Planescape Campaign Setting could have been written by White Wolf in the nineties. After all, its emphasis on the presence and role of factions in the setting do make it feel like a World of Darkness roleplaying game, enabling the telling of stories around politics and beliefs as well as the exploration of the planes and more. The Planescape Campaign Setting includes a wealth of material to support such a campaign, but it is a wealth that does not feel quite enough, especially when it comes to the factions and the planes. The Dungeon Master is definitely going to want to know more to help her bring Sigil: The City of Doors and the Outlands to life. Of course, TSR, Inc. would follow up the Planescape Campaign Setting core box set with numerable supplements, including multiple boxed sets that would add depth and detail to the Multiverse of Planescape. Of these, the Dungeon Master is going to want In the Cage: A Guide to Sigil for a better guide to Sigil: The City of Doors, The Factol’s Manifesto for more detailed descriptions of the factions, and the MC8 Monstrous Compendium Outer Planes Appendix for more foes. The Planescape Campaign Setting is a superb start though, an amazing introduction to the setting and means of getting berks and bashers to Sigil: The City of Doors.
The Planescape Campaign Setting is the most interesting, the most innovative, and the most individual of all the worlds created for any iteration of Dungeons & Dragons. It is a fantasy utterly non-traditional, taking the Player Characters from the Dickensian grubbiness of the alleys of Sigil: The City of Doors all the way out to the infinite splendour of the Outer Planes and back again in time for bub and kip, a setting and a game line whose look and feel, let alone that setting, is genuinely unique and can truly be described as iconic.

Ten years ago, the Abisko Mine was forcibly shut down following an explosion which killed many of the mine workers. Located in the far north of Sweden above the village of Abisko, all that remained of the mine was a crater. There were few if any survivors and no investigation, the cause of the disaster becoming first the subject of conjecture, and then rumour, as the incident was forgotten about. Recently, the mine and its surrounding area was bought by the Svea Mining Corp, owned by Karl Magnusson and his wife Sigrid. They have attracted the interest of scientists, the attention of the military, and the money of investors with rumours of the discovery of a new type of gemstone that could change the fate of Sweden and the course of the world, speeding up the pace of industrialisation which is already sweeping the country. Yet there are those who have not forgotten the explosion that closed down the original Abisko Mine, and worse, they believe that the gemstone is not something that should be exploited, but instead studied and kept careful control of, lest it fall into the wrong hands. One of these is Franzibald Hansen, Danish author and expert on Norse mythology. Although wealthy and knowledgeable, he lacks the means to investigate himself, let alone deal with the problem as he sees it beyond being a lone voice. Thus, he turns to one of his old contacts and through her, the Society, the body of scholars and adventurers based in Castle Gyllencreutz in Upsala, whose gift of second sight enabled them to see the Vaesen, the supernatural creatures who have for centuries lived alongside the folk of Scandinavia. With their help, Franzibald Hansen is sure that he can prevent the Magnussons from bringing their plan to fruition and the gemstones from falling into the wrong hands.
This is the set-up for The Lost Mountain Saga, the first campaign for use with Vaesen – Nordic Horror Roleplaying, the Roleplaying Game of investigative folklore horror set in nineteenth century Scandinavia published by Free League Publishing. As well as being the first campaign for Vaesen, what is also notable about The Lost Mountain Saga is that it is based on a podcast of the same name that the author has adapted for use with Vaesen. This continues the phenomenon of roleplaying podcast adaptations previously seen with Critical Role and Tal’Dorei Campaign Setting Reborn from Darrington Press and Old Gods of Appalachia from Monte Cook Games. In the case of The Lost Mountain Saga, the result  is a relatively short campaign, consisting of five parts that take place over the course of a year, from September to August. The only requirement for it is the core rules and the fact that the Player Characters are members of the society and have conducted a handful of investigations, and thus be able to improve the facilities at Castle Gyllencreutz. Optional are other scenarios for Vaesen. There are gaps of several months between the third and fourth parts and between the fourth and fifth parts where the Game Master could run another scenario or two. That said, if the Game Master decides not to run other scenarios between the five parts of The Lost Mountain Saga, then the campaign can be played through quite quickly at a rate of two or three sessions per scenario—at the very most.
All five chapters of the campaign follow the same structure as other scenarios for Vaesen. The ‘Background’ and ‘Conflicts’ explains the situation for each scenario, whilst the ‘Invitation’ tells the Game Master how to get the Player Characters involved. In The Lost Mountain Saga, this includes letters, invitations, and the personal request of Franzibald Hansen, which will lead to the town or village where the mystery is taking place, the getting there detailed in the ‘Journey’, typically a mix of railway and coach journeys. It should be noted that every mystery has a moment or two when the Player Characters can prepare and goes into some detail about the journey. There is an opportunity for roleplaying here, perhaps resulting in longer travel scenes than the core rulebook necessarily recommends. The ‘Countdown and Catastrophe’ presents the Game Master with one or two sets of events which take place as the Player Characters’ investigation proceeds, sometimes triggered by the Player Characters, sometimes triggered by the NPCs, whilst ‘Locations’ cover NPCs, Challenges, and Clues, all leading to a ‘Confrontation’ and its eventual ‘Aftermath’. The mysteries are well organised, a mix of the sandbox and events which the Game Master will need to carefully orchestrate around the actions of her Player Characters. Only the most pertinent of the locations in each town or village is described and the Game Master is advised to create others as needed, though she will very likely need a ready list of Swedish names to hand for whenever the Player Characters run into an NPC or two. That said, the campaign is fairly linear and self-contained, meaning that relatively little preparation is required outside of the campaign itself and it can serve as an introductory or starter campaign the first time Game Master could run after she has run a few scenarios.
The campaign opens with ‘Duty and Despair’,  with news of the reopening of the Great Copper Mountain mine of Falun. This brings the portly bon viveur, Franzibald Hansen, to Castle Gyllencreutz. He has received a letter from the local priest about an outbreak of witchcraft and requests their help in investigating it. Almost everyone in the town seems charmed by the exceptionally stern Reverend Bruselius, who quickly settles on the culprit and prepares to hold a trial. Is she guilty, or is there someone else responsible and can the Player Characters identify them in time? However, in discovering this, the Player Characters will encounter another vaesan, one which will already have taken its first victim—Franzibald Hansen! It seems that he had an interest in Falun more than the outbreak of witchcraft, but quite will be revealed in the next few chapters.
‘The Beginning of the Fall’ shifts the mystery back to Upsala where the university is hosting an exclusive ball which will be attended by members of the nobility, the military, and the science community. This is because Karl and Sigrid Magnusson are going to announce the nature of the gemstones their operation has unearthed at the Abisko Mine. At the same time, there are reports of overcrowding at the city’s asylum, including a journalist who wrote an article critical of the Svea Mining Corp. Is this a coincidence? The ball is a chance for the Player Characters to mix with members of high society—military, noble, and scientific—so the Game Master may want to have some NPCs ready here, as well as a chance to get a good look at the strange gemstones. In addition, some of Franzibald Hansen’s secrets will be revealed!
The middle part of The Lost Mountain Saga is ‘Where the Sun Dies’, and it sends the Player Characters off in an entirely different direction—Norway! Norwegian Police Commissioner Olof Dahl comes to the Castle Gyllencreutz asking for their help. Contact has been lost with the island of Værøya above the arctic circle as it appears have suffered a radical fall in temperature weeks before it is normally due and to date, none of the rescue missions have returned. Having travelled to Bergen, the Player Characters set sail aboard an icebreaker commanded by one Captain Harrock—“Billions of bilious blue blistering barnacles!!”—and so investigate the island. From having to ski across the ace to reach Værøya to confronting the frosty foe responsible, this is an entertaining scenario that is quite creepy and unsettling in places.
‘The Prince and the Witch’ returns the action to Upsala and to the great Valborg bonfire next to the Royal Mounds of Upsala for the ancient spring festival. There a young woman asks for the Society’s help. She is a member of the Vanadisir, an organisation whose members claim to be the descendants of the Norse goddess Freja, and she wants help in rescuing her leader from an evil man in this forest. It turns out that ‘he’ is not a prince, but a snake, and not the only one in this linear encounter which draws the Player Characters back into the past. The confrontation is particularly nicely handled here.
The campaign comes to a close with ‘The Lost Mountain Saga’. A plea from an unexpected quarter sends the Player Characters back to where the campaign begins to reveal the secrets of the Abisko Mine and the true dangers that it represents to all of Sweden. The scenario literally ticks down to the climax in a race to prevent the Svea Mining Corp’s plans coming to fruition and a final confrontation.
Physically, The Lost Mountain Saga is everything that you would expect a book for Vaesen – Nordic Horror Roleplaying to be. It is well written and presented, but the artwork and the cartography are both excellent, evoking a mixture of nineteenth century charm and folkloric horror. The book itself is actually a lovely artefact in its own right.
The Lost Mountain Saga is a short campaign as well as being an uncomplicated campaign. This and its year-long, but handful of chapters, structure give it space and a flexibility into which the Game Master can add or develop her own content. This may well be necessary to offset its quite linear nature and the fact that the campaign veers away from its storyline in its middle chapters. If the campaign is instead played through at pace, this may not be an issue though. Overall, The Lost Mountain Saga is a good starter campaign for Vaesen – Nordic Horror Roleplaying, suitable for the Game Master looking for a first campaign and the veteran Game Master looking for something lighter.

