Dungeon Crawl Classics #103: Bloom of the Blood Garden is a scenario for Goodman Games’ Dungeon Crawl Classics Role Playing Game, the Dungeons & Dragons-style retroclone inspired by ‘Appendix N’ of the Dungeon Master’s Guide for Advanced Dungeons & Dragons, First Edition. Published by Goodman Games, scenarios for Dungeon Crawl Classics tend be darker, gimmer, and even pulpier than traditional Dungeons & Dragons scenarios, even veering close to the Swords & Sorcery subgenre. One of the signature features of Dungeon Crawl Classics and its post-apocalyptic counterpart, Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, is the ‘Character Funnel’. This is 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 #103: Bloom on the Blood Garden is such a Character Funnel, but is could be played with a party of six First Level Player Characters and still be a challenge. Either way, the scenario can be used as a one-shot or to start a campaign in a world of dark goddesses and demonic entities!
Dungeon Crawl Classics #103: Bloom of the Blood Garden is set on the grounds of Cob Hill Manor. The house and its grounds had been long abandoned and the inhabitants of the nearby village without a lord of the manor. More recently, Morto Blango, a wealthy merchant came into the property and moved in, deciding to become a rural landowner and restore the place to what it once was. He hired numerous villagers to work for him. Now several weeks have passed and nobody has heard anything from their friends and relatives employed at the manor, let alone seen any movement on the grounds. Worse there was a fire and everyone could see the manor house itself alight. Why did nobody cry out or run to the village for help. It is unsettling and a mystery that the villagers they want not so much solving as reassuring that their relatives are alive and well. Thus begins Dungeon Crawl Classics #103: Bloom of the Blood Garden.

The scenario opens with the Player Characters at the gates to the manor. Beyond lies an extensive and partially overgrown garden, strewn with strangeness and secrets. There is a pumpkin patch, a topiary garden, a well, and gardens devoted to fungi, lotus flowers, cacti, and even poison! Some of the flora is animated, even ambulatory, and much of its deadly. Working their way through the garden—necessary if they are to get to the ruins of the manor house—the Player Characters are likely to get at least scratched and more likely to have withstand the effects of various poisons. However, not all encounters are necessarily adversarial and the Player Characters are careful, they can sense a feeling of displacement which lingers over the garden and potentially pick up various items which will help them, as well as some clues and secrets which suggest that someone had strange plans for the manor and its grounds. Not necessarily Morto Blango, but someone...

Once the Player Characters reach the top of the garden they will discover the manor house partially burned to the ground. Here they will also discover some of the surviving villagers, possible friends and relatives, as well as strange monsters lurking in the house. The inclusion of the surviving villagers is a nice touch, given that they could all have been found dead, but alive they serve as a pool of ready replacement Zero Level Player Characters should one of the originals die. They also serve as a source of information as to what happened at the manor. They do not know much as they are very frightened, but helpful nevertheless. Investigating the remains of manor will lead to Morto Blango’s last refuge and a very nasty encounter with a thing from beyond time and space!

Dungeon Crawl Classics #103: Bloom of the Blood Garden has much to do with the doings of wizards, but the scenario being a Character Funnel means the Player Characters are totally incapable of dealing with him, instead merely dealing with the consequences of his insidious plans. The Player Characters never encounter him in the scenario, although they will possibly learn of his name and his plans. The scenario is nicely detailed and has a pleasing Lovecraftian feel to it rather than in terms of content, although there is a touch of the Edgar Allan Poe to the piece a la Roger Corman. Where there is an issue with the scenario is the number of ways through the garden to the house. There are three or four routes which the Player Characters could take through the garden, meaning that they might never get to the secrets hidden in the garden or the potential aid to be gained if they explore enough of the garden. So some playthroughs may miss some of the clues and some of the items that might mean the difference between life and death as the scenario comes to its climax. To be fair, this is understandable in terms of design, since the Player Characters are not always going to find everything and Character Funnels are meant to very dangerous. It is more a case of the players and their characters having to balance the need to search for more clues versus the deadliness of the encounters!

