Reviews from R'lyeh

Spurned and Splintered

In the mile-high tower of the Spire, the Aelfir—the High Elves—enjoy lives of extreme luxury, waited upon by the Destra—the Drow—whom they have subjugated and continue to oppress the criminal revolutionaries that would rise up and overthrow them. In the City Beneath, where heretical churches have found the freedom to worship their forbidden gods and organised crime to operate the drug farms that supply the needs of the Spire above, the Aelfir find themselves free of conformity, the Destra free of repression. They are joined by Gnolls and Humans. Some simply live free of the stifling Aelfir control, whether by means lawful or unlawful, others are driven to beyond the Undercity, delving ever deeper into the bowels of the world in search of the fabled Heart, or perhaps their heart’s desire. There are those though, who find themselves exiled to the city below, cut off from the world they once knew and they once fought for. Once you were members of the Ministry of Our Hidden Mistress, both a faith and a revolutionary movement, and outlawed for both reasons. As the Ministry of Our Hidden Mistress foments and funds rebellion and unrest in the Spire above, some it casts out and if they are lucky, they find themselves in the City below. Perhaps someone made a mistake. Perhaps someone took more than they gave. Possibly secrets were revealed. Perhaps by someone else or perhaps by you. It does not matter, for then the misgivings began to spread. Rumours about betrayals and bribes and worse, and so you became a hindrance rather than a help. Your only use to the cause was as something to placate the authorities, and so you were betrayed.
Were you sent on a mission, your handlers knowing you were going to fail? Were simply traded away to give the high priests of the Ministry of Our Hidden Mistress an advantage? Were you set up as a lesson to others? Does it matter? You became a traitor and you ran.

Burned and Broken is a supplement for Heart: The City Beneath, a roleplaying game that explores the horror, tragedies, and consequences of delving too deep into dungeons. Published by Rowan, Rook, and Decard Ltd., like the other supplements for Heart: The City BeneathSanctum and Vermissian Black Ops—explores other ways in which to roleplay in its world underneath. For Burned and Broken, this is to translate the spies, killers, and revolutionaries of Spire: The City Must Fall to the lawless nightmare of Heart: The City Beneath. This, though, is not done by simply adapting the Player Characters’ stats from one roleplaying game to another. Instead, Burned and Broken will chart the events that lead to the collective fall of the ex-operatives of the Ministry of Our Hidden Mistress, which ultimately, will prepare them for life in the City Below.

First though, Burned and Broken expands upon Derelictus, described as the ‘City Between’ Spire and Heart. In Heart: The City Beneath, this is just one Landmark that the Player Characters can visit, here it is broken into multiple Landmarks, beginning with Haven Station, the starting point for most people’s entry into Heart, and multiple Delves, like a Pig Farm that the Player Characters accidentally wander into, a warren of half-starved pigs that feed on who knows what and the pigs know the Player Characters are just something to feed on, although a very mobile something… Neither Delves nor Landmarks are safe, especially for newcomers, but Delves are far more dangerous. For the Player Characters from Spire: The City Must Fall, ‘the burned and broken’, their progress into Heart is tracked via Fall. In Heart: The City Beneath, the Player Characters each have Callings, which keep them in the Heart, but also push them to Heart. ‘Fall’ in Burned and Broken is shared between the Player Characters, who each pick a story beat from one of three categories—‘Leave’, ‘Acclimatise’, and ‘Become’. These respectively, get a Player Character out of Spire, help them adapt to its unfamiliarity, and lastly, begin to make connections with the peoples and places of the City Beneath. Fulfilling a beat first gets a Player Character a Calling as per Heart: The City Beneath, and then the abilities and advances from the selected Class.

If the first two sections of Burned and Broken take the Player Characters into the City Beneath and chart their progress, the third looks at their beginnings. Consequently, ‘Origins’ feels out of place, as if should have been at the start. It presents several packages of skills, domains, equipment, and abilities that each represent why the Ministry of Our Hidden Mistress recruited a Player Character and what a Player Character brought to the City Beneath. These are not direct adaptations, as various abilities do not fit the realm of Heart: The City Beneath and not all of them work as well below as they do above.

Despite Burned and Broken telling the Game Master that it is not designed to simply present a means of adapting a Player Character from Spire: The City Must Fall to Heart: The City Beneathh, it does actually give such a means! This, though, comes towards the back of the book and it is a very quick-and-dirty method that will definitely require the adjudication of the Game Master to fix potential issues. The advice on running a Burned and Broken campaign is decent though, highlighting the fact it is designed to tell a particular story, one of translation and change, that predominantly takes place in Derelictus, in the upper part of Heart. After all, the Player Characters are not ready to, let alone capable of surviving, a further descent beyond its confines. Plus, the Game Master is given some adversaries who will be hunting the Player Characters, including the Spire City Guard and Ministry Silence Operative.

Although the Ministry of Our Hidden Mistress is very much focused on fomenting its rebellion and resistance against the Aelfir masters of the Spire and so reclaiming the Destra home, it does maintain action operations in the City Beneath. Most obviously for Burned and Broken, this would actually be to track down agents of the Ministry of Our Hidden Mistress which have gone rogue or it deems to have turned traitor. Of course, the other option would be for the Player Characters to be seen to be disavowed by the Ministry of Our Hidden Mistress and then transition into agents still working for it, but in the City Beneath rather than the Spire. Several ideas are suggested as what operations they might be sent on, including some that involve the weirdness of the Heart: The City Below, such as breaking into the Slumbering Depths to assassinate an Aelfir before it is born in the mortal world and descending to the Maw where anything that is undestroyable elsewhere can be got rid of here! Lastly, Burned and Broken includes Minister as a Calling. This enables the creation of a Ministry of Our Hidden Mistress agent from the start in a Heart: The City Beneath campaign, equal to that of the other Player Characters.

Physically, Burned and Broken is a slim, very well-presented book. The artwork is excellent and the book is easy to read and understand. The order of the various feels slightly odd, but this is a minor issue.

Much as with Sanctum and Vermissian Black Ops before it, Burned and Broken presents a different campaign focus and set-up for Heart: The City Beneath. Unlike those supplements, it sets out to tell a specific story, one of betrayal, survival, and adaptation. It is a classic espionage tale, but here there is little chance of the ex-Minsters—the Player Characters—coming in from the cold. It allows though a campaign to transition from Spire: The City Must Fall to Heart: The City Beneath and gives opportunities for the Player Characters to grow and change in ways they would never have imagined in telling its one story.
—oOo—
Rowan, Rook, and Decard Ltd. will be at UK Games Expo which takes place on Friday, May 31st to Sunday June 2nd, 2024.

Miskatonic Monday #284: The Curse of Punk

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 Curse of PunkPublisher: Chaosium, Inc.
Author Keller O’Leary

Setting: California, 1985Product: One-shot
What You Get: Thirty-five page, 6.08 MB PDFElevator Pitch: Some punks sell out. Some punks never buy-in.Plot Hook: It takes friends to turn a derelict building into a venue to stick fingers up at the man.
Plot Support: Staging advice, four pre-generated Investigators, five handouts, six NPCs, seven mythos spells, one Mythos monster, and one animal monster.Production Values: Okay
Pros# Punks gotta stand together till until someone sells out# What if one underground runs into another?# Tight plotted multi-session one shot# Easy to adjust to other cities# Musophobia# Melophobia# Athazagoraphobia
Cons# Organisation could be clearer
Conclusion# Spikey attitude pervades a telling of a punk perversion# Two undergrounds don’t make a right, especially if one is selling out

Miskatonic Monday #283: The Last Dance of Lola Montez

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 Last Dance of Lola Montez: A Call of Cthulhu Modern AdventurePublisher: Chaosium, Inc.
Author David Waldron

Setting: Ballarat, Modern dayProduct: One-shot
What You Get: Forty-three page, 11.64 MB PDFElevator Pitch: Who suffers for their art? The artist or the aesthete?Plot Hook: Grief isn’t something to be exploited. Until it is.
Plot Support: Staging advice, five pre-generated Investigators, eight handouts, and three NPCs.Production Values: Reasonable.
Pros# Engaging historically based scenario# Opens with great roleplaying scenes# Great historical handouts# Decent period handouts# Sanguivoriphobia# Hemophobia# Thanatophobia
Cons# Designed for experienced Investigators# Emotionally wrought scenario# Overwhelms the Keeper with documents
# No maps or floorplans# More Hammer Horror than Mythos scenario
Conclusion# An emotionally charged wicked web of a scenario# Narcissism and vampirism intersect in a tale of a Spanish dancer’s revenge

Big Boss Beat ’Em Up

The city is not what it once was. As darkness falls, those that lurk in the shadows by day step out to make the city theirs. The gangs rule. Intimidation and violence are their game. They sell drugs and make millions for their bosses. Anyone who stands in their way is left battered and bruised—or worse, their blood running in the gutters. The police do what they can or just what they paid to do. They are underfunded and undermanned. They are paid to look the other way. They are paid to make it easy for the gangs. The authorities are underfunded and barely listening to the city’s inhabitants. The authorities’ search for improvement and perhaps for regeneration means they listen to the voices of the wealthy, the latest in a succession of ‘great’ developers, men and women who make great promises that only seem to add one more gleaming edifice to the city, and even if their plans come to fruition, their benefits rarely reach the average citizen, let alone anyone on the streets. For the city’s citizens, life no longer feels safe, there is no sense of a future, and if they cannot flee the confines of city, their lives are ones of despair. Behind it all lurks a powerful presence, working the levers of power and pulling the strings, perhaps sat atop one of those gleaming towers… Yet for some, this is too much. They can tolerate the situation no longer and have banded together with like-minded men and women to stand up to the gangs, to protect their neighbourhoods, and to face down the head of the criminal conspiracy that has knotted itself around the city. Can they prevent the Urban Decay?
Urban Decay is a roleplaying game of beat ’em up action inspired by classic arcade video games, movies, and comic-books. Streetfighter and Mortal Kombat, The Warriors and Big Trouble in Little China, The Old Guard and Daredevil. Published by Osprey Games and designed by the author of Jackals – Bronze Age Fantasy Roleplaying, this is an investigation and action roleplaying game that focuses on the brawls and the martial arts, designed for short campaigns in which the Player Characters clean up the streets, take down the thugs and the mooks, punch out the gang leaders, and duke it out with lieutenants, all before confronting the big boss and putting an end to the real threat to their neighbourhood and of course, the city. This is a roleplaying game in which a story of vengeance and vigilantism is going to be told, the action played out in its bloody, bruising glory, and then its pages closed. This is not a roleplaying to play in the long term, but more as a one-off, the occasional in-between popcorn and soda mini-movie marathon as a respite from the longer, more involved campaigns.

A Player Character in Urban Decay has six attributes. These are Damage Bonus, Initiative, Move, Guts, Clash Points, and Wounds Per Row. To this are added twenty-one skills. The creation process is a nine-step process. This begins with deciding upon a concept and recording the basic stats, which includes points in all skills except guns. Urban Decay is a roleplaying game about punches, kicks, sweeps, grapples, two-by-fours, katanas, and so on, but not guns. They have a role in the game and a Player Character can start play with one, but they are not the focus of the game. This is further enforced by the fact that the Guns skill does not have an associated trait, so although the John Wick series of films are an inspiration for the roleplaying game, there is no scope for gun-fu. Once the concept and the basic stats are done, the player then chooses an Archetype, Background, Training, and a Code before customising the character with extra points, selecting some equipment, and penultimately selecting a Crew Type. Lastly, a player answers a few questions about his character to ask why he is getting involved in the story to come. So, an Archetype could be Charismatic or Skilful, a Background Law Enforcement or The Street, Training the Face or the Fighter, and a Code the Agent or the Killer. In each case, these options add bonuses to attributes, skills, and traits, the latter granting various bonuses and effects in play.

The Crew Type represents how the Player Characters work together and how they know each other. Each Crew Type, such as Fighting Stable or Thieves, offers a bonus to a particular skill for one Player Character and a general skill bonus based on the relationship between one Player Character and another. Ideally, the Crew Types are set up for four players, although adjustments can be made if there are more or fewer players.

Maja Wincenty
Archetype: Strong Background: The Street Training: The Finder
Code: The Local Crew Type: Street Squad
Damage Bonus: +1
Initiative: 10
Move: 14
Guts: 11
Clash Points: 4
Wounds Per Row: 6
Traits
Rippling Muscles: Influence for Intimidation
Word on the Street: Streetwise for finding the rumours
A Port in Every Storm: Streetwise for finding people
Home Field Advantage
Skills:
Athletics: 30%, Craft: 30%, Deception: 30%, Dodge: 45%, Drive: 35%, Endurance: 45%, First Aid: 50%, Grappling: 35%, Guns: 00%, Influence: 50%, Kicking: 40%, Mechanics: 30%, Melee Weapons: 25%, Perception: 65%, Scavenge: 60%, Stealth: 35%, Streetwise: 85%, Striking: 75%, Thievery: 30%, Thrown Weapons: 35%, Willpower: 55%
Equipment: Leather jacket (Protection 2), flashlight, mobile phone, $50

Mechanically, Urban Decay employs the Clash system, the same as in the author’s Jackals – Bronze Age Fantasy Roleplaying. This is a percentile system in which rolls of ninety-one and above is always a failure, even though skills can be modified or even raised through advancements above one hundred percent. Rolls of doubles rolls under a skill are a critical success and rolls of double over are a fumble. Opposed rolls are handled by both parties rolling, with the participant who rolls higher and succeeds at the skill check winning. If a Player Character has a trait associated with a particular skill, then his player can roll an extra for the ‘one’s or units die. This enables a player to reroll the dice and turn fumbles into failures and successes into critical on their character’s signature skills.