Just after you review one roleplaying game about running a coffee shop with difficult customers designed to be run on its own or as corollary on top of just about any roleplaying game imaginable, along comes another roleplaying game about running a coffee shop with difficult customers designed to be run on its own or as corollary on top of just about any roleplaying game imaginable.* Coffee & Chaos – Comedy Café Roleplaying Game from Cobblepath Games was the first, a standalone game which used ordinary playing cards, cutlery mattered, and a slice of life was served up with smile and a heart in the foam in the face of difficult customers and dwindling resources (as essentially, there was never anyone to do the washing up!). The Eternal Grind Café is the second. It is published by Mottokrosh Machinations, best known for Hypertellurians: Fantastic Thrills Through the Ultracosm, the Old School Renaissance adjacent 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. Certainly, any of those ‘Hypertellurians’ could end up in the Eternal Grind Café, but then again so could any character from any roleplaying game. Definitely though, The Eternal Grind Café does not share the same inspirations as Hypertellurians: Fantastic Thrills Through the Ultracosm.

* If I have to review a third, something weird is going on.

What has happened is that in their hubris, the Player Characters have angered the gods. To teach them a lesson, the gods have cast the Player Characters into Hell. Instead of hellfire and brimstone and eternal torment, it turns out that Hell is actually a minimum wage job in the only growing industry in the world. In other words, work as a barista. So now, where they were once mighty heroes and heroines who braved the odds to defeat dragons and save the princess, long-bearded wizards who commanded cosmic forces of magic, an accountant driven to investigate the unknown, and in the process save humanity unacknowledged, a necromancer who raised an army of the dead, and so on, they now clock on, tie an apron on, smile, take orders for coffee, brew that coffee, and smile again, until it is time to clock off. Unfortunately, the Eternal Grind Café gets at best, the most interesting customers, at worst, the worst customers in the known universe, and all the Player Characters have to do is suck it up until the end of their shift, or if they are really lucky, the gods change their minds. Which is unlucky. So technically, the Eternal Grind Café could actually be called the Infernal Grind Café...

The Eternal Grind Café is a storytelling style roleplaying game for between three and five players, which can be played in a single session. Mechanically, it is very simple, but it provides scope for lots of roleplaying and scope for improvisation. Designed for three to five players, as written, it is intended to be run by a Game Master, who portrays all of the customers who come to the Eternal Grind Café. However, it can easily be run without a Game Master, with the players taking it in turn to portray the bad or difficult customers. A barista in The Eternal Grind Café has two stats or skills. Barista covers anything to do with coffee and running the coffee shop, whilst Character covers everything else—and that includes everything that the barista could do as a Player Character in his home game. The hero’s wielding of a sword, the wizard opening up a portal to the netherworld, the accountant budgeting or casting Elder Sign when he really needs it, or the necromancer commanding the undead… Both skills start at three and are rolled on a six-sided die, the aim being to roll under. If good customer service is given, then both skills move to the right, but if bad customer service is given, they both move to the left. If the stats move to the right, the Barista skill goes up, but the Character skill goes down. If the stats move to the left, the Barista skill goes down, but the Character skill goes up. If either skill is raised to six in this fashion, the Barista loses his and the player loses control of his Barista, but in different ways depending on the stat. A Barista skill at six means that the barista has become a mindless drone, but a Character skill at six means that the barista goes on a murderous rage! Which is truly terrible customer service.

To prevent either from happening, the barista has an outlet—social media. If the player describes a social media post in which his barista complains about his job, he can reduce his Barista skill by one. If he describes a social media post in which he tells of a flashback about his Player Character’s epic deeds in his former life, he can reduce his Character skill by one. In this way, the Barista and Character skills go out of sync.

The aim of the baristas is to gain tips. Each tip is represented by a die type, from four-sided to twenty-sided dice. The bigger the die type, the bigger the tip.* Each die goes into the tip jar. At the end of the shift or whenever the health inspector turns up, all of the dice are rolled and totalled. For each full twenty points rolled, the gods relent, and let a barista return to his former life. If there are not enough points for every barista, then it is every barista for himself and since this hell, betrayal or doing the dirty is just going to be seen as part of the décor.

* The use of Dungeon Crawl Classics dice would be particularly diabolic!

To support play, the Game Master has tables for determining the belligerent nature of the coffee machine—it could be haunted or it could woof and wag its tail like a dog, for random events, and for twenty customers. They include Three Sloths in a Trench coat, Belon Trusk X, a barista’s Mother, Mango Maga Man, and more. Each one comes with roleplaying tips and what the baristas need to do for each to give a good tip. There is a sly sense of humour to the various customers. The Game Master is advised not to say who the customer is, but just describe what they look like and let the players work it out…

Physically, The Eternal Grind Café is lightly and cleanly presented. The artwork is light and suitably humorous. Elements of the presentation will change for the full edition rather than this the Preview Edition. Things that can be added to the game include coffee options, more complications, and more customers.

The Eternal Grind Café is a light and silly roleplaying game that is ever so easy to prepare and equally as easy to run. Perfect to run in between longer games or as a pick-up game, whether at a coffee shop or at home, The Eternal Grind Café is relaxing fun until everyone has the chance to get out of hell and never have to work another shift again!

It is difficult to describe what Asterion is without being as direct as its author is. So not to beat about the bush, Asterion is a sex dungeon. Asterion is a sex dungeon for Lamentations of the Flame Princess Weird Fantasy Roleplaying published by Lamentations of the Flame Princess. What it does is take the Ancient Greek myth of the creation of the Minotaur and turn it into a sex dungeon and combine it with a bloody meatgrinder. In the myth, Minos, King of Crete, prayed to the sea god Poseidon to send him a snow-white bull as a sign of the god’s favour and promised to sacrifice the bull to the god. When he did not, Poseidon punished Minos by making his wife fall in love with the bull and eventually she bore a child, a half-bull, half-man. Called Asterius, this is Minotaur. So inhuman and so ferocious was Asterius, that he would only eat human meat. After taking advice from the Oracle at Delphi, Minos had the craftsman, Daedalus, construct a mighty labyrinth to house the Minotaur. Into this, King Minos would cast his enemies. Asterion takes this myth and removes any references to Greece, enabling the Game Master to drop the adventure into her campaign, if, that is, she actually wanted to. Because remember, Asterion is a sex dungeon, as the Minotaur is not only wandering the labyrinth eating anyone he finds in there, he is also living out a priapic fantasy with anyone he finds in the labyrinth—whether they want to or not.

It should be noted that Asterion is written by the author of Beware the Mindfuck. That scenario carried an ‘18+ Explicit Content’ label on the front cover—and it deserved to. As does Asterion. Be warned. The language and the tone of Asterion is strong and of an adult nature and it deserves that exact same warning label. Unfortunately, it does not have one. In the meantime, some of the language and content in Asterion is repeated as part of the review where necessary.

After some immature posturing by the author about how he is not going to tell the Game Master how to run the adventure, how the adventure is not “…[F]or those that get easily butt hurt about touchy subjects”, and that the Game Master should run it if she has a “cool group”, he actually settles down and begins telling the reader what the adventure is about. The set-up is simple. The Player Characters are thrown into the Labyrinth, perhaps with a sword or a spear and some torches and then left to it. Accompanying them is a number of Zero Level tributes to Asterion, the Minotaur. The Labyrinth is described as a series of tight corridors crossed by many intersections, at which Bull Calves, the offspring of Asterion, will be grabbing them and attempting to eat them, have sex them—that is, rape them, take them back to their father, or a combination of all three. The Zero Level tributes are replacement Player Characters. So far, so bad. Fear not though, for it gets worse.