There can be no doubt that Dungeon Crawl Classics #103: Bloom of the Blood Garden is deadly. When compared to other scenarios it does feel as if there are more Fortitude and Will saving throws needed in order for the Player Characters to survive. This will make the scenario almost as deadly if played through with First Level Player Characters.
Physically, Dungeon Crawl Classics #103: Bloom of the Blood Garden is well presented. The artwork is excellent and the scenario is clearly written and easy to understand. The maps are as decent as you would expect, and there is the bonus of an interview with the author at the end of the book.
Dungeon Crawl Classics #103: Bloom of the Blood Garden combines two horror genres—the gothic and the Lovecraftian, in an unworldly garden and broken mansion. This is definitely a scenario where ultimately, being too timid will leave the Player Characters poorly equipped to deal with what they will face at the end, but pushing too far is potentially as deadly. Dungeon Crawl Classics #103: Bloom of the Blood Garden is a fine Character Funnel, which starts off quaint and deadly, before turning out downright dangerous.
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Goodman Games will be at UK Games Expofrom Friday 2nd to Sunday 4th, 2023.

It is the year 2035. The digital age has been surpassed by the nanotechnology age and the USA is already colonising and terraforming Mars. On Earth, huge multinationals have extended their reach and power so it is also the Age of Corpocracy. Europe has regressed into totalitarianism and protectionism, Asia remains in lockdown after the Third Pandemic, South America dominates global banking via cryptocurrency investment, and there is war in Africa. As the power of the corporations has grown, the power of nation states has dwindled, leaving often unable to deal with emergent threats. This is where Icarus steps in. Sanctioned by numerous states and given freedom of movement and legal authority beyond local governments, Icarus fields highly effective agents from the diverse backgrounds. They have to be the best and they cannot fail, because some day they have to be ready to save humanity.

This is the set-up for Critical: Foundation – Season 1, a roleplaying game which looks like a board game, is designed to introduce roleplaying to the board game playing hobby, and plays like a ‘filler’ game, intended to be played in between or before longer games. It looks like a board game because it uses a lot of cards as reference, much like Warhammer Fantasy Roleplay, Fourth Edition—but very much without any of the complexities. As an introductory roleplaying game, it uses simple mechanics, introduces the rules and concepts in a step-by-step fashion to make learning easy, and it uses a familiar set-up. This is near-future Spy-Fi action, with a team of specialists working together to investigate mysteries and deal with threats, but Spy-Fi action as a television series—and that leads into the ‘filler’ game format. Critical: Foundation is designed to be played in episodic fashion, the box including a total of nine episodes each with an estimated playing time of thirty minutes. Thus, a game of Critical: Foundation is designed to be played over several sessions rather than one, and with the physical nature of its components, around the table rather than online. From a roleplaying viewpoint, Critical: Foundation is like the equivalent of a starter set, complete with rules, four pre-generated Player Characters, dice, rules, and an adventure, all designed to introduce the setting and rules of a roleplaying game. Except that Critical: Foundation is a complete roleplaying game designed to showcase the roleplaying experience rather than a particular game or setting.

Published by Gigamic and available via Hachette Games, Critical: Foundation – Season 1 is designed to be played by between two and five players, aged fourteen or more, one of whom is the Game Master. Although there are suggestions as to how to adjust if there are fewer players, the roleplaying game really works best with a Game Master and four players. Its board game like design means that it has plenty of components. For the Game Master, there is the Game Master’s Screen, the What is a Roleplaying Game? sheet, a Synopsis Booklet for Season 1, nine Episodes, thirty-four Episode cards, eight NPC cards, ten Clue cards, eight Wound card, fifteen Status cards, plus thirty-two 32 Narrative tokens, five Clue tokens, and two six-sided dice. For the players there are four Character cards, eight Background cards, 19 Equipment cards, four Hero tokens, one eight-sided and four twelve-sided dice, a dry-erase marker, and for Name cards. The What is a Roleplaying Game? Sheet provides a brief explanation of roleplaying, whilst the Synopsis Booklet for Season 1 gives an overview of all nine episodes of the first season, some background to the setting, and the epilogue to the season. The Episode cards are used to illustrate scenes and locations within each Episode; the NPC cards detail the other members of the season’s cats the Player Characters will encounter; and the Narrative Tokens to track everything from the passage of time and escape attempts to equipment use and NPC health points. Clue tokens and Clue cards are used to reveal further information during play.

For the Game Master, the highlight of all of these components is the Game Master’s Screen. Although quite low as Game Master’s Screens go, it is very sturdy affair, with all of the rules on the inside for easy reference. It also has handy little pockets to slide NPC cards into so that the Game Master can see the details for the NPC whilst her players can the picture of the NPC on the other side.