Between them, the players also have access to a pool of Momentum points. These can be spent to re-roll failed checks, damage rolls, to add narrative twist to a scene, to invoke an Advanced Talent that a Player Character does not have, to prevent death occurring if a Player Character is reduced to zero wounds, and so on. The Momentum pool size is equal to the number of players plus two and resets at the start of every adventure or ‘Level’. It can be earned for rolling criticals.
For example, Maja is looking for a runaway girl. She approaches ‘End Row’ Ernie, a street corner dealer to ask if he has seen the girl. Maja’s player rolls her Streetwise skill. The result is eighty-eight. This is not only above her skill, but a fumble too. Maja’s player invokes her ‘A Port in Every Storm’ trait for her Streetwise skill and rerolls the eight on the ‘one’s die. The result is a six, so the total roll is eighty-six, a failure, but not a fumble. Maja’s presence attracts the attention ‘Endrow’ Ernie’s boss, who draws up at that moment in his car and as he climbs out of the tells her to buzz off…If in terms of skills and skill checks, the Clash system in Urban Decay is simple and straightforward, combat by comparison, is not. Every combatant typically one main action in a combat round, often a standard type of attack, but with the addition of Clash Points, combat becomes more dynamic, more heroic. Attacks are made using the appropriate combat skill—Grappling, Kicking, Melee Weapons, Striking, or Thrown Weapons—and a successful roll means that the target has been attacked and damage will be inflicted. However, the target can spend Clash Points to turn into an exchange of blows or taunts or a Clash of wills. It then becomes an opposed roll. Clash Points can also be spent on minor actions in addition to an attacker’s main action, such as opening or closing a door, switching weapons, diving into cover, and so on. Clash Points can be spent to improve an attack, to make a Feint or Power Attack, to do a Grapple or a Sweep the Leg move with a Kick.
Maja is on the street corner, having got nowhere with ‘End Row’ Ernie, and Ernie’s boss—Dwayne—has arrived by car and wants to get her away from the corner because she is disrupting business. Dwayne also wants to teach ‘End Row’ Ernie about talking to strangers. ‘End Row’ Ernie is a Melee Mook and Dwayne a Melee Soldier. Each has an Initiative of twelve, whereas Maja has an Initiative of ten. ‘End Row’ Ernie has one Clash Point to share with his fellow Mooks—if they turn up—and as a Melee Soldier, Dwayne can have up to five. The Game Master does not rate Dwayne all that highly and gives him two, whereas Maja has four. This is the number that both will have each round to spend.

The Game Master rolls five for ‘End Row’ Ernie and Dwayne and their joint Initiative is seventeen. Maja’s player rolls six, which sets hers at sixteen. Still, Dwayne and ‘End Row’ Ernie. Dwayne acts first. He snarls at Maja and says, “We don’t like people shoving their noses where they don’t belong. We’re gonna learn you a lesson.” The Game Master spends the one Clash Point the two share to have Dwayne draw a club and then she rolls Dwayne’s Attack Line to determine the options that Dwayne will have. She rolls twenty-three and the options are ‘Savage Blow’, which will inflict damage and the target will also possibly lose Clash Points, or ‘Hack & Slash’, which lets Dwayne attack, break from cover, and then retreat. She chooses ‘Savage Blow’ and rolls forty-eight to hit, which is enough. Maja’s player decides to spend a Clash Point and turns it into a Clash. He rolls sixty-three. This is below his Striking skill and higher than the Game Master rolled, so Maja succeeds, and blocks the attack. Now it is her turn to react. Maja’s player selects ‘Strike: Perfect Strike’ as an option. It costs Maja her three remaining Clash Points, but ignores any Protection. Dwayne has no Clash Points to spend until the next round. Maja’s player rolls thirty-three—a critical. This will double damage. An unarmed strike is eight-sided die plus a six-sided die for Maja’s damage bonus. A Critical attack versus a Failure means that Maja inflicts maximum damage—fourteen points—and earns a point of Momentum, and it ignores the three points of Kevlar that Dwayne is wearing. It is a cracking blow and it almost, but not quite reduces Dwayne’s Health by half. With a look of a surprise on his face, he really felt it though…In the long term, a Player Character can advance any skill beyond one hundred. This opens up the possibility of selecting Advanced Skill Talents. These include ‘Kip-up’ for Dodge which enables a Player Character to stand from prone as a free action for a Clash Point or ‘Skilled Fighter’ for ‘Striking’, which permanently reduces the Clash Point cost for a specific combat action, enabling it to become a signature move. There are Advanced Skill Talents for all skills except Guns and there some for Momentum use as well.

For the Game Master there is short, but solid advice on the genre, keeping the action high, having the boss gloat, and so on. In terms of tools, she has the Domination Pool, which is like the Momentum Pool, but for the bad buys. In terms of campaign design, Urban Decay is built around a series of linked districts across the city, which the Game Master seeds with plans and secrets, lieutenants in charge, and clues to the next district. This will all lead to a final showdown with the gang boss. Each district requires further design and choices, and the Game Master is given a ready list of places and people to chose from with which to populate a district, plus effects which the Player Characters can take advantage of or be hindered by. Each district has links to other districts that make them easier to travel to, but travel between district is difficult because the further a district is from home, the more unfamiliar it is. Within each Level/District, the Game Master also designs the path through it, with encounters and all of the opposition. In terms of opposition, the Game Master is given the options to design the Boss for her campaign, much in the mode of Player Characters, including an Archetype, such Rich or Mastermind; Resources including political Power or Esoteric Secrets; Fighting Style like Brazilian Jujitsu or Duellist; and Local Plan, what the Boss plans for the Crew’s neighbourhood. Then the Game Master is given to do something similar with Lieutenants, applying templates such as Alluring or Cruel to a base template, whilst Elites such as Brute, Martial Artist, and so on, all the way down to Soldiers and Elites are all standardised.
Lastly, for the Game Master, there is ‘Blood in the Streets’, a starting scenario. It is really a prelude to a full campaign, taking the heroes through the one path of a Level. It is a showcase for the roleplaying game’s mechanics and gives a chance for the players to show off their moves.
Physically, Urban Decay is very nicely presented. The artwork is excellent of anime punk and really moody painted scenes. It is also well written and easy to read.

Urban Decay is a roleplaying game about getting down and dirty in the streets and taking the fight to the gangs and the scum and working their up the chain. Battling their way through mooks and soldiers and lieutenants, all the way up to finally confronting the boss—and this can be in the players’ home city or the city of their choice. The rules allow for plenty of dynamic action as the Player Characters throw punches, sweep the feet out from under the enemy, and smack down the big boss. Urban Decay is your direct to video, gritty urban thriller that is going make enough to get not one, but multiple sequels, each time going up against a different boss—until an old one decides to come out of retirement. So, pick up Urban Decay, play a campaign, play something else, then come back for the sequel.
—oOo—
Osprey Games will be at UK Games Expo which takes place on Friday, May 31st to Sunday June 2nd, 2024.

The Other OSR: IKHON

The end is nigh and there is no denying it. The seas rise. The forests spread. Crops fail. Wars continue without reason. The dead walk the land. Peasants suffer taxes, plague, and worse. As the world takes one more breath closer to dying, the arch-priestess Josilfa stands in the pulpit in the great cathedral to the god Nechrubel in the city of Galgenbeck in the land of Tveland, preaching that prophecies of the Two-Headed Basilisk are coming true. The apocalypse is coming and the inquisition of the Two-Headed Basilisks will see to it that no apostate or heretic turn their face away from the end or find salvation in other gods. Yet there is power and gifts to be found from those old gods, ready to be taken by the willing and commanded by those who would take advantage of the tumultuous times that they live in. Such power and such gifts are to be found in the black box known as the IKHON. It holds four dreads gods from before the rise of the Two-Headed Basilisk, gods of the old ways—the Bilkherd, the Becklure, the Old Dead, and the dreaded Silkfiend. Their gifts are a blessing and curse, they demand much, and they may not give all those that dare commune with them the blessings that they seek. Others around those that commune with them may pay a terrible price too, and that is even before the inquisition has caught the scent of the blasphemy and profanity!

IKHON is an official supplement for Mörk Borg, the Swedish pre-apocalypse Old School Renaissance style roleplaying game designed by Ockult Örtmästare Games and Stockholm Kartell and published by Free League Publishing. It forgoes the signature chromium yellow and the artpunk style of Mörk Borg, but not the physicality of presence of Mörk Borg. Instead, it comes as plain black box containing four black books. This plain black box and its contents, the ‘Profane Profound’, is ready to be discovered by the players and their characters in the play of Mörk Borg, and once they have, the Game Master can literally set the boxed set that is IKHON before them on the table. Then leave it there. Ready for them to touch, handle, and slip open, and be tempted by the contents…

When the book is open, both player and character will discover four, plain black books. They pick one. The first page tells which of the Profane Profound, the “age-old and nigh-forgotten folk gods”, shackled within the Player Character is communing with. The sacrifice of the willing and the sacrifice of one of the Player Character’s ‘significant’ body parts will grant a more potent response.

Mechanically, the player is rolling an eight-sided die and consulting the appropriate entry in the booklet. The sacrifices, whether of a willing human or the Player Character’s body part grants bonuses to this roll. For the Bilkherd, the response may be, “He summons his Herd. He summons his Herd. To the hateful goats, you are the field-poisoners, earth-salters, torch-wielders and slaughter’s heralds. A thousand thousand strong, trampling all in their path and leaving only blood, sorrow and the dust of crushed bones. All is obliterated under spiteful, churning hooves.” For the Old Dead, a sample entry reads, “The Old Dead coughs praise towards anyone wielding two (or more) weapons previously in the act of murder, increasing their maximum HP by d6.” There are sometimes consequences for the Player Characters rather than strangers or enemies. For the Becklure, one entry reads, “The Lure’s grimy ONYX-OMEGA DEATH FISH’s terrible piscine teeth crunch into a nearby kneecap. 1-in-6 chance a PC loses a leg as their patella is relentlessly chewed and shaken until it sickeningly pops. Otherwise, the air-breathing fish floats above with regal, quiet patience until commanded to strike.”

In some cases there are mechanical effects, in others there are none, and it is very much left up to the Game Master to decide the outcome, but the descriptions are never less than evocative and they should be more than enough for the Game Master to narrate an outcome.

Physically, IKHON is starkly, simply presented. It is a 6¼ by 4½-inch black, mat-finish box, with much of its flavour text given on the back, the instructions given on the inside lid of the box. Each god is a book. Each book includes a simple description and ten entries, each a double-page spread that consist of an image on one side, the description of a gift on the other. It is simple, clean, and unlike any Mörk Borg supplement to date.

Described as being for ‘misuse’ with Mörk Borg, IKHON is something that is going to sit on the table. Daring the players to have their characters look at it… It is a profane presence. Waiting.
—oOo—
Free League Publishing and Loot the Room will be at UK Games Expo which takes place on Friday, May 31st to Sunday June 2nd, 2024.

A Class Collection

The Masterclass Codex is a compilation of compilations. It complies two supplements—A Touch of Class: Seven New Classes for 5th Edition and A Touch More Class: 9 More Classes for 5th Edition—into one volume, both of which compile content from EN5ider, EN Publishing’s Patreon magazine dedicated to supporting Dungeons & Dragons, Fifth Edition. Together, it compiles a total of sixteen new Classes, from the Alchemist and the Bloodweaver to the Savant and the Tinkerer. In between there are a lot of new spellcasting Classes, though physical Classes are not totally ignored, and a lot of options for the Dungeon Master and player alike. The player, of course, to play, but the Dungeon Master to pick and choose from in terms of what she wants to see in her game world. Thus, a Dungeon Master could take one, two, or more of these Classes and make them particular to her campaign—or parts of her campaign—or she could throw everything into the mix and say have them all come together in a setting like Planescape.

The format of the Classes in The Masterclass Codex follows that of The Player’s Handbook. It opens with an explanation of the class, suggestions for a quick build, features of the class, before delving into the particulars of the class. Added to this is a little fiction to add flavour. Alongside all of this, there are new Feats and spells, monsters, and a whole bit more. This ‘more’ rounds out the entries in the supplement and develops ways in which they can be brought into a game.

The Masterclass Codex opens with the Alchemist. This combines magic with scientific rigour for a spellcaster that throws acid, cold, or fire bombs, and then concocts potions and mixes for its spells. It is not quite clear if the Alchemist is throwing these vials or drinking them. The Alchemist makes Discoveries, which can be Smart Alchemy which allows a bomb to explode and target only hostile targets, Extend Potion to double its duration, Potion of Rejuvenation to restore a spell slot, and Spontaneous Recovery to amplify his healing without a short rest. Advanced Sciences are the Alchemist’s specialities and include the Sciences of Creation, Destruction, Illumination, Mutation, and Regeneration. These respectively enable the Alchemist to craft a homunculus out of clay and remould it as a servant and combatant; to enhance his bombs; to temporarily enhance mental attributes and gain mental spells; to physically enhance the body though a cost to Intelligence, though this cannot be repeated too often, lest the Alchemist poison himself; and to enhance healing and even gain resurrection! To this, ‘Scientific Sorcery’ gives the Alchemist’s Apprentice Background, new items, and even Feats like the Alchemical Artillerist, making him better at throwing alchemical weapons, and Pernicious Poisoner, to faster produce poisons.