Instead of there being a map of the Labyrinth—the Game Master is expected to make it up—there is simply a table of twenty, increasingly detailed and unpleasant encounters. Screams, statues, mushrooms growing in cow dung, corpses, and so on, seem perfectly normal. Elsewhere an incredibly attractive, incredibly large woman demands sex in return for oracular divinations and will get extremely frustrated if the Player Characters refuse; a male dominant, dressed all in leather, invites the Player Characters to participate in his sex dungeon and attacks them with his handcrafted sex toys when they refuse; and a scene of bestiality. Plus, there are the scenes with the Bull Calves having sex with and/or eating the women imprisoned in the Labyrinth.

Running Asterion involves the Game Master describing the Labyrinth to her players, occasionally rolling for an encounter on the table, and when all of those are crossed off, she can run the scenario’s final scene in Asterion’s throne room. There are promises of freedom, but as the author makes clear in his ‘Wrapping Shit up’, “Everyone will die! Seriously. It’s a fuckin [sic] meatgrinder!” There are stats for the various monsters in Asterion, but that is about it.

Physically, Asterion is thankfully short. It is unpleasantly written and surprisingly, is illustrated with numerous images of statues and vases from Ancient Greece given that this aspect of the background to the scenario is ignored.

So, what you have in Asterion is a meatgrinder—in all senses of the word—one-shot in which the Player Characters are exposed to a lot of sex and semi-cannibalism, not expected to survive, and that is it, really. In fact, there really is very little for the Player Characters to do except wander around and fight. That is the extent of the agency they have. For the players, there is equally as little for them to do, little that is going to engage them or their capacity to roleplay, and ultimately, all Asterion does is expose them to the sexual fantasies of the author.

Asterion is repulsive, immature, and pointless. It does not deserve so much as an ‘18+ Explicit Content’ label, but an ‘Immature Players Only’ label.

—oOo—

DISCLAIMER: The author of this review is an editor who has edited titles for Lamentations of the Flame Princess on a freelance basis. He was not involved in the production of this book and his connection to both publisher has no bearing on the resulting review.

The Nature of the Beast is a scenario set in an England rent by division and strife during the reign of Charles I. This division is between the Protestantism of the country and the Catholicism of Rome, Paganism and Protestantism, King and Parliament, King and country, weakening the Anima Gentum, the bloodline and the Crown, which ensured that the Crown looked to both the spiritual needs and the physical needs of the country. The Anima Gentum is yet to be broken with the execution of the king in 1649, but the Veil has been weakened by this division, giving access to the beyond, the Shadowlands, and the Demonic Realms, and so allowing mankind to entreat with things beyond our understanding. The Anima Gentum will be broken, England will be upturned, and the land will have no king. In the north of England, as the Scots fume and bridle at the King Charles’ attempt to reform the Presbyterian Church and there is mutterings of civil unrest in the south as the king may actually recall Parliament for the first time in a decade, the weakening of the veil has enabled a terrible revenge to be wrought from beyond the grave. Monsters stalk the land, and though they do not know it, they threaten the reputation of a noble family even as their presence brings about terrible tragedy.

The Nature of the Beast is the first scenario to be published for The End of Kings: Core Rules for 17th Century Adventure, the roleplaying game of magic, monarchy, and division set in the early modern period prior to the English Civil War. Published by MontiDots Creations, best known for publishing horror scenarios such as The Fenworthy Inheritance and scenarios for the Old School Renaissance such as Limbus Infernum. It is a roleplaying game in which weaselly Vagabonds, stout Commoners and Yeomanry, and gracious members of the Nobility, as Cunning Folk or Woodkernes, Clubmen or Soldiers, Priests or Witch Hunters, Warlocks or Outlaws seek adventure and perhaps work to protect the realm from creatures from beyond the Veil and machinations of those men and women who would take advantage of the weakening of the Veil. Notably, it uses the GORE Generic Old-School Role-playing Engine published by Goblinoid Games. This is a percentile system which means that anyone familiar with the Basic Roleplay mechanics will have no difficulty adapting The End of Kings and thus The Nature of the Beast.
The scenario opens with the ‘Adventurists’—as it terms the Player Chaarcters—being hired by Reverend Richard Hinde, the corpulent priest of the village of Cranfold in the north of England. The flocks of sheep kept round the village have been subject to a spate of vicious attacks, the corpses left mutilated and half-eaten. The village is divided as to the nature of the culprit. Although no wolf has been seen in the country for a century, some say that is what it is, but others think it to be something much, much fouler. The priest, though, will confide that he thinks it a thing summoned through the Great Veil, though by whom or to what end, he can only conjecture. He had thought to hire the local hunter, but he has not been seen for days, but there is worse news for the reverend’s employer, the local squire. Lord Perfleet’s eldest daughter has also gone missing. The Adventurists are thus to travel to Cranfold and investigate the activities of the creature before hunting it down and killing it.

These events are of course, all connected, as the Adventurists will discover in the course of their investigations. Initially, it is suggested that this take the form of divination. The scenario gives crystallomancy as being the most effective and suggests that one of the Adventurists be capable of this, whilst another should be a priest with a sanctified silver cross capable of holding twenty Magic Points. The divination will grant them some initial hints, and can be used to gain further insights once the Adventurists arrive in Cranfold and want to examine the surrounding valley. Beyond this, their efforts are hampered by the arrival of the county Intelligencers—members of the inquisition who search for witches and signs of the devil—who have come to Cranfold in order to uncover what they think to be the activities of a witch. Bullies, man and woman, they will be quick to discover the ‘culprit’, denounce her, and condemn her to her fate, all in the name of god and coin in the pocket! The witchfinders are a reprehensible bunch, and are likely to arouse the ire of the Adventurists. This may lead to confrontation, if not between the Adventurists and Intelligencers, then between the Intelligencers and the returned hunter. The issue for the Adventurists is that the Intelligencers have the law on their side and any confrontation will get them into trouble. If he can be found, he knows much more about what has been happening and will point the Adventurists in the right direction, including approaching a caravan of Roma who are due to pass through the village as they regularly do at this time of the year. They will be able to help with advice and more before the Adventurists home in on the source and centre of the horror going on in Cranfold.
The Nature of the Beast is well supported with excellent maps and stats of the various NPCs and monsters. However, it could have been better organised, such as giving the description of the village towards the start of the book rather than in the middle of the adventure. Otherwise, physically, The Nature of the Beast is well presented, decently illustrated, and does come with great maps.
Where The Nature of the Beast is at its weakest is in the overreliance upon crystallomancy and divination as a means for the players and their Adventurists to gain hints and clues. It does not allow for other options and this, combined with the poor organisation means that The Nature of the Beast is not as easy to run as it should be. Here is where it could be better developed to be more flexible and less reliant on magic.
The Nature of the Beast is a solid adventure that combines some familiar elements—attacks on animals, revenge from beyond the grave, fear of witches, folk horror, and so on—with a pervading sense of horror and the unknown, the result feeling very much like a Hammer Horror film. The climax of the scenario does lend itself to cinematic action, so enforcing that feel. Even if the Game Master does not want to run the scenario using The End of Kings: Core Rules for 17th Century Adventure, the plot and set-up of The Nature of the Beast is relatively easy to Warhammer Fantasy Roleplay, Fourth Edition or Lamentations of the Flame Princess Weird Fantasy Roleplay, as both are set during a similar period.

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

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

—oOo—
Name: The Viscount Who Left MePublisher: Chaosium, Inc.
Author: Z.V. Cretney

Setting: Regency-era BathProduct: Scenario for Regency Cthulhu: Dark Designs in Jane Austen’s England
What You Get: Fifty-two page, 52.14 MB Full Colour PDF
Elevator Pitch: ‘Gone Groom’ (not by Gillian Flynn) Plot Hook: The groom has gone, can the bridesmaids save the day?Plot Support: Staging advice, six pre-generated Bridesmaids, ten NPCs, thirteen handouts, one Occult tome, one occult spell, and one occult monster.Production Values: Excellent
Pros# You get to play Regency bridesmaids!# Regency folkloric horror one-shot# Highly detailed scenario# Detailed Investigators# Nicely done handouts# Great title# The bridesmaids need to return# Ornithophobia# Hemophobia# Anthropophobia
Cons# Bridesmaids may need a pointer or two get the investigation started
Conclusion# Connection between set-up and first investigative steps undeveloped, but otherwise another good one-shot for Regency Cthulhu: Dark Designs in Jane Austen’s England# Richly detailed post-wedding Regency weirdness whose bridesmaids deserve a sequel

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

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

—oOo—
Name: Hail To The KingPublisher: Chaosium, Inc.
Author: Marco Carrer

Setting: New York State, 1989
Product: One-on-One Scenario
What You Get: Nine page, 448.60 KB Full Colour PDF
Elevator Pitch: “Modern music is as dangerous as narcotics.” – Pietro MascagniPlot Hook: This is one rare record you won’t want to rave aboutPlot Support: Staging advice, one pre-generated Investigator, and four NPCs.Production Values: Untidy.
Pros# One Investigator, one session scenario# Easy to adapt to other modern time periods with recorded sound# Straightforward investigation# Melophobia# Hemophobia# Pharmacophobia
Cons# Needs a good edit# Linear# Needs an opposition to mix up its noir nods and make it a MacGuffin hunt
Conclusion# Seedy, direct investigation that feels just a bit too easy# Tell, me have you heard the Yellow Sign?