The dice consist of a mix of six-, eight, and twelve-sided dice. The six-sided dice are black and marked with various keyed to the NPCs, and are used by the Game Master. Both the white eight- and twelve-sided dice are white and numbered differently. Both are average dice rather than being marked with the full range of numbers as standard polyhedral dice. For the twelve-sided die, this also includes a zero and an ‘×’, the latter indicating a critical failure when rolled.

The four Character cards are double-sided, male on one side, female on the other. They consist of an Analyst, Coder, Scientist, and Military. Each has a quality and a flaw, four—Dexterity, Mental, Physical, and Social, a quick description, and a quote. Each is fully illustrated. One attribute is marked in red to indicate that is a Character’s specialisation. Unlike any other roleplaying game, the attributes do not have an associated value, although they do have linked skills. So the Physical attribute covers Athletics, Combat, and Stealth, whilst Mental covers Knowledge, Investigation, and Perception. The Background cards further define the Characters, there being two per Character. For the Analyst there is Profiler and Private Detective, for the Coder, Hacker and Programmer, for the Scientist, Researcher and Forensic Physician, and for the Military, Mercenary and Special Forces. The Equipment cards include a short range of arms and armour, plus various pieces of technical gear like a Medical Drone or Holo Tablet.

Character creation in Critical: Foundation – Season 1 is fast and easy. Each player selects a Character and chooses which side of the card he wants to use, then chooses one of the two Backgrounds for the Character, plus the associated equipment. He uses the dry-erase marker to write his Character’s name on a Name card, and that is it.

Mechanically, Critical: Foundation – Season 1 is also fast and easy. To have his Character undertake an action, a player rolls the twelve-sided die to get a result equal to or more than a Difficulty Level. The Difficulty Level ranges from one for Easy to six or more for Impossible. The bonus from the die ranges from zero to three, and further bonuses can from a Character’s Specialism for an Attribute, if appropriate, his Background, and the Equipment he is using, for a maximum of three. A Critical Success is achieved if the roll is double the Difficulty Level, which doubles the outcome of the action, but if the ‘×’ is rolled, the attempt is a Critical Failure. This also applies if any player rolls an ‘×’ on a group check in which everyone rolls. When a Critical Failure is rolled, the group earns a Hero Token, up to a maximum of four. Hero Tokens are expended to add the eight-sided die to a roll. Some items of Equipment also allow a reroll of a check.

Combat is likewise kept simple. Initiative is handled through simple Perception checks and when a Character acts, he can do one action and use one piece of equipment. There are just four combat actions—Attack, Help, Take Cover, and Find a Weakness. NPC actions are determined by rolling the Game Master dice and referring to the card for each NPC. A Character can suffer a maximum of two wounds. Any damage after that and the Character suffers an ongoing penalty indicated by a Status Card, the most common of which is ‘Exhausted’, which leaves the Character unable to act until the next scene. Whilst Wounds can be healed, the effects of Status Cards typically need time to heal.

The Episodes are four-page leaflets and start with an episode zer0—the equivalent of a pre-credits scene—before running through to the finale in episode eight. Each includes a Set-up guide, an Episode Synopsis, and then an Introduction followed by two or three scenes and an epilogue. Throughout icons are used to indicate which sections are narrative, involve action, investigation, or roleplay, or require a dice roll by the players or the Game Master. There are also notes running alongside the scenes which give the Game Master pointers on how to portray various NPCs and describe various situations, the latter primarily drawing from action movies. Preparation requires the Game Master to study an episode and make sure that she has all of the cards and tokens ready. Some of the scenes are more complex than others, primarily the action or chase scenes, and these will require more preparation than others. So preparation can take anywhere between five minutes and twenty minutes depending upon the complexity of the scene. Set-up and take down is easy, the latter made easier because the game includes envelopes that each player can store his Character’s cards in.
As a roleplaying game, Critical: Foundation – Season 1 is simple and straightforward and easy to grasp. For the experienced player and the experienced Game Master, it is really easy to pick up and play. The experienced player can start with the simplest of explanations and start play with almost no preparation, whilst the experienced Game Master really only needs to learn the rules, ready an episode, and then run the game directly from the really great Game Master’s Screen, it is that simple and straightforward. For the player and Game Master who have not played a roleplaying game before, Critical: Foundation – Season 1 does its very best to present a direct and accessible roleplaying game. This shows not only in the simplicity of the mechanics, but also the easy-to-grasp televisual, action-orientated style of its story and the fantastic presentation in terms of the NPCs and the Episode cards which help the players visualise the antagonists and other members of the cast, the various locations, and clues. (Further play aids, including music and maps, are available from the publisher’s website. More content has also been promised.)