There are a lot of interesting options here, but some step on the toes of other Classes. The Science of Mutation pushes the Alchemist towards the Barbarian Class, whilst the Science of Regeneration leans towards the Cleric Class. Other aspects feel underdeveloped, like the Pernicious Poisoner Feat. It is great for creating poisons, but not using them. What about adding their use to the bomb-throwing ability of the Class, so what you have is a battlefield poisoner? Combine that with Smart Alchemy and you have targeted poison bombs—nasty! Lastly, if this Class is supposed to be about adding science to magic, what about being able to identify potions and poisons?

The Cardcaster draws on the Tarot deck to cast spells, and actually requires a player to have one in order to determine what spells his character can cast. For example, a First Level Cardcaster has a hand size of two and draws two of the Major Arcana. The Fool gives the options Detect Poison and Disease, Expeditious Retreat, Hideous Laughter, and Mage Armour, whilst The Magician lists Burning Hands, Create/Destroy Water, Detect Magic, Floating Disc, Unseen Image, or Silent Image. The Cardcaster selects the spell and expends the card. In game, the Cardcaster can also throw cards to inflict magical slashing damage. In terms of development, the Cardcaster focuses on particular arcana, the Knight of Swords turning the Cardcaster into a sword-wielding spellcaster; Page of Wands gives greater command of the user’s Tarot deck; the Queen of Cups lets the user spread her love by supporting others; King of Pentacles makes the Cardcaster richer; and Jack of Beasts has the caster summon and control beasts. Not all of these are necessarily adventure options, the Queen of Cups and King of Pentacles feel like they suited to campaigns where adventuring rarely done, and the Jack of Beasts is an oddity that does not fit the tarot. Overall, the Class would be interesting play, adding a physicality and uncertainty with its card-drawing aspect.

The Diabolist is an Evil Class enters into dark pacts with devils and possibly demons. It is accompanied by range new types of both like the Accuser Devil or the Coloxus, and includes the feat Voodoo, which raises its own issues in tying an aspect of a real-world religion into an evil Class like the Diabolist. The Diabolist is suited to certain campaigns or in general as an NPC Class, and even then, perhaps it could have been presented as a variant of the Warlock Class which fundamentally is very similar. The Feywalker draws from the powers of the Fey realms to become a chaotic, even whimsical, combatants that flit around the battlefield, gaining a fey companion and fey charm, and binding his soul to the fey through either the Sphere of Beasts, Sphere of Plants, or Sphere of Entropy. Of these Spheres, the first two step into similar areas to that of the Druid Class, whilst the third plays up the randomness of chaos. Ultimately though, this is a fighter best at home in the forest, embracing its mysteries. The Morph Class is a shapechanger, connected to either nature or the fey, either specialising in infiltration and deception as a Doppelganger, raw animal power and presence in Primordial Beast, the scoundrel’s antics of the Trickster. Again, it feels a little like the Druid, one who has specialised in shapechanging, yet at the same time wondering whether Primordial Beast would better fit the Druid and the Trickster the Feywalker.

If the Alchemist is one of the Classes that stands out in The Masterclass Codex, the other is the Noble. Like its Warlord counterpart from Dungeons & Dragons, Fourth Edition, the Noble is all about supporting his allies. The Noble can offer a rallying word for an ally to recover Hit Points direct them to take an action on his turn. The Noble either follows the Path of the Brave to become a better warrior; the Path of the Heart to beguile others with his innocence, though this comes at the cost of martial abilities; the Path of the Mystic Royal to combine spellcasting and command of others; and the Path of the Tactician to further direct and command the actions of his allies. This is very nicely done Class overall, perhaps best suited to larger groups where the Noble has the room to stand to the side offering advice and actions. Of the four subclasses, the Path of the Heart really stands out for its roleplaying potential as everyone around such a Noble works to keep her alive whilst benefiting from her advice and actions. Throw in a few scoundrel-like Classes alongside the Noble and it could be a lot of fun.

The Occultist stands out as the oddity in The Masterclass Codex, because it is not a Class that specialises in the occult per se, although it does bring an element of horror into play. Instead, it is a transformative Class in that Occultist delves into dark lore or suffers from a tainted family bloodline that will turn him into a supernatural beast or monster of some kind. These are represented by multiple paths. These are the Abomination, more Mister Hyde than Doctor Jekyll; the cosmic power of the Horror; the dark energies of the Nightmare; the primal acidity of the Ooze; and the classic powers of the Vampire and the Werecreature. Of these, the Path of the Ooze is the most original. The Class as such feels more suited to either NPC use or a horror-focused campaign or setting.

If the Occultist brings the macabre to The Masterclass Codex, the Bloodweaver uses his abilities to control blood to empower himself and affect others. The Traditions of the Class enable the healing of the Bloodweaver and his allies with Bloodbinder; to curse, cripple, and kill with Crimson Witch; and even to turn the Bloodweaver’s own blood into weapons as a Scarlet Reaper. This is in addition to Disciplines, such as Blood Reach which turns the Bloodweaver’s fingernails into hard-as-steel (surely iron would have been better?), ten-foot-long talons, or Taint Blood, poisoning a target’s blood! The Class lists multiple Disciples, all of which require the expenditure of points from the Player Character’s Sanguine Reservoir. Some of these Disciplines and abilities do require the Bloodweaver to suffer damage as well as expend point from the Sanguine Reservoir. The Bloodweaver is an enjoyably horrible Class, being more akin to a blood-themed superhero—or rather anti-superhero—than necessarily a classic Dungeons & Dragons-style Player Character.

The superhero feel continues with the luck-based Fatebender. Where the Bloodweaver has points from his Sanguine Reservoir, the Fatebender has, of course, Fate Points. They can be expended to have something improbable happen nearby or force someone nearby (including himself) to reroll an attack, ability check, or saving throw. The Destined Prospects for the Class include Mascot who radiates good luck around him to his allies and benefits from their good fortune in return; the Jinx instead radiates bad luck to his enemies and benefits from their misfortune in return—including ‘Under a Ladder’ and ‘Wardrobe Malfunction’; and Weaver lets him change fate around him. The latter is not as fun or entertaining as Jinx, and with both Mascot and Jinx, there is something of the swashbuckler to the Class.

If the Occultist was the oddity from A Touch of Class: Seven New Classes for 5th Edition, then the Gemini is the oddity from A Touch More Class: 9 More Classes for 5th Edition. As the name suggests, the Class is all about twins and doubles, and thematically, it has Balances between the two rather than disciplines or paths. The Atavist plays with age, balancing between young and old; Equalist between mind and body, one embodying the former, the latter the other, and this changes every day; and the Reluctant Hero between fear and fearlessness. Roleplaying wise, this has possibilities, but it forces a player to roleplay two characters rather one and that complicates things. The Geomancer draws from the five Chinese elements—earth, fire, metal, water, and wood—and follows one four different Orders. These are Order of the Apothecary, Order of the Architect, Order of the Conqueror, and Order of the Rune Knight. They are respectively, healers, builders—civil servants and city planners are suggested, seekers of peace through conflict, and mighty warriors. The Geomancer is underwritten and of the subclasses, the Order of the Apothecary and Order of the Architect just about fit, whereas the others do not quite.

The Gunfighter lets the Dungeon Master and her players bring firearms into the game. It has its particular Fighting Styles—Archery, Carbineer (gunfighting from horseback), Harquebusier (using hand cannons!), Matchlock Mobility, Point-Black Shooter, and Sharp Aim—though Archery is the odd one out here. The Codes of the Gun are Bushwhacker, for the Player Character who prefers to ambush his targets; Drifter, for the famous or infamous travelling gunfighter; and Maverick, which brings magical gun tricks to the battlefield. Annoyingly, there are no rules for actually using guns to accompany the Class, a major omission. Otherwise, this is a sold Class inspired by Westerns, but mapped back onto earlier firearms.

The Lodestar begins play with a broken soul, but able to coalesce those pieces of broken soul into physical magical spheres that the Lodestar has to constantly keep tethered to his soul. As tethered as they are, the Lodestar can fling them at an enemy to inflict damage, use them to block attacks, and more. Training method include Control, which grants fine manipulation of the spheres; Imaginative to enhance the Lodestar’s artistic capability and imagination as well as the Lodestar’s form; and Instinct in which the spheres become part of Lodestar’s training and combat regimen. The Class feels inspired by the Ioun stones of Dungeons & Dragons, but then turned into an odd sort of martial artist. Overall, it does not really come together in a way that is enticing to play.

The Monster Tamer offers different ways to capture and train pets. The Class adheres three different Regimens. The Animalist has respect for animals and his pet to enhance it; the Monstrous finds kinship with monsters rather than beasts; the Oddball is drawn to the weirder creatures, like the Gelatinous Cube or the Otyugh! The Monster Tamer also teaches his pets tricks, including attacks, using the features of the creature, and even unnatural behaviour! The choice of tamed monster can be really powerful, backed up with a surprisingly high number of Hit Points for the Class.

Inspired by Sir Arthur Conan Doyle’s Sherlock Holmes, the Savant is a Class with the Aptitudes of Adversary, which is all about manoeuvring the enemy into danger; the Chirurgeon and its focus on healing; and the Co-ordinator, who uses knowledge to aid others on the battlefield and make deductions about others. The third of these then, combines elements of the Noble with classic detective, whilst the first is a fighter variant. These are backed up with Tricks which distract or direct opponents across the battlefield. Inspired, of course, by Sherlock Holmes and similar figures with genius levels of observation and deduction, there is lots of roleplaying potential in the Class, even if, ultimately the Aptitudes slightly underwhelm as choices.

Lastly, the Tinkerer brings the gadgeteer to Dungeons & Dragons, Fifth Edition. The Tinkerer—not necessarily a Gnome, of course—craft ‘Affect-Engines’ that consume mystical power and transform into elemental energy, either cold, flame, or lightning, which can be spat out for various effects. One issue is that upon first glance, the Class cannot do anything really interesting until its gets to Second Level. This is not quite the case, as the Tinkerer can build items, which require an Affect-Engine, for example, a hand-rocket or a power-tool. Once a Tinkerer acquires a few Levels and the ability to have more than one Affect-Engine in play, he can construct more powerful items and items which a few more options in their use. All this is really only obvious in looking at the list of example items at the end of the Class description, so only then does the Tinkerer not look as underpowered at First Level. That said, the creation of these devices does not money as well as a bit of time.

Once the Tinkerer is Second Level, he can cast spells and can attack an Affect-Engine to a weapon or object to add its elemental effect, including inflicting extra damage by expending a spell slot. The Tinkerer focuses on one of three Fields of Study. The Bombardier turns his Affect-Engines into artillery pieces; the Mechanic over engineers his Affect-Engine to improve its efficiency; and the Steam Knight turns the heavy armour worn by the Tinkerer into power armour! Overall, this looks like a fun Class to play around with and if there was a suitable Steampunk setting, this would make a suitable addition.

In addition to the extra demons and devils for the Diabolist Class and backgrounds for the Alchemist, The Masterclass Codex adds ‘Tailored Magic Items’ that a Player Character of a particular Class gets better at using. For example, the Diabolist’s Whip increases that Class’s ability to conjure demons and devils and gains bonuses to both attack and damage, but later inflicts extra necrotic damage. There are items listed for both the supplement’s new Classes and the standard ones in the Player’s Handbook.

Physically, The Masterclass Codex is very much two books in one—A Touch of Class: Seven New Classes for 5th Edition and A Touch More Class: 9 More Classes for 5th Edition—with one having a red trade dress and the other a green trade dress. The layout is clean and tidy, and everything is very accessible, especially with its larger typeface. The artwork, some of it publicly available images, is variable in its quality. Overall, it is and it does feel very much a like a compilation.

Ultimately, The Masterclass Codex is what you might call a Marmite book, Marmite soft, dark brown foodstuff that is so salty-tasting—without actually containing any salt—that it divides most people into two groups. They either love it or they loath it. So it is with The Masterclass Codex, and not once, but twice. People are going to either love it or loathe it because it is written for Dungeons & Dragons, Fifth Edition, and then people are going to either love it or loathe it because they like or dislike one, two, or more of the Classes in its pages. For those that dislike it, for either reason, The Masterclass Codex is book to avoid, though there is nothing to stop a Game Master from taking any one of the Classes in its pages and stripping it down to adapt to the Dungeons & Dragons-style game of her choice. On the other hand, there is a lot to like in the pages of The Masterclass Codex. The sixteen Classes are interesting and will add both a different flavour and a different style of play to a game, as well as presenting challenges in terms of getting used to how they play. Their inclusion both adds to the play of Dungeons & Dragons, Fifth Edition and to the Dungeon Master’s campaign world. The Gun Fighter adds firearms and so they exist in the world, the Occultist suggests a horror element, perhaps similar to that of Ravenloft, and the Noble adds a sense of command and control and so on. The Noble is the one Class that will make it to play, particularly if a group is missing the Warlord from Dungeons & Dragons, Fourth Edition.
The Masterclass Codex is not a book that every Dungeons & Dragons, Fifth Edition group or Dungeon Master is going to want or need. Its contents are, after all, optional. However, as a set of options, having them on the shelf is no bad thing. They are a set of new play options to try out, a set of new play options around which to build a world.
—oOo—
En Publishing will be at UK Games Expo which takes place on Friday, May 31st to Sunday June 2nd, 2024.