Cepheus Deluxe: Enhanced Edition is a Science Fiction roleplaying game with a long history. If Dungeons & Dragons has its own Systems Reference Document containing guidelines for publishing content under the Open-Gaming Licence, then so does Traveller, the classic Science Fiction roleplaying game inspired by Imperial Science Fiction, published by Game Designer’s Workshop in 1977. This is the Cepheus Engine System Reference Document, which contains the ‘Classic Era Science Fiction 2D6-Based Open Gaming System’, which provides a common framework for Referees to create and run, and players roleplay, whether for their own table or for actual publication. This is a roleplaying game which enables the Player Characters to travel the stars, explore new worlds, engage in speculative trade, conduct small scale military missions, fight off pirates preying on interstellar trade, investigate strange alien ruins, and more.

Cepheus Deluxe: Enhanced Edition is published by Stellagama Publishing, best known for the campaign setting, These Stars Are Ours!. It is an update and expansion of earlier versions of the rules. The changes include the inclusion of the hexadecimal notation system beloved of Traveller being optional; combining skill and characteristic modifiers—which means that the target thresholds for actions are higher; Player Character is less random and a Player Character cannot die during the process, although he can be injured; damage suffered by Player Characters and NPCs is not deducted from characteristics, but from Stamina and Lifeblood, instead; Player Characters have Traits, heroic abilities which makes them stand out; spaceships can be larger—ten thousand, rather five thousand tons—and can be equipped with main guns, like Particle Guns and Gravitic Disruptors; technology is shifted up and down slightly, so that Cybertechnology can be available at Tech Level 9 and Force Shields at Tech Level 16; Player Characters can suffer mortal wounds instead of dying and can even undergo Cyborg Conversion or Bio-Reconstruction; and a section for the Referee has been added. There are innumerable changes and additions throughout Cepheus Deluxe: Enhanced Edition, but they are compatible with previous editions of the Cepheus roleplaying game. Cepheus Deluxe: Enhanced Edition is upfront about these changes, but in addition, throughout the rulebook, the Referee is given options that she can include in her campaign.

A Player Character in the Cepheus Deluxe: Enhanced Edition has six characteristics—Strength, Dexterity, Endurance, Intelligence, Education, and Social Standing. These typically range between two and twelve, but can go much higher. Then a Player Character has skills. These range from Admin, Airman, and Athletics to Tactics, Watercraft, and Zero-G. Notable omissions are the Mechanics and Electronics skill, replaced by repair, Admin includes the Advocate skill, and Gambling is part of Carousing. Skills range in value from zero to five, and are gained from a Player Character’s Homeworld and his Career. He also gains one or more Traits, depending on the length of that Career. These are tied to particular skills, so for example, ‘Jump Tuition’ requires Piloting 1 as a skill and allows the Player Character to roll with Advantage when making a Jump throw and travel faster-than-light, whilst ‘Explorer’s Society’ grants a high passage ticket once every two months and free stay at the society’s hotels.

To create a Player Character, a player assigns an array of values to the Player Character’ characteristics. He chooses one skill for his character’s Homeworld and then puts him through a Career. There are twelve of these, and include Agent, Belter, Colonist, Elite, Navy, Pirate, Rogue, Scholar, and more. A career lasts a number of terms, each four years in length—though an option allows for their length to be random—and a player picks skills as he takes his character from one term to the next, learning fewer skills as he ages. Once per turn, the player can also choose to give up a skill option and instead increase a characteristic. There is also the chance of suffering from the effects of age, but the main thing that the player will be rolling for is an event each term. This creates an incident which the Player Character can gain from or suffer because of it, and it can be career-related or it can be life-related. At the end of the Career , a Player Character will gain mustering out benefits in terms of money, items, ship’s shares, and characteristic bonuses. In extreme situations, a Player Character will find himself being trained in psionics or being sent to prison!

Using the Event Tables allows a player to create a bit of background about his character. For example, this belter grew up on an inhospitable colony before signing on with a mining concern to strike it rich. He never did, but he was sponsored for university and trained in the sciences and technical subjects. After nearly getting injured during an attack on the company facilities, he decided to retire, believing he had sufficient skills to go it alone and look for his own strike.

Karol Stounten
Strength 4 Dexterity 6 Endurance 7 Intelligence 11 Education 11 Social Standing 8
Career: Belter, 4 Terms Rank: Crew Boss
Stamina: 7 Lifeblood: 7
Age: 34 Homeworld: Inhospitable Outpost
Events: Pirate Protection Racket (Resisted), Study, Specialist Training, Cyberterrorism!
Skills: Athletics-0, Computer-2, Demolitions-1, Engineering-1, Melee Combat-1, Piloting-2, Repair-1, Science-3, Streetwise-1, Zero-G-1
Traits: Sensor Ace, Scientist (Physical Sciences)
Equipment: Spacesuit, CR 10,000 Prospector

Mechanically, Cepheus Deluxe: Enhanced Edition is simple. For a Player Character to undertake an action, his player rolls two six-sided dice and aims to beat a target number, typically eight or more, for an average difficulty task. The player will add modifiers for the characteristic and the skill being used, a skill rating of two indicating that the Player Character is a trained professional and an experienced professional if three or more. A roll of twelve always succeeds, and sometimes, a situation will give the Player Character Advantage, enabling his player to roll three six-sided dice and use the best two. This is usually due to a Player Character trait. The amount by which the roll exceeds or misses the Target Number is called the Effect. Effect itself is not clearly explained, although there are numerous uses for it throughout the book, such as increasing the damage by a successful attack or the captain aboard a starship in combat using Leadership to ‘Lead Crew’ and create bonuses that his player can assign to the other crew members.

As a Science Fiction roleplaying game, Cepheus Deluxe: Enhanced Edition provides a wide range of equipment. This includes armour, exploration and survival gear, arms, armour, and cybernetics. The latter is classified into four grades, which start with A-Grade, superficial or common implants, such as cosmetics or an Internal OmniComp, all the way up to R-Grade cybernetics, invasive, experimental, and irreversible implants like a Berserker Module or a Hercules Frame Replacement. Every cybernetic implant has a point cost. If a Player Character has more than six points worth of Cybernetic Points, he suffers from cyber-disassociation, which will affect his ability to socialise. The weapons include vibroblades, gyrojet guns, tanglers, blasters and laser guns, and even a grav launcher that fires a floating plasma bomb that the user can guide to the intended target. A solid selection of vehicles is included too, as well as a quick and dirty robot design sequence, which allows them to be created in a few minutes, alongside a few examples, ready to be used in play.
The rules for combat allow for cover, aiming, automatic weapons, suppressive fire, grappling, morale, and more. If a combatant suffers more damage than his Dexterity characteristic, he is knocked prone. Damage is deducted from Stamina first, and then Lifeblood, the latter indicating that he has been wounded. If it is less than half his Lifeblood, he is seriously wounded. He is mortally wounded if it is reduced to zero. There are rules for trauma surgery and recovery. The rules for chases cover both foot chases and vehicle chases. Psionics are handled in a straightforward fashion, possible talents consisting of Awareness, Clairvoyance, Telekinesis, Telepathy, and Teleportation. What talents a Player Character might have are determined randomly, but at the very least, he will have Telepathy. His Psionic Strength, essentially an extra characteristic, determines the number of PSI points he has and the abilities he has within a talent. In order to use a psionic ability, he simply spends the PSI points.