One aspect missing from Critical: Foundation as a roleplaying game is the scope for the Player Characters to learn and grow from their experiences. In part, that is due to the simplicity of both the Player Character design and the mechanics, but if Critical: Foundation is viewed as something akin to the traditional starter set for a roleplaying game, this is not always an aspect covered anyway. More potentially problematic is the directed, quite tightly scripted nature of the episodes, which do not give the players and their characters a lot of freedom in what they are expected to do. For the experienced roleplayer, this can feel constraining, less so for anyone newer to the hobby, though they may find it so should they return to Critical: Foundation after trying other roleplaying games. That said, Critical: Foundation is designed to be the equivalent of a television action series so a certain degree of scripting is to be expected.

Critical: Foundation – Season 1 could be played as a traditional roleplaying game starter set and the episodes all in one go. However, that would be to miss the episodic nature of the design, which although runs counter to today’s prevailing practice of having all episodes of a television series released at once and everyone binging on them, leaves room for anticipation and a sense of mystery from one episode to the next. The episodic nature also means that each session is focused and never outstays its welcome. Beyond the limits of Critical: Foundation – Season 1 core box, there is advice on using the contents again to create other episodes, though again, the more experienced Game Master will find that easier than the one that Critical: Foundation – Season 1 is actually aimed at.

Physically, Critical: Foundation – Season 1 is very well presented. The quality of the components are uniformly excellent, the artwork as good as any modern board game, and the writing decent too. Still, the standout piece is the Game Master’s Screen.

Although there is nothing to prevent either from enjoying playing through it, Critical: Foundation – Season 1 is possibly a bit too light a roleplaying game for the experienced player or Game Master. The campaign and design of the game does not quite support the introduction for the players as much as the Game Master and it is likely that players new to roleplaying may need more of a hand or preparation than is given here. However, once they get started there is plenty keep them involved, but not overwhelm in terms of rules or mechanics. A more experienced Game Master will have no issue with easing her players into the play and roleplay of Critical: Foundation – Season 1, and that is probably how starting to play will best work.

Critical: Foundation – Season 1 is clever idea, one executed to give what is actually an introductory roleplaying game not just much more of a visual appeal, but also a physical, tangible presence that the players can hold and inspect. Hopefully there will be expansions because there is plenty of story to be told and because roleplaying in the short sharp bursts of drama and action provided by Critical: Foundation – Season 1 deserves future seasons rather than cancellation.

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Hachette Games will be at UK Games Expofrom Friday 2nd to Sunday 4th, 2023.

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

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

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Name: Bad TidingsPublisher: Chaosium, Inc.
Author: Orlando Moreira

Setting: Portugal, 1937
Product: ScenarioWhat You Get: Thirty-page, 4.92 MB Full Colour PDF
Elevator Pitch: Innsmouth in IberiaPlot Hook: A mentor’s revelation exposes murder and terrible Nazi experimentsPlot Support: Staging advice, four pre-generated Investigators, two handouts, three NPCs, five maps and floor plans, and one Mythos monster.Production Values: Decent.
Pros# Period one-shot under a different dictator# Pulp horror style scenario# Entertainingly staged finale# Pre-generated Investigators help enforce the background period# Excellent use of period photographs# Ichthyophobia# Thalassophobia# Batrachophobia# Iatrophobia# Naziphobia
Cons# Needs an edit# Cartoonish artwork# Mythos tome mentioned, but never found# Oddly undermanned Nazi base# Heavily plotted in places, but Keeper advice gives options
Conclusion# Strongly plotted scenario supported by decent Keeper suggestions# Pulp horror one-shot in pre-war Portugal opens up new location for period horror