Deadly Dinners

A woman sits at the dining table, the meal ready before her, a housewife and siren awaiting the arrival of her husband home, working late, or is he? Lovers, one poisoning the other to keep them even as they stray. Siblings, monsters all, confined by their father’s love and control until they have had enough and decided to ensure their escape by eating him. A nuclear family of loving cannibals whose predations have become too much and as the police closes in, enjoy one last meal of each other. A New Year’s Eve party at the end of 1999 when the world might end at the stroke of midnight and the ball drops, whilst visions of an alternate present haunt the party-goers. Mealtimes—dinner especially—can be times to celebrate, but sometimes they are performances of tension and despair, each course serving up another dish and another act that ratchets up the tension until it becomes unbearable and someone snaps. Seething. Shouting. Screaming. Raging. Worse. Thankfully, these are not scenes of everyday domestic distress, but of set-ups for—and from—the Suburban Consumption of the Monstrous.

Suburban Consumption of the Monstrous is an anthology of American freeform live action horror roleplaying games that use the themes of food and consumption to explore horror in suburban environments. Published by Pelgrane Press—better known for Trail of Cthulhu and 13th Age and similar roleplaying games—following a successful Kickstarter campaign, Suburban Consumption of the Monstrous is written and designed by Banana Chan and Sadia Bies, and contains a total of fourteen ‘Live Action Role Playing’ games or LARPs. These are not the traditional fantasy LARPS with multiple participants wielding foam weapons, but much smaller, more intimate affairs, that emphasise drama and tension. This is done via the set-up and then through character design and prompts. The players are free to interpret these prompts within the play, but these LARPS are designed to tell a particular story even if the outcome will vary from one playthrough to the next. The format and style is influenced by the Nordic style, but the fourteen here are classified as American freeform LARPS. All fourteen though, are reminiscent of murder mystery parties, each twisted into their own American horror story.
Suburban Consumption of the Monstrous opens with a short explanation of what LARPS, before delving into a discussion of calibration tools and setting expectations, essentially safety tools. Some of these are particular to LARPS, like ‘Tap and Scratch’, tap being used to indicate that a player wants to step out of a scene, ‘scratch’ to indicate that a player is enjoying a scene. Others, such as ‘Lines and Veils’ and the ‘X-Card’ will be familiar to standard tabletop roleplaying games. There are notes too on expectations for solo play, since some of the LARPs in the anthology are designed for one, and the experience of play can be made all the more intense because of the solitary situation. There is advice too for how to handle the debriefing following a solo LARP, necessary because being designed for one, there is no scope for post-play discussion with others as there is in a standard LARP with more participants.

The fourteen LARPs in Suburban Consumption of the Monstrous range widely in terms of length and number of participants. From one to as many as eight players, and from under an hour to no more than three. All follow the same format. This includes, obviously, the playing time and the number of players, but to this are listed content warnings, tone and media touchstones—inspirational reading and watching, calibration tools—safety tools to be observed for the particular LARP, and items needed. The latter typically begin with a dinner meal and a table, and can be as simple as print-outs of the LARP’s prompt cards and a mannequin, or as complex as an unusual ingredient, a washcloth, a bathtub, a cup of water, a coin, and a pair of pyjamas. Others require video recordings, particular room types, and more. Following some background there is always a guide to how the LARP will work, but beyond that, each of the LARPs will vary. Many include character and prompt cards that are required in order to play.
Suburban Consumption of the Monstrous opens with ‘A Housewife in Her Twenties’, a solo affair in which a housewife—who happens to be a siren—who goes through the steps of preparing to have her husband come home from work. Doing her make-up, dressing, and preparing and cooking the evening meal, before sitting down to eat—and all this is actually doing those things rather than describing acting them out as you would in a roleplaying game. Throughout there are prompts and questions as to how you react, and there is potential here for transgression, and it is intentionally designed to scritch and scratch and needle, both physically and emotionally. Similarly, ‘TV Dinner’ is very personal as the player, living alone, enjoys a takeout meal, and suddenly realises that someone in the television series he is watching is talking to him. This explores loneliness and what might change as a result of the interaction. All three of the solo LARPs here have the feel more of solo journalling games, although the LARP aspect calls for a physicality that most journalling games do not.

‘My Love, A Poison’ is designed for two players. It is about a relationship that is about to founder, one poisoning the other after discovering their infidelity. It is intimate, consensually so, the player poisoner lacing the victim’s food with an unusual flavour. There is no reveal in the sense that the poisoned participant is caught unaware, both players knowing from the starter who is the poisoner and the poisoned. ‘Goodbye Father’ is not dissimilar. It is for three players, all taking the roles of monstrous siblings who want to escape the constraints their father has placed on their lives and have jointly decided to kill and consume him. The tension and horror of knowing what is coming is ratchetted up by much of the play being done in silence, communication being done via notes or even texts, except when Father speaks, and ultimately when he is dead and they escape. Then they freely find their voices… ‘Love and Betrayal’ begins with three of its protagonists waking up to encounter a Personal Assistant hurrying to get them to rehearsals for scenes from a soap opera. As they do so, the Personal Assistant interrupts with notes from the ‘Director’ on how he wants them to perform, stuck to their scripts becoming increasingly revelatory with secrets about themselves rather than their characters in the soap opera. It is short and direct and very quickly the players will learn that their characters are in a seriously perilous situation. For more players—as many as six—is ‘What Lies Beneath’ is another family affair, which begins on a sombre note. One of their number, the youngest, recently died, and there are revelations about his death to be made by each of the other members of the family. The LARP requires a fair bit of set-up in terms of questions, both as a group and a player. There is a lot in this LARP that is unspoken, and that includes quite literally the ‘Unspoken’, an unacknowledged presence that literally lurks under the table. The ‘Unspoken’ is almost the LARP’s director, using certain actions to indicate that someone is lying, when to reveal secrets, and ultimately to replace one of the family. It is weird and requires quite a lot upon the part of the person playing the ‘Unspoken’.

Physically, Suburban Consumption of the Monstrous is a lovely book. It is well written, with clear and careful instructions and advice. The artwork is a colourful range of the weird and the disturbing, each piece pointing to the horrors to come in the LARPs that follow. Thankfully, the tooth motif on the dust jacket does not follow through into the pages of the anthology.

Inspired by films such as Get Out and Hereditary, television series like Hannibal and Sharp Objects, the French folk tale Bluebeard, and Jean-Paul Sartre’s 1944 play No Exit, Suburban Consumption of the Monstrous is a demanding set of horrifying situations, fraught with emotion and tension that preys upon the participants, whilst asking a lot of them in terms of commitment. Players new to LARPS, even mature players—which is what the anthology demands—may find that too much, even with the excellent advice on safety tools and running each one. Nevertheless, they likely benefit from the presence and guidance of more experienced players. Who, of course, will find a great deal to engage with and run here. In terms of physical set-up and commitment, the contents of Suburban Consumption of the Monstrous are less demanding, because they are all designed to be run at home.

Suburban Consumption of the Monstrous is an excellent anthology of LARPs that brings the horror of the family and its relationships to the perfect venue—at the dinner table—and keeps it at home.
—oOo—
Pelgrane Press will be at UK Games Expo which takes place on Friday, May 31st to Sunday June 2nd, 2024.

Friday Fantasy: The Veiled Vaults of the Onyx Queen

It is a year to celebrate. The Queen’s Onyx Jubilee is about to begin, marking the ninety-fifth year of the merciful monarch’s glorious reign. Queen Yoros has the good fortune to be so long-lived and so youthful still, and her people rejoice at her fortune and the beneficence of her reign. She is even gracious enough to invite subjects from all levels of society, including the peasantry. For them, this is a chance to see the queen, to enjoy her hospitality, to pay their respects, and to make memories that they will tell their grandchildren. Unfortunately, only one of these facts is actually true. Whilst the queen is holding a celebration—of a sort—and does want the peasants to attend, hence the invitations, this is not necessarily to their good fortune, although it might be the making of them… They awake to find themselves in an opulent palace, a bitter taste in their mouths and bestial death cultists looming over them. Where are they? How did they get there? How do they get out? These are questions to be answered in Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen, a scenario for the Dungeon Crawl Classics Role Playing Game.
Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen is, as the title suggests, the one-hundred-and-first title in the ‘Dungeon Crawl Classics’ line from Goodman Games. Befitting the fact that it has passed that milestone, Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen is a Character Funnel. This is a feature of Dungeon Crawl Classics, a scenario specifically designed for Zero Level Player Characters in which initially, a player is expected to roll up three or four Level Zero characters and have them play through a generally nasty, deadly adventure, which surviving will prove a challenge. Those that do survive receive enough Experience Points to advance to First Level and gain all of the advantages of their Class. Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen certainly is tough, a great mausoleum turned fouled fane, crawling with savage cultists, sepulchres marked with vicious traps, the smell of death and decay unavoidable, all the while something monstrous lurks in the upper halls ready to vomit flesh-burrowing grave worms at intruders, and a mellifluous voice urges intruders to come to her rescue… Inspired by the short stories ‘The Charnel God’ by Clark Ashton Smith and ‘Imprisoned with the Pharaohs’ by H.P. Lovecraft—and surprisingly—Queen Elizabeth II’s Platinum Jubilee. The whole complex has been turned into a temple to Mordiggian, a god of death, and it combines a slightly eerie feel with a Lovecraftian undertone and a sense of dread and uncertainty, all punctuated with screams of terror and death…

Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen begins en media res. The Player Characters awake to find themselves lying on the floor amidst rows of bodies. Cultists pick over the corpses. It is a wonderfully creepy opening. Once the Player Characters have dealt with the cultists—as is typical for a Dungeon Crawl Classics Character Funnel—with a mass brawl relying on luck rather than skill, because after all, they are intentionally incompetent, they can begin to explore. There is a lovely scale and grandeur to what is the royal funerary complex, dwarfing the Player Characters, its opulence, let alone the persistent and pervading stench of the grave, constantly serving to remind them that they are out of place.

The Player Characters have two objectives. One is to find out where they are, the other is to get out of wherever they are. To do that they are pulled onwards by the mysterious voice into the first of several funeral vaults. These are the last resting places of various royal personages, holding not just the bodies of kings and queens, but items that are necessary for the Player Characters’ survival in helping them defeat the ghastly threats they are likely to face towards the end of the scenario. They are also the opportunity for the author to have some fun with the Judge in presenting puzzles and traps for the players and their characters to overcome and/or survive. They often include a great table of random (or appear to be random) events that can befall the Player Characters, either killing them in interesting ways or changing them radically in true Dungeon Crawl Classics fashion. If the Player Characters can overcome these nicely detailed set pieces, they have the means to defeat the threats they will later face. Wielding these means also hints at possible roles or Classes that the survivors can take after completing the scenario, that is, Cleric, Thief, Warrior, and Wizard.

Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen being a Character Funnel means that there is a possibility of a Total Party Kill. Fortunately, the scenario offsets that by providing a ready supply of bodies, some of which like the original Player Characters, may not actually be dead. These can readily replace the original Player Characters, so that a player could easily play through the scenario and complete it with a completely different set of Player Characters. Given the deadliness of the scenario in places, this is a distinct possibility, as is the chance that the Player Characters make an attempt to escape the funeral palace, totally unprepared, get killed, and almost have to start again, looking for the means to defeat the foul foes that killed their forbears and successfully gain their freedom.

Physically, Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen is very well presented. If the frontispiece looks a little goofy, the rest of the artwork is decent and the cartography is excellent, nicely depicting the scale of the funeral complex. The scenario also includes four handouts and these are nicely done.

Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen is a really nicely done Character Funnel with lots of atmosphere and dread, but it does leave the Judge and her players wanting at the end. The issue is that in escaping the funeral palace and in the process, both discovering quite why Queen Yoros has managed both to stay so young and achieve the ninety-fifth year of her glorious reign and ending that reign, their actions have potentially calamitous consequences for her kingdom. The question is, what happens next? What happens to the kingdom which has just lost its (evil) queen? What are the consequences for the Player Characters? Of course, this is entirely up to the Judge to develop, but the idea of having inadvertently brought down a kingdom is such a delicious idea that you wish that Goodman Games would actually publish a sequel exploring what happens next.

Dungeon Crawl Classics #101: The Veiled Vaults of the Onyx Queen is a richly detailed and enjoyably thematic Character Funnel. It gets the Dungeon Crawl Classics Role Playing Game’s second century of scenarios off to a delightfully grand and morbid start.

—oOo—
Goodman Games will be at UK Games Expo which takes place on Friday, May 31st to Sunday June 2nd, 2024.

Feathering Fantasy

One of the most interesting and innovative roleplaying games of 2021 has to be Inspirisles. Published by Hatchlings GamesInspirisles is an Arthurian storytelling game in which young teenagers find their way into the mysterious lands of the fae that mirror the British Isles where through the Shaping of magic collect Belief enough to protect the World Tree and so become Pendragons, the descendants of Arthur and Guinevere. It is specifically designed to do three things. First it is designed to be played by young adults. Second, it is designed to be played by the deaf and the hard of hearing. Third, and as a consequence of the latter, it is designed as both an introduction to and to help teach, Deaf culture and sign language—both American Sign Language and British Sign Language. To do that it uses sign language as part of game play. Just as words, letters, numbers, and expressions are shaped out in sign language, in Inspirisles, the players Shape out their characters’ magical control of the Elements, meaning that the players are literally Shaping what their characters are Shaping, and it gives the game a wonderful physicality.