Understandably, the longest section in the longest section in Cepheus Deluxe: Enhanced Edition is devoted to starships. Spacecraft below one hundred tons are smallcraft and do not have a Jump Drive. Interstellar travel is achieved by the aforementioned Jump Drive, rated between one and six, indicating how many parsecs a starship can travel in a single jump. Speed within a system is measured in gees, again from one to six. The rules begin by explaining how starships are operated and the costs of doing so, including speculative trade in terms of cargo and passengers. The procedure for the latter is explained and there are suggestions too, on how to make the ferrying of cargoes more interesting. There is a similar procedure for designing spaceships and starships, all the way up to hulls displacing ten thousand tons. The latter enables the creation of large vessels and arming at that scale with large weapons that fit in triple turrets and bay weapons that displace fifty tons, and even main gun weapons that displace one thousand tons. In general, these are outside of the scope of most campaigns that a Referee might run, but their inclusion allows the possibility of a big, naval-based campaign. The procedure is the most complex in Cepheus Deluxe: Enhanced Edition, involving as it does quite a lot of decisions and arithmetic. The process does take a bit of practice to get right and get the numbers to balance. Numerous common spacecraft designs are included too, from a ten-ton fighter and ten-ton gig, all the way up a thousand-ton cruiser. Most of the vessels that will be within the purview of the Player Characters include the two-hundred-ton trader, one-hundred-ton scout vessel, and so on.

Spaceship combat is similarly complex. It is conducted in six-minute rounds which allow for weapon recharge cycles, the distances that missiles have to travel to reach their targets, the time needed for repairs, and so on. In that period, each crew member has time to take a single action. For the captain, that will be to ‘Lead Crew’ to orders, and more importantly, possible bonuses, or to ‘Outmanoeuvre’ the enemy and gain a better Position in relation to them; the Pilot has a choice of Attack Vector, Disengage, Evasive Manoeuvres, Plot Jump, and more; the Sensor Operator can Spoof Missiles, Jam Sensors, Target Systems, gain a Sensor Lock, or Break a Sensor Lock; the Gunner can Fire Energy Weapons, Launch Missiles, Launch Sand (which screens against attacks), or fire Point Defence weaponry; and the Engineer can Overcharge weapon or Redline Engines, or conduct jury-rigged repairs. It starts with attempting to gain Position over the enemy, this replacing what would be Initiative or Range in ground or air combat, as there is neither in space in Cepheus Deluxe: Enhanced Edition. Combatants can target specific locations on a spaceship, and if an attack does get through and hit an enemy vessel, it can inflict surface, internal, or critical damage. Internal and critical hits can damage or destroy specific components or locations aboard a vessel. The rules also allow for radiation damage too. Overall, the rules are busy and detailed—but not overly so, and they do work to keep every Player Character aboard a ship busy and useful in a fight.

The rules for world creation remain unchanged. The procedure enables the Referee to roll for the various factors which make up a world—size, atmosphere, water percentage, world government, law level, starport, and tech levels. All these will together indicate trade codes and the presence of bases, whilst the Referee determines what travel zone the world lies and what allegiances it has, if any, plus communication and trade routes. The procedure is straightforward and much less complex than the rules for either starship combat or design. In addition, there are rules and tables for social encounters, detailing NPCs, plus some sample generic stats, plus a guide to creating and running animals or xenofauna. This is perhaps the shortest section in the rulebook.

One new section specifically for the Referee provides her with a range of advice. This is broad in its coverage, its primary suggestion being for the Referee to start small with a handful of worlds and build as her players and their characters begin to explore the setting. There is advice on using contacts, enemies, and so on, as to what to allow or terms of technology since Cepheus Deluxe has a high number of baked-in features. These start with no Faster-Than-Light communication, slow interplanetary and interstellar travel, physical rather than virtual activity, and so on. The Referee is further supported with six detailed adventure seeds and then several appendices. These include a bibliography, options for using the ‘UWP’ or ‘Universal World Profile’, cyborg conversion or bio reconstruction to avoid death, and options for aliens. In general, Cepheus Deluxe is a humanocentric setting, but it is also a Science Fiction rules set, so rules for creating NPCs or Player Characters from alien species are almost obligatory. There are three given here, the Greys, the Reptiloids, and the Insectoids.

Lastly, Cepheus Deluxe: Enhanced Edition does include what every player and Referee wants for their Science Fiction roleplaying game—starship floor plans. Presented in ‘Appendix F: Schematics’—and not Appendix ‘F’ for ‘Floor Plans’, these accompany the full stats given for various spaceships earlier in the book, including an Assault Ship, Explorer, Prospector, Research vessel, Scout, and System Defence Boat. Many have a rocket-like quality to them, landing on their ends and having multiple small decks rather than fewer, but larger decks. However, they separated from their stats, and worse, they produced far too small to use with any ease.

Throughout Cepheus Deluxe: Enhanced Edition the Referee is constantly given two things. The first is options. For example, the ability to increase characteristic value once play starts; Hero Points to allow rerolls by both the players and the Referee; letting Player Characters switch Careers; allowing dodging and parrying in combat; armour as a penalty to hit rather than absorbing damage; heroes and grunts in combat for more cinematic play; and more. They lessen in number towards the end of the book, but they provide the Referee with numerous choices if she wants to tweak her Cepheus Deluxe game.

The second thing that Cepheus Deluxe: Enhanced Edition provides the Referee with, is examples. Examples of Player Character creation, combat, chases, starship combat, and so on. In some cases, more than one example, there being three examples of Player Character creation and two of combat, plus the examples of starship combat is lengthy and detailed, enabling the Referee to understand how the procedure works. In each and every case, they help to bring the rules to life.

What the Cepheus Deluxe: Enhanced Edition does is shift the ‘Classic Era Science Fiction 2D6-Based Open Gaming System’ away from its Traveller origins, and through that, any association with Imperial Science Fiction and specifically the Third Imperium, the setting for Traveller. However, the problem with that, is where it leaves Cepheus Deluxe, because it is not quite truly a generic Science Fiction roleplaying because its underlying architecture is still that of Traveller. This is not to say that Cepheus Deluxe could not do other types of Science Fiction. It could—and that includes many of the sources of inspiration listed in the roleplaying game’s Appendix A, such as The Expanse, Babylon 5, Dark Skies, and Outland. However, advice on adapting or adjusting Cepheus Deluxe to the possible subgenres of Science Fiction it could encompass, for example, Biopunk, Cyberpunk, Dieselpunk, Military Science Fiction, Space Opera, Space Western, would have been both very welcome and expanded its utility.

In some ways, this is not helped by the underwhelming treatment of alien races, either as NPCs or Player Characters. The inclusion of the three in the Appendix D feels like an afterthought. Here perhaps rules for the Referee to create her own would not have gone amiss, again, expanding the utility of Cepheus Deluxe. The inclusion of this and a more detailed examination of other genres would have made the Cepheus Deluxe: Enhanced Edition a better toolkit. Perhaps there is scope here for a Cepheus Deluxe Companion with tools, options, and essays to expand on this?

Physically, Cepheus Deluxe: Enhanced Edition is disappointing. For the most part, the layout is clean and tidy, but it does need an edit in places. Worse, the artwork is often garish and simplistic, really failing to depict the tone of the roleplaying game’s Science Fiction. Conversely, the spaceship illustrations are excellent, though small.

Cepheus Deluxe: Enhanced Edition is ultimately a passport to the Classic Era Science Fiction ‘Classic Era Science Fiction 2D6-Based Open Gaming System’. It presents and supports the Cepheus engine in a thoroughly accessible and—for the most part—supported fashion, especially with the engaging examples of play, providing the Referee with the tools to create her own content and use content available from other publishers.

When thirteen people vanish along Highway 70 in the Arizona desert in a matter of weeks, a stretch of road that the press calls it the ‘Devil’s Highway’, local enforcement is at a loss to explain the disappearances. This includes both tribal police—because Highway 70 runs through the San Carlos Apache Indian Reservation—and state police, and so the FBI is called in. Despite the wariness of the local police and the distrust of the local populace, what the agents discover is trail of bloody terror that stretches along the highway and then back across America. Investigating murder site after murder site reveals a determined monstrousness, seemingly inexplicable by normal standards, and weirdness and one implausibility after another. Do the FBI agents have one of America’s worst serial killers on their hands or is there something else going on?
This is the set-up for Puppet Shows and Shadow Plays, a scenario published by Arc Dream Publishing for Delta Green: The Role-Playing Game. This is the modern roleplaying game of conspiratorial and Lovecraftian investigative horror with its conspiratorial agencies within the United States government investigating, confronting, and covering up the Unnatural—the forces and influences of Cosmic Horror—and long-time fans of Delta Green will recognise Puppet Shows and Shadow Plays. This is because it originally appeared in the Delta Green sourcebook for Call of Cthulhu, published in 1997, and was thus for many, their introduction to the world of Delta Green. Then it served as an introduction to the setting of Delta Green and the conspiracy of Delta Green, as well as a recruitment to the latter, and Puppet Shows and Shadow Plays does all three of these once again with this new version. More specifically, this version of Puppet Shows and Shadow Plays serves as an introduction to the setting of Delta Green and the conspiracy of Delta Green, as well as a recruitment to the latter, but as it was in the late nineties, when Delta Green was an off the books, unofficial, and cowboy conspiracy outside of the government, and its enemy, MAJESTIC, was very much inside. This then is an introductory scenario for Delta Green ‘Classic’, one updated to accompany Delta Green: The Conspiracy, the nineties sourcebook for Delta Green: The Role-Playing Game.