Vaesen – Mythic Britain & Ireland is sourcebook for Vaesen – Nordic Horror Roleplaying, the Sweden-set roleplaying of folkloric horror set during the nineteenth century published by Free League Publishing. In fact, it is the first sourcebook for the roleplaying game, one that takes the roleplaying game to new territory—though not new territory for roleplaying—and there confront new creatures amidst familiar tensions. Between superstition and modernity. Between industrialisation and rural traditions. These are joined by new, heightened tensions. Between the rich and the poor. Between employers and employees. Between North and South. Between the cities and countryside. The setting is Great Britain and the United Kingdom during the latter half of the reign of Queen Victoria. The British Empire is reaching its heights, trade flows in and out of the county’s ports bringing wealth as well as foreigners not to be trusted, the demand for goods means bosses drive their workers harder and install new and more powerful machines to increase production. Yet across the isles, as in Sweden, the supernatural lurks at the edge of society. In Sweden, it is the Vaesen, the supernatural creatures who helped out on the farms, gave a hand when it came to calving, ensured that lost children would find their way home, and kept everyone alive during the harsh winters of Northern Europe, and in return would receive milk and grain from the farms. In the British Isles, it is the fey or fairies, who make their homes in parallel realms of their own, but slip into ours, their mercurial interactions with mankind often leading to mysterious encounters at best, bloodshed at worst. Fortunately, just as Sweden has the Society—or Order of Artemis—dedicated to investigating supernatural threats and preventing interactions between them and society leading to further bloodshed or exposure, Great Britain and Ireland has the Apollonian Society.

Vaesen – Mythic Britain & Ireland can either be used as an expansion to Vaesen – Nordic Horror Roleplaying or a whole new campaign setting. In other worlds, the Player Characters could travel from Sweden to investigate the mysteries of sceptred isle, or indeed to fey it presents shifted to Scandinavia, but it could also be used as the basis for a Britain-set campaign, with the Player Characters being English, Irish, Scottish, or Welsh rather than Swedish. This is its default, but it has notes and suggestions as to how to involve Swedish Player Characters. That default has its advantages. In particular, the period and setting will be familiar to the English-speaking gaming hobby, as after all, this is the land of Charles Dickens, Sherlock Holmes, the Hound of the Baskervilles, and Jack the Ripper. Similarly, there will a certain familiarity in the fairies it details, such as the Banshee, Pooka, Redcap, or Selkie. However, as much as this familiarity makes it easier to engage with, it loses some of the mystery, which the Swedish default setting of Vaesen – Nordic Horror Roleplaying always maintained because it was unfamiliar. However, the supplement maintains enough mysteries of its own, whether that is the strange locations it describes, the fairie threats it details, and the scenarios it presents.

Funded following a successful Kickstarter campaign, Vaesen – Mythic Britain & Ireland is written by Graeme Davis, co-author of Warhammer Fantasy Roleplay and The Enemy Within campaign, as well as most notably, GURPS Faerie. Which given the wealth of research and detail that the GURPS line is famous for, means that the author has a certain expertise when writing about the supernatural threat that the Player Characters will face in the United Kingdom. The book includes an overview of Britain and Ireland, a gazetteer of strange places, details of the fae and their realms, the Apollonian Society, new Archetypes, a host of supernatural creatures, and three lengthy mysteries.

Vaesen – Mythic Britain & Ireland opens with an overview of Mythic Britain and Ireland. This is not intended to be a historical treatment of the setting or period, in part because there is insufficient space and in part because the setting is familiar. Instead, it opts for a combination of history and fantasy. This shows in its inclusion of notables of the period, so that alongside figures such as Charles Dickens, Florence Nightingale, and Oscar Wilde, there are also fictional characters like Sir Harry Flashman, A.J. Raffles, and Sherlock Holmes. All are given thumbnail descriptions, as are the important cities of the Ireland, Scotland, and Wales. London is understandably given more attention, covering the city’s important locations, railways, and other institutions. Particular attention is paid to the tensions rife across all four countries, with suggestions as to how include Fenian fairies (and others) agitating for home rule, Social Class, and more in a Vaesen game set in the British Isles. Many locations—in and out of London—are accompanied by a short description of a haunted place, whether that is the Blackley Boggart of Boggart Hole Clough near Manchester or suggestions that spirits haunting Hackney Marshes might be of Roman or older origins. Several Mysterious Places, like the Cerne Abbas Giant and Loch Ness are described too, before the supplement dives in deeper detail about the parallel worlds of the Fairie. This provides solid background for the Game Master to involve her players and their characters in visits to Annwvyn, Tír Na nÓg, fairy glades and rings, and so on.