Overisles [https://www.drivethrurpg.com/en/product/460542/overisles-campaign-setting-for-inspirisles?affiliate_id=392872] is the first campaign for Inspirales, following on from the scenario collection, Shapes of Adventure: An Inspirisles Anthology [https://rlyehreviews.blogspot.com/2022/10/scenarios-for-shaping.html]. Published following a successful Kickstarter campaign [https://www.kickstarter.com/projects/tatteredbear/overisles], it takes the roleplaying game in a wholly direction—into the air and island hopping across the archipelago with the Pendragons riding astride their great feathered beasts, the Nimbus. At stake is the fate of the islands. All over the islands, Disbelief, brought about through greed, corruption, cruelty, and bloodshed, is bubbling up under the Nests of the Nimbus, masses of darkness that enable the great birds’ eggs to be stolen, Belief to weaken, and the islands to be dragged down from the skies. Could the culprits be Wyrm Pirates, infamous for stealing the eggs, or could it be something else? The Silver Apples, former Pendragons who stayed on once their quests were complete rather than returning to their lives on Earth far below, have searched far and wide for the cause, but all they have found so far, are hints of shadowy creatures roaming the islands committing theft after theft.
Although Overisles does include a quick guide to creating Pendragons, but the Inspirisles rulebook is needed to create the Player Characters. In addition, the Grail Guide—as the Game Master is called—requires a pair of six-sided dice for use with the campaign’s various tables. The actual play requirements for Overisles are simple. Just five participants, one of whom will be the Grail Guide, the others taking the roles of the Pendragons, ideally one for each of the setting’s four Elements. Control and use of these four Elements is done via Shaping, the magical means used to overcome Belief Barriers and enter into Disbelief Battles. The former are puzzles or problems which the Pendragons need to solve or overcome, whilst the latter are contests against a threat infused with Disbelief, for example, a troll who has built a bridge into a community and is about to pillage it. Players and their Pendragons work together to solve a problem, explaining how their Shaping and their use of their Element contribute to the solution, working through a Leader. The Leader will change from problem to problem, depending upon which Element is best suited to dealing with the current situation. Key to Shaping, of course, is the use of Sign Language.
Overisles adds another form of Shaping. This is Feathering, which represents communication between the Nimbus and the Pendragon. Eight new words are added in both British and American Sign Language to handle the instructions that a rider will give his Nimbus, whilst in game, his Pendragon will bond with his Nimbus, its feathers coming to reflect the hue of the Element that the Pendragon specialises. There are other means to cross from one island to another, such as the Sky Bridges, but riding a Nimbus gives Pendragon the freedom of movement.
The play of Overisles involves the Pendragons travelling from island to island, encountering NPCs and possibly ‘monsters’, searching for signs of Disbelief, and hopefully solving each situation or problem on each island. Their progress is tracked in two ways. One is by the Pendragons and their players, in terms of the number of Nimbus Eggs and the amount of Belief they retrieve and offer. As they retrieve and offer more of both, they will unlock stronger Shapes and gain access to better items. The other is by the Grail Guide, and is the degree of Calamity which can befall the Archipelago. Whilst Disbelief can be reduced by recovering Nimbus Eggs, if it and Calamity increase, it can trigger calamitous events, starting with a Vorm Storm, when the captain of The Gallant Gull, which takes the Pendragons to Wingrest, the biggest island of the archipelago and the starting point for the campaign, loses control of his emotions all the way up to one of the Nests plummeting to the ground below, and beyond. When this occurs, the Pendragons have to act immediately in order to prevent a disaster.
Overisles details numerous NPCs across the Archipelago, including the four Crests who lead the peoples across the islands, the elite of the Silver Apples—including a very truthful Squirrel, and dangerous beings, like the Corrupted Glow (Glow are winged and birdlike creatures who research Belief, but the Corrupted Glow have been overcome by Disbelief) and Wyrm Pirates. Wingrest is described in broad detail, and there are a number of interesting NPCs that the Pendragons can encounter here in addition to the Crests.
A good quarter of Overisles is dedicated to describing the twenty islands of the Archipelago. For example, Felisia is home to many cats, including its king, Cat Sith. Its notable features include the Great Cat Tree, decorated with colourful tassels and ribbons, and dotted with sun dappled platforms and homes; the Sunning Hills, carpeted with lush grass where the Feliseans can bask or catch fish from the verdant pools; and the Green Fields, which consist of fields of catnip and cat grass, all to please the inhabitants’ sense of smell. It is inhabited by the Feliseans, anthropomorphic cats. Of late though, dark clouds have been rolling over the Sunning Hills at a moment’s notice, and where Cat Sith once hosted picnics, festivals, fishing competitions, and more, he has not been seen in weeks. The Pendragons will want to find out why and this is presented as a series of tasks that will see them climb the Great Cat Tree to Cat Sith’s palace, stand in for him at a festival, and come to his aid. These tasks are presented in succinct fashion and the Grail Guide will want to flesh them out and add a little colour too. All of the island descriptions follow a similar pattern—a description of a handful of important locations and NPCs, the problem causing Disbelief on the island, and the tasks to be done to overcome the Disbelief.
What this means is that the Pendragons have twenty islands to explore in any fashion that they want. That though may be a problem. The Players may not necessarily know which island to visit first and there are no real links in terms of hooks or pointers which will pull the Pendragons from one island to the next. On the one hand, this gives both them and their players a lot of freedom, but that freedom can be daunting. Thus, the Grail Guide may want to throw in some hooks and rumours in order to give her players some ideas as to where their Pendragons should go. One thing that the Grail Guide has to do is decide who is actually responsible for the rise in Disbelief across the Archipelago. Several suggestions are given, but the Grail Guide will need to decide as to who and why.
Physically, Overisles is brightly presented and decently written. The artwork is bright and engaging, one particularly enjoyable piece is of the island of Wingrest floating unseen over the British Isles.
Where Overisles has a problem is that it is underwritten in places and is perhaps too open in its structure, such that it lacks a good starting point and hooks to give reasons for the Pendragons to go to an island and their players to want their Pendragons to go to an island. It is here that it needs development upon the part of the Grail Master and that is in addition to deciding who the villain of the piece is. Inspirales does deserve a campaign, but Overisles is not quite the campaign it fully deserves. It needs a bit more input to run than it should and for less experienced players this could be off-putting. Of course, there are no other campaigns for Inspirales, so Overisles is the only option. Once the preparation has been done, Overisles will be a decent option, not just the only option.

—oOo—
Hatchlings Games will be at UK Games Expo which takes place on Friday, May 31st to Sunday June 2nd, 2024.

Miskatonic Monday #282: Sell Yourself

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: Flash Cthulhu – Sell YourselfPublisher: Chaosium, Inc.
Author: Michael Reid

Setting: USA, 2008Product: One-Location, One-Hour Scenario
What You Get: Eight page, 1.35 MB Full Colour PDF
Elevator Pitch: You’ll go through hell to get this job!Plot Hook: In a recession, it is every man for himselfPlot Support: Staging advice and four pre-generated Investigators.Production Values: Plain
Pros# Sanity scouring sweatbox# Calls for strong roleplaying under duress # Easy to adapt to other times and settings# Potential convention mini-scenario# Heliopobia# Rogophobia# Thanatophobia
Cons# Highly adversarial
Conclusion# Short, sharp bloody hour of incandescent interrogation# Aggressively antagonistic affair that calls for good roleplaying

Miskatonic Monday #281: Dreams to Fill the Vacuum

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

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

—oOo—
Name: Dreams to Fill the VacuumPublisher: Chaosium, Inc.
Author Richard Watt

Setting: Detroit, 1995Product: Scenario
What You Get: Thirty page, 23.75 MB PDFElevator Pitch: Dreams aren’t always the right things to havePlot Hook: Talk of demons and cults are a sure sign of distress
Plot Support: Staging advice, eleven handouts, two floorplans, and  four NPCs.Production Values: Good.
Pros# Weird contrast of madness and mirage# Easy to adapt to other times and locations# Delightfully creepy, upfront antagonist# Decent handouts# Designed for experienced Investigators# Easily adapted to Delta Green: The Role-Playing Game# Could steer into the Dreamlands# Oneirophobia# Automatonophobia# Melophobia# Leophobia
Cons# Designed for experienced Investigators# Feels underwritten and more of a detailed outline
Conclusion# The demons are real in a race to save a woman from her dreams# Weird and woozy mix of action and aberration

Sixth World, Sixth Edition

The world has endured much in the last eight decades in what has been an interesting twenty-first century. December 24th, 2011, marked the end of the five-thousand-year Mayan calendar and the beginning of the next, and with it came unimaginable change. U.G.E., or ‘Unexplained Genetic Expression’, gave rise to the birth of mutant and changeling children, followed by ‘Goblinisation’, in which a tenth of the population mutated into hideous forms. Although their appearance triggered global race riots, they became recognised as Dwarves, Elves, Orcs, and Trolls, separate species in their own right, members of Metahumanity known as the Awakened. Dragons appeared in the skies and were greater than anyone even imagined, owning corporations, becoming media stars, and one even getting elected president—before being assassinated on the day of his inauguration. Corporations were recognised as sovereign states unto themselves, so rose the power of the mega corps, all chasing status on the ten-member Corporate Council, regulating their activities where once national governments had done so. Recognition of the corporations and their extraterritoriality weakened the United States as the Native American demand for recognition turned into an armed struggle that would eventually force Canada, Mexico, and the United States to recognise the Native American Nations under the terms of the Treaty of Denver. Worse was to follow with the data Crash of ‘29 as a killer virus destroyed data and systems worldwide, toppling governments and threatening to destroy the USA. In response, operatives co-opted by the US government and using advanced cybertechnology entered cyberspace and fought the virus. Not all survived, but several of those who did took that technology to market, ultimately leading to personal cyberdecks which allowed individuals to easily access cyberspace and travel anywhere from the comfort of their own homes. In the wake of the Crash of ’29, what remained of the United States merged with Canada to form the United Canadian and American States in order to save both their economies and resources. It was followed by the secession of the Confederated American States four years later, and the founding of Tir Tairngire, an Elf nation just outside of Seattle. The rise of two types of technology—cybernetics and virtual reality would lead to widespread adoption of cyberware as augmentations and the Matrix, the descendant of the World Wide Web, its virtual reality or augmented reality accessed via cybernetic implants, a commlink, even the natural ability of the Technomancer, has run parallel with the rise and study of magic through various traditions.

By the year 2080, the divide between rich and poor, between SIN and SINless has only got wider. A SIN or ‘System Identification Number’ provides state and corporate recognition, access to education, healthcare, and potentially a job, but that job is going to be as a wage slave serving the interests of a corporation. Some of the SINless see their not being part of the system as a badge of honour. It enables them to undertake jobs and tasks that having a SIN would make very difficult, whether that is protecting the rights of fellow slum dwellers or becoming Shadowrunners. Shadowrunners do the jobs, perform the heists and personnel extractions, steal data, babysit assets, investigate mysteries, and the like that corporations and other agencies with a budget big enough do not want to be seen doing. Employed by a ‘Mister Johnson’, they are a corporate fixer’s deniable assets, willingly paid to do underhand tasks that would otherwise ruin a corporation’s reputation, until that is, the Shadowrunners become a liability!

This is the setting for Shadowrun – Sixth World, the roleplaying game originally published in 1989 by FASA, Inc. and subsequently developed over the course of thirty years into novels and short story anthologies, miniatures games, card games—collectible and otherwise, computer games, and more, including, of course, a detailed background and history of the Sixth World setting itself, which also spanned the roleplaying game’s thirty year history, from 2050 to 2080. It combines three genres in particular, two of them particularly not being obvious bedfellows—Cyberpunk, Fantasy, and Urban Fantasy. It is a roleplaying game in which the Player Characters take the roles of Shadowrunners, freelance operatives trying to get by without attracting too much attention, but getting involved anyway.

Shadowrun – Sixth World is the latest iteration of the rulebook, published by Catalyst Game Labs essentially the sixth edition for the setting’s Sixth World. It introduces the setting, provides the means to create the numerous types of Player Characters possible, run the different aspects of the setting—primarily magic and the Matrix, details a wide array of threats and other NPCs and creatures, lists numerous items that the Player Characters can equip themselves with, and hidden at the back, almost like an afterthought, provides a handy introduction to the Seattle of 2080 that includes several NPC contacts and almost twenty scenario hooks! This is all peppered with fiction set within the world of Shadowrun that helps to impart its flavour and feel, examples of the rules in action, and a pair of pullout sections that showcase just a little of the artwork of the roleplaying’s past thirty years. Veteran players will recognise many of these pieces.

One of the first things Shadowrun – Sixth World does is highlight the differences between it and previous editions. This is aimed at the veteran player coming to the new edition. So, what then are those changes? First, and foremost, it includes faster easier rules for Edge, the undefinable element of risk taking, guts, and heedless ignorance in the face of danger, stripped down skills, Armour not being part of the Damage Resistance test, the Elimination of Limits, a hangover from the previous, more complicated rules, simplified action, spells no longer needing Force, and altered Matrix functions. The aim is to provide simpler, more streamlined mechanics that encourage greater, faster, and more dynamic action, whilst ultimately making play easier.