The scenario is designed for a small group, as most Delta Green scenarios are. Here, the Player Characters are specifically FBI agents, almost the default Agent background for Delta Green and certainly the most familiar to players. That is really due to familiarity with a big television series of the period, The X-Files, an influence certainly on how the player and the Handler then approached the setting of Delta Green, though notably, not an influence on the designers, since the creation and appearance of Delta Green as an organisation pre-date that of the broadcasting of the series. Another parallel perhaps is with the film The Hidden, but that is lesser known and if there are parallels, then Puppet Shows and Shadow Plays goes in a very different direction to that film, most obviously in the conspiracy of Delta Green and the Unnatural of Delta Green: The Role-Playing Game.

The investigation is relatively straightforward, but rich in details, and the Agents are soon faced by a wealth of clues, often strangely pointed out to by scavengers. What the Agents initially find is a series of both bloody and bloodless deaths along the highway and nearby, but the investigation then telescopes in and out, as first the Agents discover that the trail of death leads back across the USA, and second, outside agencies—what is actually Delta Green and its enemy—take an interest in the case, the latter a very direct interest in the case, and then the identification of the prime suspect sets up a manhunt across the Arizona desert. The investigation is hampered by the distrust locally—both at large and in law enforcement—and the need to be aware of Indigenous American cultural attitudes, and not just because of native attitudes towards to the Federal authorities. Essentially, if the Agents run roughshod over them, they will find that the local Apache tribe will no longer co-operate with them. This takes some careful roleplaying upon the part of the players.

In terms of the antagonists, the alien threat and the seemingly unstoppable killer of the original Puppet Shows and Shadow Plays from 1997 remains the same in the 2024 version. What is different in the new version is the naming of the horror at the heart of the scenario and the development of the presence of the Unnatural in the scenario. This includes tying the scavenger to a particular Unnatural deity and then to a particular figure in the Delta Green Mythos, one whom only veteran players of Delta Green will recognise. Of course, if the scenario serves as the introduction to a Delta Green campaign, then that figure can appear and serve as a callback to Puppet Shows and Shadow Plays.

Puppet Shows and Shadow Plays is designed to introduce the classic period of Delta Green for Delta Green: The Role-Playing Game to the players, and introduce new Agents to the conspiracy of Delta Green. To that end, the Agents are both hounded by NRO DELTA Agents of MAJESTIC and recruited by Delta Green. That said, Puppet Shows and Shadow Plays can be played as a one-shot. For campaigns set in the contemporary period of the core rules for Delta Green: The Role-Playing Game, then it could possibly be run as a flashback, especially if one of the Agents is a veteran of Delta Green. There are notes on running the scenario if the Agents are already members of Delta Green, although sadly, not for adapting it to the modern period of Delta Green.

Physically, Puppet Shows and Shadow Plays is well done. Now in full colour rather than black and white as in the original Delta Green sourcebook, all of the scenario’s illustrations, handouts, and maps have been redone.

Puppet Shows and Shadow Plays has aways been regarded as a classic scenario for the Delta Green setting and after twenty-five years since it was originally published, it still stands up as a great scenario. It has fantastic cinematic pacing to it, especially in the often-desperate action scenes against its antagonist, but it gets up close and personal—especially in the autopsy scenes—where it becomes really creepy and unsettlingly, before leading to desperate action scenes once again. In many ways, Puppet Shows and Shadow Plays set Delta Green up, and it is good have it doing that job once again for the nineties for Delta Green: The Role-Playing Game.

In life, you were one of society’s reprobates or worse. You were evil, villainous, even. You committed murder. You committed acts of fraud. You stole. You dealt drugs. Your actions hurt people. In life you did one, more, or even all of them. You were a vile bastard and did not care. You got rich. You got high. It did not matter. In death, it is another matter. Ultimately, deep down, you knew what you were doing was wrong. Immoral. Evil. In death, the consequences are worse than might even have imagined, that is, if you thought about it. What matters now is that you are dead and you are in pain, lying bound under a blood red, burning sky, your lips sewn up. You hear many words, but understand only one, “Rectify.” Spoken by an oily, black thing that can only be a demon, it points towards an opening in the rocks of a giant black skeleton, an archway that could be a mouth, but is more like a drain or sewer… As you drag your desiccated body over jagged rocks that tear at your skin, you enter and work your deeper and deeper, almost as if lowering yourself down a throat, and ultimately, into the bowels… of Hell. Perhaps as the begins somewhere else anew, you will have the chance to ask yourself, “What did I do wrong?” and in answering that question, find a way to answer another, “What can I do to make amends?” In other words, is there a way for you to ‘Rectify’?
Rectify is published by Hansor Publishing, best known for The Gaia Complex – A Game of Flesh and Wires. Rectify though, is a journalling game in which the Player Character is a faced with the five trials of hell, undergoing excruciating punishments for past sins, and constantly being asked to atone for the transgressions. It differs from other journalling games in a number of ways. It is systemless. In fact, it uses no mechanics whatsoever. This is both in terms of character creation and action resolution. Most journalling games provide a means of creating a character, but in Rectify, a player really only needs to know what his character’s crimes were and to able to understand why he committed them. Similarly, most roleplaying games employ a range of prompts and ideas, randomly selected through either roll of the dice or drawing of a card. Rectify does neither. Instead, it asks only a handful of questions from start to finish, the most at the end of each trial—of which there are five—The Mouth, The Throat, The Gut, The River of Blood, and The Pit. Each is a well-done vignette that asks the player to contemplate the actions of the character, preferably in a cool dark place. This though is not whole of the Reflection which Rectify asks the player to undertake, and it is here that Rectify is the most radical.

Rectify is designed as an immersive solo roleplaying game. In Rectify, the immersion comes about because the player and the character are inexplicably connected. Not because the second is the creation of the first, though that is undeniably true, but because at each of the five stages of the character’s journey to atonement, the act, or Pledge, that the player must undertake for the character to ‘rectify’, is a physical one. This comes after a moment—or even longer—of ‘Reflection’, but it is an act that as written, is carried out in the real world rather than the fantasy of Rectify. The player is recording his experiences both at the start of a period of reflection and after, and this includes the experience of carrying out the Pledge and the experience of its consequences. It those consequences that radically shift Rectify away from a fantasy, because the consequences can be life changing.

For example, the first scene takes place in The Mouth, where the theme is one of accepting your fate and being silenced. In the period of Reflection, the player calms his mind, sets aside his fear, embracing what Hell is tormenting him with, and then swallowing his (character’s) guilt, ignites his senses. This is combined with the Pledge, of which there are three options. One is eat a handful of chilli peppers, including seeds and without drinking any water; another is to fill your mouth with as many ice cubes as possible, and keeping the mouth shut until they have completely melted; and third, have the tongue pierced (by a professional). Pledges at the end of later scenes include the player confessing to something that he has kept hidden for a long time; have sex with someone (consensually) or masturbate, but always be in the moment; go and get some dental work that you have been putting off; face your biggest fear head on; and so on. Some these can have cathartic, even beneficial effects, such as such as volunteering for a helpline or support group, like the Samaritans or a food bank, or watch a film that makes you cry and enables you to express your emotions, but most are not. The problem is that although these are often thematic, such as numbing the throat through chillis or ice cubes after the character has swallowed his guilt, the physicality of these actions is going to be uncomfortable at the very least, painful at the very most.

Effectively, the immersion at the heart of Rectify is too immersive. It negates the power of the imagination and it punishes the player for his imagination. Of course, the player has not committed murder or defrauded anyone or stolen anything, and so is not being punished with a fine or a prison sentence by the authorities. He is, however, being punished for thinking about having done those things. Rectify does carry a warning about it being for mature players. That though, may not be enough.

Physically, Rectify is well presented. Done in stark black and white throughout, with pages borders that seem to squirm. The look of the journalling game is constrictive and oppressive, though the art is decent.