A Player Character in Shadowrun has a mix of physical, mental, special attributes, typically one to six. The four physical attributes are Body, Agility, Reaction, and Strength, and the four mental attributes are Willpower, Logic, Intuition, and Charisma. The four Special attributes are Edge, Magic, Resonance, and Essence. Of these, only magic-using Player Characters have Magic and only Technomancers have Resonance, whilst all Player Characters have Edge and Essence. The latter measures how much cyberware, bioware, and other augmentations that a Player Character can have before he becomes too machine-like. It also measures the capacity for a Player Character to use magic. Install too many augmentations and the Player Character’s Essence is reduced, and so is his capacity to use magic. Skills, on the same scale as attributes are divided between active skills and knowledge skills, plus languages. A Player Character has a Metatype—Dwarf, Elf, Human, Ork, or Troll—which conform to the classic fantasy versions of them, plus a Lifestyle, ranging from Street and Squatter to High and Luxury, which apart from Street has to be paid for and maintained. He can also have Qualities, positive or negative, such as Analytical Mind, Catlike, AR Vertigo, or Combat Paralysis.

A Player Character will also have a broad role, either Arcane Specialist, Face, Street Samurai, or Technology Specialist, but within them there are several ways of achieving what each role is designed to do. The Arcane Specialist can be a Mage, a Shaman, or an Adept, the latter being able to focus his magic inwards to enhance himself either physically or socially; a Face can be skill based, a social Adept, or augmented with the right cyberware or bioware; and a Street Samurai can be all skill focused, a physical Adept, or heavily augmented with cyberware. The Technology Specialist can either hack into the Matrix or operate vehicles and drones, either through technological means or innate magical means. The Decker uses technology to hack the Matrix, whilst the Rigger uses it to control technology. The Technomancer uses innate magical ability to hack the Matrix, whilst the Dronomancer uses it to control technology. In general, Player Characters will be specialists in their role. There is some flexibility in terms of character design and the degree to which a character is augmented, but that degree will always be limited by how much a player wants his Arcane Specialist character to be able to use magic.

Character creation itself is not an easy process and takes some getting used to. It uses an updated version of the Priority System first seen in Shadowrun, First Edition in 1989. A player sets the priorities for his character’s Metatype, points to assign to skills and attributes, Magic or Resonance capability, and Resources. Metatype also includes Adjustment Points, which are then spent on Edge, attributes for that Metatype, and either Magic or Resonance. Resources are not just spent on weapons, armour, and other equipment, but also cyberware. At the end of the process, a Player Character receives some Knowledge and Language skills for free (but can purchase more), chooses Contacts and some Qualities, and spends Karma to customise the character. This is in addition to a series of questions designed to help the player envision his character and his motivation as well as his place in the Sixth World. Alternatively, a set of ten pre-generated archetypes provide ready-to-play Player Characters or examples to show what the end result looks like.

Kimama Sanchez
Metatype: Ork Role: Shaman
Racial Qualities: Low-light Vision, Built Tough 1

Body 6 Agility 4 Reaction 3 Strength 6
Willpower 4 Logic 2 Intuition 2 Charisma 5
Edge 4 Magic 6 Essence 6

Attack Rating: 9 Defence Rating: 6+3 Initiative: 5+1d6
Composure: 9 Judge Intentions: 6 Memory: 4 Lift/Carry: 10

Skills: Astral 1, Athletics 1, Close Combat 1, Conjuring 5, Influence 1, Perception 1, Sorcery 5 (Spellcasting +2)

Knowledge Skills: Spirit Types, Seattle Dive Bars

Languages: Or’zet

Spells: Analyse Truth, Antidote, Armour, Confusion, Detect Life, Detect Magic, Heal, Mindlink, Stabilise, Stunbolt

Rituals: Circle of Healing, Ward

Qualities: Mentor Spirit (Bear), Combat Paralysis, Quick Healer, Built Tough (2)

Contacts: Bartender (Connection 2/Loyalty 3), Beat Cop (Connection 2/Loyalty 3), Fixer (Connection 3/Loyalty 2), Mechanic (Connection 3/Loyalty 3), Mafia Consigliere (Connection 3/Loyalty 1), Mentor (Connection 3/Loyalty 3)

Equipment: Extendable Baton, Combat Knife, Lined Coat, Metalink Commlink, Credstick, Lifestyle – Squatter (Prepaid, One Month), Evo Falcon, ¥3557

Mechanically, at its most basic, Shadowrun – Sixth World is quite simple. To have his character undertake an action, a player rolls a dice pool of six-sided dice, results of five and six counting as successes or hits. If more than half of the results consist of ones, then there is potential for a glitch or critical glitch. The dice pool typically consists of the total of an attribute and a skill, a task having a threshold, which represents the number of hits a player has to roll to succeed. This is a straightforward Simple test, whilst an Extended test consists of two Simple tests, the side rolling the most hits winning the outcome. Extended tests are essentially a series of Simple tests, the Player Character having a period of time in which to roll them in order to achieve a greater threshold. Alternatively, a player can buy hits, dividing the number of dice in his dice pool by four and counting the result as the number of hits.

Edge gives an advantage to a Player Character’s action. The cost ranges from one to five Edge. So, for example, a one-Edge Boost will enable a player to reroll a die or add three to Initiative; a two-Edge Boost lets him add one to a die, give an ally an Edge, or Negate an Edge used by an enemy; a three-Edge Boost grants an automatic hit or heals a some Stun damage; a four-Edge Boost can add Edge to the dice pool and make results of six explode or reroll all failed dice; and a five-Edge Boost can make results if two count as glitches for the enemy or create a special effect, that benefits the action. These are not the only Edge Boosts, but in addition, there are Edge Actions. These include making a Big Speech, a Called Shot, a Knockout Blow, or gaining Sudden Insight, all of which have their benefits. Lastly, Edge can be permanently burned to gain a ‘Smackdown’ when a Player Character really, really has to hit hard, and ‘Not Dead Yet’ when otherwise, it looks like the Player Character should be.

Edge is integral to play. A Player Character can earn Edge through, especially in combat encounters, up to a temporary maximum of seven, so a player should not only be looking for opportunities to earn it, but opportunities to spend it too. Thus, ideally, there should be a constant turnover of Edge as play progresses. Yet, this is hampered by the sheer number of Edge Boosts and Edge Actions and they are a lot to remember. In fact, too many to remember with having a reference sheet to hand for every player, let alone the Game Master.
One Saturday night, Kimama Sanchez gets home from the bar where she has been drinking to find four gangers, members of the 7th Avenue Slashers, attempting to lift her Evo Falcon. They have a Professional Rating of two, so their attributes are all two with skills to match, except for their intimidating manner and willingness to throw their weight around. Kimama Sanchez just wants to go to bed, so to avoid a fight, she attempts to intimidate the gangers. As a tough-looking Ork, Kimama is definitely more physically powerful than any of the gangers. This gains her an extra point of Edge from the Game Master. Kimama’s player keeps that in reserve and rolls her dice pool, which consists of six dice, equal to her Charisma + Influence. This will be opposed by the gangers’ Willpower + Intuition, equal to two each. The Game Master rolls this as a group, stating that for each hit that Kimama’s player scores more than the gangers, one of them will flee. The Game Master rolls three, three, six, and six. Kimama’s player rolls two, three, four, six, six, and six, a good roll, but only enough to affect one ganger. Fortunately, Kimama has the extra Edge awarded because she is tough-looking and her player decides to use it as well as a point of her innate Edge to purchase a two-Edge Boost to add one to one of the die results. She turns the result of four into five and now has two hits. This means that she has successfully intimidated two of the gangers, who after Kimama asks gruffly, “Hey, squishies, you really wanna be trying this, this time of the morning?”, decide that taking on a tough-looking Ork this time of the morning is not for them.The core mechanics are used throughout Shadowrun – Sixth World, including all of the mechanical subsets that handle the different aspects of the rules—magic, Technomancy, the matrix, rigging, and so on. Combat is surprisingly treated in just twenty pages, but that also includes plenty of examples that really help the Game Master grasp the rules. At the core, combat revolves around comparing Attack Rating to Defence Rating, and if one is greater than the other by four or more, that combatant gains a point of Edge. More Edge can be gained from the situation, from gear, and more. Edge can be spent before or after the roll. Damage can be soaked by rolling hits generated from a roll based on the Body attribute. Damage is applied to the defendant’s Condition Monitor. Overall, the combat covers ranged and melee combat, grappling, knockdown, explosives, gas attacks, spray attacks, and more.

Magic is divided into two traditions, Hermeticism and Shamanism, the former being academic in nature, the latter more experienced and performative in nature. The first relies on Logic as its attribute, the second on Charisma as its attribute. The rules cover spells, conjuring, summoning, enchantments, alchemy, and more. Adepts have innate powers, such as Astral Perception, Danger Sense, Killing Hands, and more. One danger of using magic for any tradition is the possibility of Drain because using or casting magic is tiring. Every spell has a Drain Value, and when it is cast, the magic-using character’s player must make a roll to withstand its effect. For every hit, the Drain Value is reduced. Any Drain Value left over inflicts stun damage, but this is stun damage that cannot simply be healed. It must be rested to recover from!
It is Sunday morning following a Seattle night out and Kimama is still facing down two gangers who want to steal her bike and were not put off by her intimidating manner. One of them draws a streetline special and points the pistol at her and with a sneer says, “Whatcha gonna do ’bout it, trog?” The other one pulls out a knife. Things have taken a bad turn, one which Kimama wanted to avoid. Combat is about to ensue, which begins with initiative. The Game Master will roll one die and add four for the gangers, whilst Kimama’s player will roll one die and add five. However, Kimama has the negative Quality of ‘Combat Paralysis’, which not only halves the result, but means that she goes last in the first round. The Game Master rolls one, adds four, for a total of five. Kimama’s play rolls a five and adds five for a total of ten. Halved, this is five. What this means is that after the first round when Kimama has to go last due to her Combat Paralysis, she has the same Initiative as the remaining gangers. However, since her Edge is four compared to their one from their Professional Rating of one, this breaks the tie and she will go first in subsequent rounds.

The lead ganger, armed with his Streetline Special, opens fire at Kimama. The Game Master rolls the ganger’s Firearms 2 + Agility 2, Kimama’s player will be rolling Reaction 3 + Intuition 2, whilst the Attack Rating of the Streetline Special is compared against Kimama’s Defence Rating. The Streetline Special has an Attack Rating of eight, whilst Kimama has a Defence Rating of nine, which includes the benefit of her lined coat. Since the Attacking Rating is not four greater than the Defence Rating, there is no Edge benefit. From the situation, the Game Master states that it is dimly lit in the alley alongside Kimama’s squat, but since she has low-light vision as an Ork, gives her a bonus Edge. The Game Master is rolling four dice, getting a result of four, six, six, and six, whilst Kimama’s player rolls two, three, three, five, and six. The Game Master rolled one more hit than Kimama’s player. This is added to the damage value of the Streetline Special, which is two, for a total of three damage. Kimama’s player now rolls to soak this damage, which is six for her Body. Her player rolls two, three, four, four, five, and five for two hits, leaving Kimama with a point of damage to suffer. Given how tough she is, this really is a scratch! This is marked off on the Physical damage Track of her Condition Monitor on the character sheet. Fortunately for Kimama, the other ganger thinks that the pistol is enough to change her mind and does not attack this round.

It is time for Kimama to act. She is not keen on violence, so decides to cast Stunbolt at the ganger with the gun. Kimama’s player will roll her Magic 6 + Sorcery 5 (Spellcasting +2) for a total of thirteen dice! This is definitely four higher than the ganger’s Defence Rating of three, so Kimama is awarded a bonus point of Edge, plus another one because of the poor light conditions and her Low-light Vision. So, she has two. The ganger will oppose the roll with his Willpower + Intuition total of four. Kimama’s player rolls one, one, one, one, three, three, four, four, four, five, six, six, and six, which is four hits and four ones. Fortunately, for Kimama, the number of ones rolled is not enough to cause a glitch. Her player decides to spend the two bonus points of Edge to turn two of the fours into fives, and now she has six hits. This is added to the total effect of the Stunbolt, which is five. The ganger is about to take eleven points of damage, though it is only stun damage. Since damage from direct combat spells cannot be resisted, this is applied directly to the ganger’s Condition Monitor, which is only nine. So down he goes, asleep in charge of a cheap gun. Still, Kimama must check for the effects of Drain because she has cast a spell. Stunbolt has a Drain value of three, so Kimama’s player must roll three hits or more, using her Willpower 4 + Charisma 6, to negate the effect. Kimama’s player rolls one, two, two, two, four, four, six, six, and six, which means three hits and no effect due to Drain! In the meantime, the last ganger is standing there with a knife, just having seen his compatriot fall over, wondering if he should run for it, grab the gun, or use his knife…The general effect of simplifying the mechanics is to streamline play, most notably with the different subsystems. The magic feels a lot more fluid and easier to run, whilst the rules for handling the Matrix, hacking, and the Decker character type have been adjusted so that Hackers are no longer quite playing what was essentially a separate game or combat to the rest of the Player Characters. This has been done by reducing the number of hacking related skills in the roleplaying, just as the number of skills have been reduced elsewhere in the rules; keeping Noise—the factor, such as distance, which occludes hacking attempts, which ensures that a Decker is on-site with the other Player Characters rather than somewhere else; and by shifting the timeframe of hacking attempts to be in line with that of the other Player Characters in the ‘real’ world. It is still quite technical, so actually something that both Game Master and a player whose character is a hacker, need to learn, and do so separately from the other players. As does the Technomancer, but there is a more personal feel to the play of this character type in comparison to the Decker. Similarly, the Rigger has a lot to encompass in terms of what the role can do, with the Technomancer’s equivalent feeling a bit more fluid. All of which stems from the efforts of the designers Shadowrun – Sixth World to ease play and reduce the seemingly insurmountable technicalities of the different subsystems in previous editions. This is not to say that they have not been removed completely, but they have been reduced.

The other aspect of Shadowrun—cyberware, is listed at the back of the book in the lengthy chapter of gear. Here is where the Game Master and her players will find all of the guns, katanas, armoured trench coats, cyberdecks, and cyberware they will need. Much of it is illustrated, and it also includes vehicles and a wide range of tools as well, all of which can be used to outfit the Player Characters as well as the NPCs, the latter according to their NuYen, the latter according to the needs of the budget. Here is where the players will spend the amount of money listed under Resources in the Priority Table for character creation.
For the Game Master there is a good selection of NPCs, including threats and surprisingly detailed contacts for the Player Characters, and critters, both mundane and awakened. Many of the latter are quite nasty, such as the Basilisk, the Ghoul, and the Vampire, and listings also include dragons, though not the named dragons of the setting. The section on running the game is fairly short, but the advice is good and there are rules here too, for handling ‘heat’, the measure of which the Player Characters might have come to the attention of the authorities. Beyond this—and beyond the numbered pages of the book, the Game Master is given an extra set of bonus content. This includes an overview of Seattle in 2080, its isolation and independence from the United Canadian and American States making a good spot in which to base a campaign, just as it did in the 2050 and the first edition of Shadowrun. There are even some extra Qualities which a Player Character can have as an inhabitant of particular districts in and around the city! The four NPCs given are fully rounded out and detailed, all ready for their involvement in some of the plots and hooks listed here at the end of the book. There are almost twenty of these, all ready to be fully fleshed out by the Game Master, so they will need some work to prepare for use with a playing group. Overall, the support for the Game Master is generous.
However, as complete as Shadowrun – Sixth World does feel, it is not perfect. Whilst it goes out of its way to explain what the changes are with the new edition and what the slang means in the setting, what it does not do is give a glossary of game terminology. That would have helped in places where game terms are mentioned before they are properly explained. There is no full example of character creation, so it is different to know quite what you are doing with the creation process, at least initially. There are just too many nuances to it for it to flow easily. There is no example of play. There is plenty of in-game fiction and examples of the rules, but not of general play, and again that would have helped ease the learning process of the game. In terms of background, anywhere beyond Seattle is glossed over, which is disappointing for anyone coming to the city from the surrounding area, especially from any of the Native American Nations or Tir Tairngire.

All that aside, the biggest issue with Shadowrun – Sixth World is its complexity. It is a complex game, one with several separate sets of rules for handling the activities of various roles in the game. All of which need to be learned and understood by a player and the Game Master if they are going to be brought into play. None of which is insurmountable, but it is a hurdle nevertheless, and it always has been since Shadowrun first appeared in 1989 and subsequent supplements and rulebooks added new roles. That said, the rules for Shadowrun – Sixth World really have been streamlined and they do a great deal to reduce the complexity. The challenge of learning to play is still there, but it has been eased.

Physically, Shadowrun – Sixth World is decently presented. In general, it is well written, but it does need an edit in places. The artwork though is good, and it is very nice to see the artwork of past editions presented in the book’s several pullouts.

Shadowrun – Sixth World is a great setting with a lot to explore and experience. That is not quite present in Shadowrun – Sixth World, which instead hints at it whilst presenting the means to access it and explore the wider world presented in other supplements. That means—magic, hacking, rigging, technomancy, combat, and more—have been reworked to be streamlined, and faster and easier to run and play, and so make playing or running Shadowrun not as daunting as it has been in previous editions. That is an impressive feat, and whilst Shadowrun still remains a roleplaying game that calls for more than a casual commitment, Shadowrun – Sixth World has made it more accessible and easier to learn.
—oOo—
Catalyst Game Labs will be at UK Games Expo which takes place on Friday, May 31st to Sunday June 2nd, 2024.


Diamond Doctor II

In 2013, Cubicle 7 Entertainment celebrated the fiftieth anniversary of the world’s longest running Science Fiction television series, Doctor Who, with the ambitious launch of a series of sourcebooks for its Ennie-award winning Doctor Who: Adventures in Time and Space roleplaying game. Beginning with The First Doctor Sourcebook, each of these would detail the complete era of one individual Doctor, his adventures, his companions, his character and outlook, the monsters he faced, and the themes of his incarnation, all supported with content that the Game Master can bring into her own campaign. The result has been a very well done series of sourcebooks that in turn has enabled the Game Master and her players to explore the different eras—all twelve of them to date, though there are more to come—and run adventures set during this period and encounter monsters and threats from this period. Ten years on and in 2023, the sixtieth anniversary of Doctor Who was celebrated. What would the publisher release to celebrate the world’s longest running Science Fiction television series this time around? The answer is Doctor Who: Sixty Years of Adventure.

Doctor Who: Sixty Years of Adventure is a two volume set which together provides an overview of Doctor Who, his Companions and adventures, themes and adversaries, from the First Doctor to the Thirteenth Doctor—and not only that, but the Fugitive Doctor too! Plus, the two volumes include a complete campaign between them, ‘A Lustre of Starlight’, which encompasses every Doctor and more. The two volumes of Doctor Who: Sixty Years of Adventure are divided into Doctor Who: Sixty Years of Adventure Book One and Doctor Who: Sixty Years of Adventure Book Two. Both are, of course, written for use with with Doctor Who: The Roleplaying Game – Second Edition, but easily compatible with the first edition. Doctor Who: Adventures in Time and Space roleplaying game. Each book details a different era of the television series. Thus Doctor Who: Sixty Years of Adventure Book One examines the First Doctor all the way up to the Eighth Doctor, essentially ‘Classic Who’, whilst Doctor Who: Sixty Years of Adventure Book Two details the period of the Ninth Doctor to the Thirteenth Doctor (and the Fugitive Doctor) before acknowledging at least visually, the Fourteenth Doctor, which of course, is all ‘Nu Who’.

Doctor Who: Sixty Years of Adventure Book One introduced both the pair of volumes in the series and to Doctor Who, explaining its origins and history from its inception in 1963 to the beginning of its interregnum following the Doctor Who film in 1996, before explore the eras, companions, and adventures of the First Doctor through to the Eighth Doctor as well presenting the first eight parts of ‘A Lustre of Starlight’, a campaign that ultimately all of the Doctors detailed in the two volumes. Doctor Who: Sixty Years of Adventure Book Two picks up where Doctor Who: Sixty Years of Adventure Book One left off with another introduction. This though, is not of Doctor Who in general as with the first volume, but of what it calls ‘The Revival Era’. This gives an overview of the last—almost—two decades and thirteen series of Doctor Who, including the Fiftieth Anniversary, as well highlighting the differences between the old the new. Not just the budget, of course, and the single story episodes, but with the arrival of the Ninth Doctor and his encounter with Rose Tyler in ‘Rose’, how the stories of Doctor Who were not just about the adventures of man—and with era, woman as well—in a blue box that could travel in time and space, but about his companions too and how they reacted to and were changed by those adventures and their time with the Doctor. In roleplaying terms, what this sets up is a greater role for the Companions. They cannot be the Doctor or even his equal—except under very special circumstances, because there are always circumstances—but they can run alongside him, be the best that they can hope to be, and see the universe and the future and the past all at the same time.

The format for each volume in the Doctor Who: Sixty Years of Adventure set is the same for each Doctor. Every Doctor’s era opens with an introduction, asks who each Doctor is and who his Companions are, what the themes of the era are, gives an overview of his adventures, and details both the Doctor and each of his campions, complete with stats for use with Doctor Who: The Roleplaying Game – Second Edition. Each of these sections is given a couple of pages each, with the section dedicated to the adventures typically being double that, though there are exceptions and for very good reason. Rounding out chapter is the next part of ‘A Lustre of Starlight’, the campaign which runs throughout both books.
Thus, for the Tenth Doctor, he is unlike the initially callous and slightly arrogant Ninth Doctor, who carries the burden of his predecessor’s actions and his belief that he destroyed Galifrey to prevent the Daleks from winning the Time War, and so is direct and forceful in manner. He would retain many of these characteristics throughout his Generation, but the presence and influence of Rose enables him to heal and his manner to soften. The Tenth Doctor retains the smile of his predecessor, but otherwise is younger, more energetic, and always, always running. His combination of compassion and pride will see him confront danger after danger, attempt to reason with the madness and the madmen of the universe, but ultimately be his undoing. The themes of the Tenth Doctor revolve around change. There is the change in the place of the Earth in the universe in the twenty-first century, because this is the era when humanity is confronted by the fact that they are not alone in that universe, and there is change in terms of how the earth is protected. First with the founding the Torchwood Institute following the werewolf attack on Queen Victoria in 1879 and then its destruction and collapse following the Battle of Canary Wharf.
The Tenth Doctor’s companions begin with Rose Tyler, who like so many before her must adjust to the radical change in manner and appearance in the Time Lord she had come to know, but they quickly joined by her boyfriend, Mickey Smith, followed by the brave Martha Jones who would go on to work for UNIT, and lastly the brilliantly brash and curious Donna Noble and her reliable grandfather, Wilfred Mott. The run through of all the Tenth Doctor’s adventures has a lot to cover, so does feel slightly underwritten and all too brief, which is an issue the pervades the supplement for all of its Doctors and those of the first volumes. Thankfully, nearly all of the Doctors in this volume have their own supplement which details their adventures, adversaries, and so on in much more detail, beginning with The Tenth Doctor Sourcebook. The chapter comes to a close with the next part of the campaign which runs through both volumes of Doctor Who: Sixty Years of Adventure. This format and level of examination is repeated over and over throughout the book.
There are two chapters that are notable exceptions to this format. This is because of the paucity of information upon which to base a chapter as fulsome as those devoted to the Ninth, Tenth, Eleventh, Twelfth, and Thirteenth Doctors, either because the Doctor made only the single extended appearance or a series of quite fleeting appearances. These are chapters devoted to the War Doctor, the unacknowledged Doctor between the Eighth Doctor and the Ninth Doctor and the Fugitive Doctor who appeared very late in the adventures of the Thirteenth Doctor. The inclusion of the War Doctor and the Fugitive Doctor top and tail the chapters in the book, and where the other Doctors have their adventures and companions detailed, neither of them have their adventures so described. After all, there is a dearth of adventures upon which they can draw upon and it is the exact same problem that beset The Eighth Doctor Sourcebook. Where the War Doctor has no companions (though one os suggested for his adventure), the Fugitive Doctor does have one in the form of Karvanista, the Lupari Warrior, who is bound to Dan Lewis, but adventured with the Fugitive Doctor long in the past. Here at both the beginning and the end of the sourcebook is where Doctor Who: Sixty Years of Adventure Book Two is at its most interesting, examining the unexplored possibilities of Doctors whose stories have yet to be, and indeed, may never, be told.
The campaign, ‘A Lustre of Starlight’, begun in Doctor Who: Sixty Years of Adventure Book One, continues exploring the fate of the Taaron Ka, a mysterious diamond—perfect then for what is a treatment of the sixtieth anniversary of Doctor Who—over the course of thousands of years of history. Each part runs to three pages and three acts and is a complete story in itself, the connective thread being the diamond itself. As written, each part is designed to be played using the Doctor and his Companions of that era. For example, in ‘The Dalek Death Diamond’ for The War Doctor must team up with the Rani in a charge up the tower of a Gallifreyan time station in order to prevent the daleks getting hold of a Time Lord weapon of war, whilst for Ninth Doctor, ‘The Diamond Heist’ takes both him and Rose to south-east France towards the end of World War 2 where they team up with photographer Lee Miller to investigate an abandoned town where the Nazis have teamed up with aliens! The Tenth Doctor attends an auction on the dark side of the Moon in ‘Green with Envy’, whilst in ‘Search for the Stars’, the Eleventh Doctor comes to the aid of an Indian Space Agency mission on Mars that tumbles into the Ice Warriors. ‘Debt Repaid’ is set in twenty-first century India which is where Kate Stewart of UNIT sends the Twelfth Doctor where the Taaron Ka diamond was almost stolen and is likely to be stolen again, as is ‘Reparations’ for the Thirteenth Doctor, but in 1950, where the Taaron Ka diamond is being returned to its rightful place despite the objection of outside criminal interests.
Lastly, the secrets of the Taaron Ka diamond begin to be hinted at in ‘Division of Angels’ as the Fugitive Doctor and Karvanista, on the run from the Division and attempting to find something which will give them an advantage when dealing with the Division. This takes them deep into the Earth’s past and deep underground for a much more physical and combative encounter with the Weeping Angels. In general and as written, the episodes that make up the ‘A Lustre of Starlight’ campaign suggest three Player Characters—the Doctor and two Companions—but this does not strictly have to be adhered to. Each part should take no more than one or two sessions play through. Of course, a group is also free to create their own Timelord and set of Companions to play through the campaign, but if played as written, the players should swap roles from episode to episode based on preferences or bring in different Companions as needed.
This though changes with ‘An Unearthly Power’, the last part of the campaign, given in the first of the supplement’s two appendices. The Doctors—at least two, if not more, potentially all fifteen (not counting the Fifteenth, because he is not detailed in this supplement)—arrive, one by one, on a ‘Mystery Murder Cruise’ with a sixties theme on a steamship in the North Sea. This allows the players to go full Doctor, to each play one of the incarnations of the Doctor, their favourites bouncing off each other as personalities and quirks clash. Or possibly to dive deeper into troupe style play so that not only the players roleplaying their favourite Doctors, but their companions too! Where the previous adventures felt all too brief, this is a much more developed affair and so feels more realised and playable as a result. Consequently, this is the best adventure in the whole campaign, and it is a pity that others are each like a précis than fully rounded affairs.
Lastly, the second of the appendices in Doctor Who: Sixty Years of Adventure Book Two looks at an aspect integral to the Doctor and Doctor Who over its sixty years—‘Regeneration’. This is a solid guide to the process and what it involves, drawing from the multiple times that the Doctor has regenerated.
Physically, Doctor Who: Sixty Years of Adventure Book Two is superbly done. The cover is eye-catching and has a lovely tactile feel to it with the combination of lightly embossed text and the contrast between gloss and mat. The book is well written and laid out, but does need a slight edit here and there. There is, though, a nice use of colour and tone throughout. The paintings of each Doctor at the start of their respective chapters are excellent.
One thing that each volume does acknowledge is that the amount of information on the various Doctors is limited and that more information—in fact, much more information of each Doctor can be found in his or her respective sourcebook. This is also aided by the compatibility between the two editions of the roleplaying game. It is also a limitation for each volume, since there is going to be information in those sourcebooks which is not included in either of this set. Of course, neither volume of Doctor Who: Sixty Years of Adventure is intended to be the definitive guide to a particular Doctor, but rather an overview of each era. For that, the reader and the Game Master will need access to the thirteen or so sourcebooks. Instead, each volume of Doctor Who: Sixty Years of Adventure is something else.