Rectify feels more like therapy then roleplaying game, more like a punishment than a pleasure. It blurs the line between reality and fantasy, possibly dangerously so. There is scope to explore the atonement of the guilty and the wicked in roleplaying games, but that is best left to the fantasy and a line drawn between it and the reality. Something that Rectify fails to do.

Dungeon Crawl Classics Lankhmar #9: Grave Matters is a scenario for Goodman Games’ Dungeon Crawl Classics Role Playing Game and the ninth scenario for the Dungeon Crawl Classics Lankhmar Boxed Set. Scenarios for Dungeon Crawl Classics tend be darker, grimmer, and even pulpier than traditional Dungeons & Dragons scenarios, even veering close to the Swords & Sorcery subgenre. Scenarios for the Dungeon Crawl Classics Lankhmar Boxed Set are set in and around the City of the Black Toga, Lankhmar, the home to the adventures of Fafhrd and the Gray Mouser, the creation of author Fritz Leiber. The city is described as an urban jungle, rife with cutpurses and corruption, guilds and graft, temples and trouble, whores and wonders, and more. Under the cover the frequent fogs and smogs, the streets of the city are home to thieves, pickpockets, burglars, cutpurses, muggers, and anyone else who would skulk in the night! Which includes the Player Characters. And it is these roles which the Player Characters get to be in Dungeon Crawl Classics Lankhmar #9: Grave Matters, small time crooks trying to make a living and a name for themselves, but without attracting the attention of either the city constabulary or worse, the Thieves’ Guild!
Dungeon Crawl Classics Lankhmar #9: Grave Matters is a short, one or two session scenario which takes place over the course of a single evening. Designed for two or three Player Characters of Second Level, it opens with them being approached by Faukel, an elderly, though still tough warrior and ex-member of the Slayer’s Guild. He has a job for them which requires both their skills and their discretion. Something belonging to his employer—a respected figure in the more shadowy parts of the city—has been stolen and he wants the Player Characters to recover it. Which for experienced burglars like the Player Characters sounds easy enough, but unsurprisingly, there are complications. First, there is a deadline. The stolen item is due to be smuggled out of the city in the next two days and is currently in the possession of the smugglers. Second, Faukel’s employer wants it done without resorting to killing anyone and offers to pay the Player Characters a bonus if they manage that. Third, there is the nature of the item that Faukel’s employer wants recovered—it is a sarcophagus. So quite a hefty item, and yes, it does have a body still in it! Fourth, the smugglers, the ‘Grave Men’, who were the ones to hire the thieves who stole the sarcophagus, are connected to the Thieves’ Guild. The latter is possibly the most dangerous aspect of accepting the task. The Thieves’ Guild does not take kindly to freelance thieves, those who do not operate according to its rules or pay their dues, more so if the freelance thieves either steal from or kill actual members of the Thieves’ Guild.

There is also a fifth difficulty. The ‘Grave Men’ are not fools and so they have set up precautions and alarms to prevent their base of operations being broken into by thieves. The Player Characters, as experienced thieves and second storey men, should be used to that, and act and plan accordingly. The base of operations is actually an embalming business, a useful façade that also provides the means to smuggle items out of the city—embalmed bodies have plenty of cavities. ‘Brevak’s Embalming and Funeral Arts’ is still a going concern and is a mapped out and described in no little detail across its several floors. In order to not attract attention, the Player Characters will primarily relying on stealth, but there are opportunities for a fight or two, as well as traps to disarm and locks to be picked as you would expect. The cover of the scenario actually depicts the embalming room, which is an entertainingly weird location to have a fight and it should definitely involve or more of the NPCs or Player Characters being pitched off the walkways in the room and into the stinking embalming vats. Then, when it comes to the getting the sarcophagus out of the embalmer’s building, the easiest method would be to use one of the business’ hearses—and perhaps, if that sets up a chase, with one hearse careering after another through the streets of Lankhmar, it would be a fitting way to end the scenario!
However, ‘Grave Matters’ is not the only scenario in Dungeon Crawl Classics Lankhmar #9: Grave Matters. There is a second scenario, ‘The Madhouse Meet’. Originally appearing in Dungeon Crawl Classics: Lankhmar – The Madhouse Meet/Mutant Crawl Classics: The Museum at the End of the Time, Goodman Games’ release for Free RPG Day in 2016, it is an introductory scenario for Dungeon Crawl Classics: Lankhmar, intended as a ‘Meet’ for First Level Player Characters. A Meet’ adventure begins with a situation in which the Player Characters find themselves all together despite never having met before, and forces them to work together to get out of the situation they find themselves in. ‘The Madhouse Meet’ does that with a classic story situation. In this case, it is in the same cell somewhere in the city of Lankhmar, manacled to the wall. The challenge for the Player Characters is to both get out of their predicament and discover is responsible, which the scenario lets them do. The first issue for the Player Characters once they are free is reequipping themselves, since all of their possessions have been taken. This includes weapons, so like the earlier ‘Grave Matters’, this is a scenario where the Player Characters to employ stealth rather than force of arms—mostly because they lack the arms to apply the force.
The dungeon beyond the cell where the Player Characters find themselves waking up is a relatively straightforward and quite small, but it is highly detailed and there is a lot here for the Player Characters to investigate and examine.  Where the scenario as presented originally in Dungeon Crawl Classics: Lankhmar – The Madhouse Meet/Mutant Crawl Classics: The Museum at the End of the Time, felt divorced from Lankhmar and could have been set anyway, here it feels more grounded and it gives the Player Characters, at the end of the scenario, the opportunity to go home to Lankhmar. It also provides the opportunity for the Player Characters to forge relationships and connections with each other, ready for the Judge to run more scenarios using the Dungeon Crawl Classics Lankhmar Boxed Set. Part of that is the weirdness of the encounters in the asylum where they had just been held in captivity, which lean into the sorcery of the swords & sorcery genre. For the Judge, there is an alternate ending. This sets up the primary antagonist as a recurring villain, who is weird and creepy himself, rather being killed at the end of this scenario.
‘The Madhouse Meet’ is a solid ‘Meet’ scenario, one which pushes the Player Characters to rely on their skills and abilities rather than their gear. So, this is testing affair, one which will probably take a session or two to play through. In comparison, ‘Grave Matters’ lets the Player Characters use their skills and abilities to the fullest, aided by their equipment, and get them to plan and execute a burglary just as they are expected to in Dungeon Crawl Classics Lankhmar Boxed Set.
Physically, Dungeon Crawl Classics Lankhmar #9: Grave Matters is well presented. Both artwork and cartography are good, although ‘Grave Matters’ looks very much more like a scenario for Dungeon Crawl Classics Lankhmar than ‘The Madhouse Meet’.
Dungeon Crawl Classics Lankhmar #9: Grave Matters provides an alternative means to get the players and characters involved both with each other and in Dungeon Crawl Classics Lankhmar with ‘The Madhouse Meet’ and a nicely done adventure which the Judge can run after the Player Characters have had an adventure or two. Overall, Dungeon Crawl Classics Lankhmar #9: Grave Matters is a sold pair of scenarios for use with the Dungeon Crawl Classics Lankhmar Boxed Set.

First broadcast six decades ago, Thunderbirds is a classic of British children’s television, combining the advanced puppetry of ‘Supermarionation’ with superb scale models and special effects. The result still stands up today as exciting television with great music and amazing opening credits. The series told of the daring missions to save life and limb conducted by International Rescue, a secret non-government organisation dedicated to rescuing those that governments cannot. It is equipped with a fleet of advanced vehicles, each with Thunderbird call sign, enabling its operatives to conduct air, land, sea, and space missions from its secret base on an island in the Pacific Ocean. Ex-astronaut Jeff Tracy leads International Rescue, but it is his sons that conduct the missions, supported by Brains, who develops and builds new vehicles, and Lady Penelope, the organisation’s London ‘secret’ agent. Opposing International Rescue is the criminal and terrorist, The Hood, who uses disguises and constantly plots to steal International Rescue’s technological secrets and make a fortune by selling them to the criminal underworld.