As we reach—and pass—the sixtieth anniversary of Doctor Who, both Doctor Who: Sixty Years of Adventure Book One and Doctor Who: Sixty Years of Adventure Book Two are a chance for the Game Master and her players to look back as the series moves forward with first the Fourteenth Doctor and second the Fifteenth Doctor, now newly arrived with his first series. It provides an overview of what has gone before and gives them a chance to visit that past and decide whether they want to explore it in more depth with the other sourcebooks. Doctor Who: Sixty Years of Adventure Book Two continues the examination of what has gone before begun in Doctor Who: Sixty Years of Adventure Book One by looking back at the first two decades (or so) of Doctor Who’s revival in an entertaining and engaging fashion. Doctor Who: Sixty Years of Adventure Book Two completes the pair, giving a solid introduction to roleplaying in the era of ‘Nu Who’ with the knowledge that there is more available.
Of the two, Doctor Who: Sixty Years of Adventure Book One is the more interesting overall, because it is all in the past, and less familiar, but the Doctor Who: Sixty Years of Adventure Book Two has the most interesting content because it does encompass both the War Doctor and the Fugitive Doctor, both incarnations with untapped potential and scope for different stories.
—oOo—
Cubicle 7 Entertainment will be at UK Games Expo which takes place on Friday, May 31st to Sunday June 2nd, 2024.

Quick-Start Saturday: Death Valley: A Horror/Western TTRPG – Quick-Start Rules

Quick-starts are means of trying out a roleplaying game before you buy. Each should provide a Game Master with sufficient background to introduce and explain the setting to her players, the rules to run the scenario included, and a set of ready-to-play, pre-generated characters that the players can pick up and understand almost as soon as they have sat down to play. The scenario itself should provide an introduction to the setting for the players as well as to the type of adventures that their characters will have and just an idea of some of the things their characters will be doing on said adventures. All of which should be packaged up in an easy-to-understand booklet whose contents, with a minimum of preparation upon the part of the Game Master, can be brought to the table and run for her gaming group in a single evening’s session—or perhaps too. And at the end of it, Game Master and players alike should ideally know whether they want to play the game again, perhaps purchasing another adventure or even the full rules for the roleplaying game.

Alternatively, if the Game Master already has the full rules for the roleplaying game for the quick-start is for, then what it provides is a sample scenario that she can still run as an introduction or even as part of her campaign for the roleplaying game. The ideal quick-start should entice and intrigue a playing group, but above all effectively introduce and teach the roleplaying game, as well as showcase both rules and setting.

—oOo—

What is it?
Death Valley: A Horror/Western TTRPG – Quick-Start Rules introduces the roleplaying game of the Undead in the Wild West. The Player Characters are the undead residents of Bardo’s Bluff—Skeletons, Zombies, Ghouls, and Vampires—who have returned to their unlife following their wrongful deaths, whether by accident or wrongly executed for a crime they did not commit.

It is an thirty page, full colour book.

The quick-start is decently illustrated with some excellent maps.

How long will it take to play?
Death Valley: A Horror/Western TTRPG – Quick-Start Rules can be played through in a single session, or two sessions at most.

What else do you need to play?
Death Valley: A Horror/Western TTRPG – Quick-Start Rules requires multiple six-sided dice.

Where is it set?
Death Valley: A Horror/Western TTRPG – Quick-Start Rules is set in and around the town of Bardo’s Bluff, a sanctuary located in California governed by vampires who keep the peace, but there is always something or someone determined to make their lives hell.

Who do you play?
There are four ready-to-play Player Characters given in Death Valley: A Horror/Western TTRPG – Quick-Start Rules. They consist of a Skeleton Bounty Hunter, a Ghoul Gravedigger, a Zombie Ranch Hand, and a Vampire Preacher.

How is a Player Character defined?
A Player Character has four attributes—Strength, Agility, Wits, and Empathy—and a single stat, Life Force, plus one or more skills. He also has an Undead Form, a Former Life, and a Wrongful Death. Each Undead Form provides an Undead Boon, an Undead Hindrance, and a form of Healing. For example, has the Undead Boon of ‘Hard Target’, which means that all attacks against it, except at Close range, are at a Disadvantage and the Undead Hindrance is ‘Rattle of Bones’, which imposes a penalty on all Sneak checks because of noise he makes. His means of healing is to use the bones of any dead to repair himself.

How do the mechanics work?
Mechanically, Death Valley: A Horror/Western TTRPG – Quick-Start Rules and thus Death Valley: A Horror/Western TTRPG, uses the Year Zero engine, first seen in Mutant: Year Zero – Roleplaying at the End of Days. To have a Player Character undertake an action, a player rolls a number of dice equal to a combination of attribute and skill. A single roll of a six indicates a success. Multiple successes improve the outcome, especially in combat and conflict. 

If no sixes are rolled, the action fails. However, the Law Master—as the Game Master—can decide that the action succeeds, but with consequences. Alternatively, if the roll is a failure and no sixes are rolled, or a player wants more successes, he can Push the roll. This enables him to reroll any dice which did not result in a one or six. A roll can be Pushed once and any rolls of one on the Base Dice indicate that the Player Character has failed, but with greater consequences as the Law Master determines.

A roll can be made with Advantage or Disadvantage. Rolling with Advantage means that the player can Push the roll, but not suffer the consequences of any ones rolled. Rolling with Disadvantage means that the player cannot Push the roll.

How does combat work?
Conflict in Death Valley: A Horror/Western TTRPG – Quick-Start Rules uses the same core mechanics. The rules for conflict cover both ranged and close combat, or ‘Scuffles’, as well as special attacks such as wrestling and grappling, ambushes and mounted combat. The rules are a very cut down version of those available in the Death Valley: A Horror/Western TTRPG core book, so the Law Master and her players will have to adjudicate in more complex situations. Nevertheless, they are serviceable enough.

There are no rules for social conflict and the Law Master will need to judge the use of the ‘Poker Face’ skill on a case-by-case basis.

What do you play?
The adventure in Death Valley: A Horror/Western TTRPG – Quick-Start Rules is ‘Showdown at Scorpion Gulch’. A Warmblood bounty hunter comes to Bardo’s Bluff, offering the Player Characters the chance to come to the aid of a recently risen revenant before she has to kill them. They will have to travel north to the Warmblood town of Scorpion Gulch via mystical means and there determine where he has gone, persuade him that they are there to rescue him, and deal with rogue undead who would take advantage of the situation. 

The scenario includes two maps. These are decently done, as is the map of Death Valley

Is it easy to prepare?
The core rules presented in Death Valley: A Horror/Western TTRPG – Quick-Start Rules are easy to prepare, especially if the Law Master has any experience with the Year Zero engine. The scenario itself is quite straightforward and overall, it requires very little in the way of preparation.
Is it worth it?
Yes. The Death Valley: A Horror/Western TTRPG – Quick-Start Rules are a solid introduction to both its setting and its concepts, which are very easy to grasp as everyone is familiar with the Wild West and likely familiar with the Undead! 
Where can you get it?
The Death Valley: A Horror/Western TTRPG – Quick-Start Rules is available for purchase here.

—oOo—
Critical Kit will be at UK Games Expo which takes place on Friday, May 31st to Sunday June 2nd, 2024.


Friday Fantasy: The Jovian Visitor

A year ago, the astronomer Giovanni Conti died and his student, Vincenzo Costa, set out to fulfil his last oath to his master. That is to protect his master’s work, which the Roman Inquisition and the church has good reason to be heretical. Thus, he took several tomes and notebooks from Giovanni Conti’s Florence villa and hid them around the city. Since then, Costa’s work has enabled him to revisit these locations and check that the books are still there. However, now they are missing. In desperation, he hires the Player Characters. They will need to check on the former locations and follow up on the clues that Costa will give them. This will lead them to a cult which has stolen the books for their astronomical knowledge and is using to bring about the culmination of its aims—the summoning of a second God. So far, the activities of the cult, the Cult of Secundus Deus, have not attracted the attention of either the city authorities or the Roman Inquisition, so both activities and beliefs are heretical. Of course, there is the possibility of the Player Characters’ investigation attracting the attention of the city authorities and ending up before the magistrates…

This is the set-up for The Jovian Visitor, a scenario for Lamentations of the Flame Princess Weird Fantasy Roleplaying published by Lamentations of the Flame Princess. Designed to be played by three to five Player Characters of First to Third Level, it is written by Glynn Seal, best known as the creator of the Midderlands Old School Renaissance setting, this is, thankfully, a much simpler, shorter, and above all, cleaner affair than his previously, quite literally, excrescent Faecal Lands. Set in Florence in 1642, The Jovian Visitor can also work as a sequel to Galileo 2: Judgment Day. That scenario involved the persecution of the famed astronomer Galileo Galilei by Pope Urban VIII using a Automaton or ‘L’Assassino Meccanico’, and the attempt by the astronomer to escape his house arrest and the mechanical man who has been tormenting him. Now neither Galileo Galilei, or his assistant, Vincenzo Viviani, actually appear in The Jovian Visitor, Giovanni Conti and his student, Vincenzo Costa, are modelled on them. Replacing them with their real world counterparts is easy to do, and it makes the scenario more interesting if the Player Characters encountered him when playing through the events of Galileo 2: Judgment Day.
The investigation itself is relatively straightforward. Vincenzo Costa will be able to furnish the Player Characters with some initial leads, including the locations where he hid the four books and the identity of a previous assistant. Following these will lead them down a number of blind alleys and possibly into punch-ups with the citizens of Florence if they irk them too much or getting arrested by the city watch of they cannot explain their interest in the four locations across the city. It is encounter with the latter that the scenario is at its weakest, not quite explaining what the outcome is if the Player Characters are brought before the city magistrates. If, however, the Player Characters can avoid entanglements with the authorities, they will also learn that they are being watched by a mysterious lady in red. It turns out that she is an important figure in the Cult of Secundus Deus, and will go out of her way to persuade the Player Characters to curb their interest in the books.
Coloured a little by a random encounter or two, persistent Player Characters should soon learn that something is going on in the woods on the hills to the north of the city, where flashes of light have been seen in the sky. Clues found there point to the imminent fruition of the plans of the Cult of Secundus Deus. Can the Player Characters act in time to prevent the summoning of the Second God? And if he is not a god, just what is he? That though, is not something that the Player Characters, or indeed, the whole world really wants to find out.
Physically, The Jovian Visitor is well presented. The artwork is decent, and of course, the cartography is excellent. The map of Florence, in particular, is very nice.
The Jovian Visitor is a short affair, easily played through in a single session, two at most. It has the feel of Lovecraftian investigative horror scenario, though of course, without the Mythos, and that is no bad thing. That it can work as a sequel to Galileo 2: Judgment Day is a bonus, but even on its own, it is a serviceable, if short little mystery that can easily be added to a campaign or adapted to fit elsewhere. That is a whole lot cleaner than the last book from the author for Lamentations of the Flame Princess Weird Fantasy Roleplaying is a double bonus!
—oOo—
DISCLAIMER: The author of this review is an editor who has both edited titles for Lamentations of the Flame Princess on a freelance basis and edited titles for the author of this book on a freelance basis. He was not involved in the production of this book and his connection to both publisher and author has no bearing on the resulting review.

—oOo—
Lamentations of the Flame Princess will be at UK Games Expo which takes place on Friday, May 31st to Sunday June 2nd, 2024.


[Fanzine Focus XXXV] Tales from the Smoking Wyrm No. 2

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.

[Fanzine Focus XXXV] Strange Visitors to the City

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.

[Fanzine Focus XXXV] The Lost Classes: The Arnesonian Classes

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.

[Fanzine Focus XXXV] Crawling Under A Broken Moon Issue No. 5

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.

Miskatonic Monday #280: Mail Order Bribe

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: 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!

Pages