The Gerry Anderson television series has been the subject of previous board games, most notably, Thunderbirds, designed by Matt Leacock and published by Modiphius Entertainment in 2015. The latest game based on the series is the card game, Thunderbirds Danger Zone: The Game, published by YAY Games. Designed to be played by two to six players, aged ten and up, it is a co-operative game in which the players attempt to complete seven missions. Each of the seven is based on a classic episode—‘End of the Road’, ‘Pit of Peril’, ‘30 Minutes After Noon’, ‘Trapped in the Sky’’, Vault of Death’, ‘Terror in New York City’, and ‘The Impostors’—and the game can be played through in between twenty and forty minutes, depending upon the difficulty and length of a mission. In the game, each player takes turns playing the role of Jeff Tracy, leader of International Resource, who will marshal four types of resource—‘Team Spirit’, ‘Fuel’, Tech’, and ‘Knowledge’—that will get the members of International Rescue on a Journey to the Danger Zone where they can conduct the rescue. If the players get both the right members of International Rescue and the right resources to the right places, they can complete a mission and win the game!

Thunderbirds Danger Zone: The Game consists of several sets of cards. The first are the Danger Zone cards. There are three of these per mission and each shows which resources and character is needed to complete that part of the mission. The Journey cards represents the steps needed to get to the mission, represented by the Danger Zone cards and have their own requirements in terms of resources. The Resource cards show a mix of Resource types, either three or all four, and their number. The Tracy Island cards have countdowns on them of various lengths, from ten to four turns, and are used to set the game’s difficulty, ten being the easiest, , four being the hardest. There are also reference cards for the various Actions that the characters can take, Tokens to represent each character, Journey Tokens to increase the difficulty a bit more, a Countdown Marker to use on the Tracy Island cards, and Tokens used to indicate that a resource has been successfully supplied.

To set up a mission, its three Mission cards are placed in a row and three Journey cards, either those for the mission or three random, are laid out in a row below the Mission cards. A Journey Token is placed on each Journey card, either a resource or The Hood. The Journey Token increases the number of Resources needed to complete the Journey card, whilst the presence of The Hood reduces the number of Resources the players can play. Each of the three Mission cards has an associated character on it, and the Token for each is placed below the corresponding Mission card and Journey card, along with another Journey Token.

Each round, the players each has a hand of three Resource cards. One player is designated to take the role of Jeff Tracy and he will ask the other players to supply him with resources to fulfil one of the Resource requirements, first on the Journey cards, and then on the Mission cards. Each player selects a card from his hand and places it face down. The Jeff Tracy player selects two of these face down Resource cards. If the total number of the resources on the Resource cards selected match the number on the designated Journey card or Mission card—adjusted for the Journey Token or The Hood on the Journey card—then the action succeeds and the Jeff Tracy player can place a Success Token on that Resource. If the players have been unable to supply enough Resources, the Jeff Tracy player can swap one of the Resource cards he choose, with a Resource card of his own. If the Jeff Tracy player cannot match the number of Resources indicated on the Journey card or Resource card, the action fails, the Countdown Marker is moved down one space on the Tracy Island card.

The round ends and all cards played are discarded. Players draw back up to three Resource cards, except the Jeff Tracy player if he swapped one of his Resource cards. In this case, he starts the next round with two Resource cards. The Jeff Tracy token is passed to the next player and the new round begins.

The aim is move all three Character Tokens for a mission through the Journey card and onto the Mission Card. This is done by fulfilling all of the Resource requirements for the Journey card. Once all three Character Tokens have been moved from their respective Journey cards to the Mission cards, play continues in the same fashion until either all of the Resource requirements for each Mission card has been fulfilled and the Mission completed with a successful rescue, or the Countdown Marker runs out of space on the Tracy Island card, in which case, International Rescue has failed to complete the mission and the players have lost the game.

Initially, the Jeff Tracy player will have no real idea as to what Resources to ask for, so the players do not know which of the Resource cards in their hands to play with any certainty. However, once a particular Resource on a Journey card or a Mission card, the choices will begin to tighten and a player can husband his Resource cards and perhaps save particular cards for later rounds. Should the Jeff Tracy player swap a card to fulfil a Resource requirement, then the Jeff Tracy player on the next round will know one of the cards that player has a holdover from the previous round. In general, though, because Resource cards are kept hidden in each player’s hand, there is an element of uncertainty to play, which will of course, grow and grow as the players get closer to completing a Mission and the Countdown Marker slides down Tracy Island. On side effect of keeping the Resource cards hidden, is that there is no ‘Alpha’ player, no one player ‘suggesting’ the best course of action for everyone. The revolving role of Jeff Tracy enforces that too because it puts a different person in charge from round to round.

Beyond the core game, Thunderbirds Danger Zone: The Game adds options that increase both theme and complexity. These primarily give more options for the Jeff Tracy player. If the players manage to supply sufficient Resources on a turn, he has an extra pair of options. One is to ‘Prepare Pod and Equipment’, the other is to provide ‘Mission Support’. The ‘Prepare Pod and Equipment’ action is necessary because all of the six missions beyond the beginning mission, ‘End of the Road’, have Pods and Equipment. The Pods hold the special vehicles built by Brains and are transported by Thunderbird 2 piloted by Virgil Tracy. For example, the ‘Pit of Peril’ mission requires ‘The Mole’ and ‘Recovery Vehicles’, and the Equipment includes ‘Explosives’. What it means is the players have layers of cards each with their own Resource requirements, adding to demands of play and lengthening game play, but at the same time adding theme too.

‘Mission Support’ is carried out by bringing another character and his token into play, which is done by playing Resource card showing that character. These cannot be the characters actually on the mission, and provide the players with an advantageous action. For example, Lady Penelope has ‘Inside Information’ that lets the Jeff Tracy player reveal a third Resource card in play and use that instead of the one he has already selected, whilst Scott Tracy, as ‘Team Leader’, can use the Team Spirit Resource on one Resource card as the Knowledge Resource on another, and vice versa. The ‘Mission Support’ from any one character can only be used twice before he needs to be reactivated again. The Jeff Tracy player can conduct multiple ‘Mission Support’ actions.
Physically, Thunderbirds Danger Zone: The Game is well presented. The cards are of good stock and the tokens of sturdy cardboard. The rules leaflet is clearly laid out and easy to read. All three—especially the cards—are illustrated with photographs from the television series, and the particular episodes depicted in the seven Mission cards.
Thunderbirds Danger Zone: The Game is a serviceable card game that as a co-operative game interestingly introduces mechanics that avoid the ‘alpha player’ problem found in many co-operative games. As a game itself, it is perfectly playable, but ultimately, Thunderbirds Danger Zone: The Game really is a game for Thunderbirds fans and they are really going to get the most out of it.

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

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

—oOo—
Name: Pass The Giggle WaterPublisher: Chaosium, Inc.
Author: Christopher DiFoggio

Setting: Arkham, 1929
Product: Scenario for Call of Cthulhu: Arkham
What You Get: Thirty page, 5.30 MB Full Colour PDF
Elevator Pitch: A race against the rage...Plot Hook: When rage comes to Arkham, can the source be found?Plot Support: Staging advice, eight NPCs, ten handouts, one map, and two Mythos monsters.Production Values: Untidy.
Pros# Scenario for Call of Cthulhu: Arkham & Lovecraft Country# Introduces NESI or ‘New England Shadow Investigations’ as an Investigator organisation# Can be played with one Investigator
# Angrophobia# Toxicophobia# Methyphobia
Cons# Needs a good edit# Linear# More floorplans and maps a necessity# Includes a deathtrap which might kill everyone# Another poisoned alcohol scenario for Call of Cthulhu# If the safest route into the mansion is via the basement, how do the Investigators get to the basement?
Conclusion# Underdeveloped and under presented# Potentially serviceable scenario that almost works, but ultimately is something for the Keeper to fix

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

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

—oOo—
Name: The Schoolmarm’s GhostPublisher: Chaosium, Inc.
Author: Andy Miller

Setting: Oregon, 1877
Product: One-on-one scenario for Down Darker Trails: Terrors of the Mythos
What You Get: Fifty-eight page, 23.36 MB Full Colour PDF
Elevator Pitch: Ghost, but in the Beaver StatePlot Hook: An inheritance and a haunting points to...?
Plot Support: Staging advice, one pre-generated Investigator, eight NPCs, sixteen handouts and images, seven maps and floorplans, three Mythos tomes, and two Mythos monsters.Production Values: Decent.
Pros# Scenario for Down Darker Trails: Terrors of the Mythos# Scenario for one player and her Keeper# Good introduction to both Call of Cthulhu and Down Darker Trails
# Probably the best conversion notes in the world
# Richly detailed investigation# Extensive notes included# Phasmophobia# Osmophobia# Androphobia
Cons# Needs a slight edit# Scenario hook is a Call of Cthulhu cliché
Conclusion# Excellent, easily adapted introduction for one player and her Keeper# Takes a hoary old cliché and turns it into a richly detailed and thoroughly enjoyable investigation in the Old West