The equivalent of the Society in Britain, the Apollonian Society, whilst linked to the one in Sweden, has a history all of its own. The Apollonian Society was originally founded by Doctor John Dee, scientist and astrologer to Queen Elizabeth I, together with Sir Francis Walsingham, the Queen’s spymaster, and Edmund Spenser, whose epic poem, The Fairie Queen, would threaten to reveal too much about the Fairie and their realms. Much of its archives are based upon the records and correspondence of William Stukely, noted antiquarian and often regarded as the ‘father of archaeology’. The Apollonian Society even has its own headquarters in the form of Rose House, complete with its own seemingly ageless butler, Hawkins. Options are suggested to who or what Hawkins might be. Overall, there is a nice sense of the historical and the fantastical to the Apollonian Society and of course, Rose House has the same scope for development as Castle Gyllencreutz in Upsala.

Vaesen – Mythic Britain & Ireland includes three new archetypes for Player Characters—the Athlete, the Entertainer, and the Socialite. These are perhaps the easiest of the content in the supplement to transfer back to roleplaying game’s default setting of Sweden, and indeed, any setting of the period. There is a pleasing flexibility to the Athlete, so that the archetype’s main skill and Talent vary according to their sport, for example, for cricket, the main skill is Agility and Talent is Gentleman, whilst for Tennis, the main skill is Force and Talent is Fleet-footed. The illustration for Archetype, a prize fighter, is delightfully suitable. Conversely, it is a pity that the same is not done with the Entertainer archetype, which simply has to rely on the Manipulation skill and Performer Talent. ‘Expanded profession and ‘Life Event’ tables support the inclusion of the three new archetypes in the supplement as well as those in the core rulebook.

One option for Player Character and NPC interaction is the aforementioned rules for Social Class, deference meaning that those of a higher gain a bonus to Empathy tests when dealing with those of a lower social class, whilst conversely, those of a lower social class suffer a penalty with dealing with their social betters. This reflects the nature of social class throughout the Victorian era and beyond, but the rules do paint a broad brush and lack nuance. Ideally, the Game Master should adjudicate their use as necessary on a case-by-case basis.

The highlight, of course, to Vaesen – Mythic Britain & Ireland are its English, Irish, Scottish, and Welsh equivalent of vaesen. Drawing upon a mixture of Celtic myth and local folklore—sometimes very local folklore—the supplements discusses the nature and common features of many of the isles’ fairie creatures, including their invisibility, invulnerability (except of course, for a loophole particular to each type), the nature of fairie challenges, favours, and forfeits, even impossible tasks. Some thirteen fairie are detailed, each given a two-page spread as in the core rules, complete with Apollonian Society notes by William Stukely, the possible ritual necessary to defeat the creature, three example conflicts between the creature and mankind, and variants. The conflicts for the Banshee, the first fairie entry in the supplement, include a Banshee who will not howl, a Banshee who reaches out in dreams, and banshee who wails despite the last of the nearby family line not wanting to die. The variants include the Caoineag, a water-bound version who is almost impossible to interact with and the Bean-nighe, a crone-like creature who washes the clothes of those who are about to die in a stream. The other fairie include the Black Dog, Boggart, Glastig, Hag, Knocker, Nuckelavee, and several others. there are even notes on adapting the vaesen from the core rulebook to Vaesen – Mythic Britain & Ireland setting.

Vaesen – Mythic Britain & Ireland includes three mysteries. All three clearly present their conflicts, countdowns, and catastrophes, the latter occurring if the Player Characters fail to act in time. Clues are given location by location, and each scenario ends in a confrontation, climax, and possible aftermath. All open with a latter to the Apollonian Society which will draw the Player Characters hither and thither, first to rural Gloucestershire where a young man has been arrested for the murder of his sweetheart and the ground about his village has been beset by unusually late and cold frosts, to the north of Wales where a rash of accidents in a slate mine suggest something unchristian, and then back to London to locate a missing brother last seen at an artists’ colony upsetting the middle class propriety of Hampstead Heath. They can of course, be played in any order. Taking up almost half of the supplement, all three scenarios are excellent, highlighting conflicts between tradition and reason, tradition and modernity, the mysterious and the mundane, as well as depicting the social differences and attitudes in all three locations. Although there are notes to adapt the scenarios to the Swedish default setting of Vaesen – Mythic Britain & Ireland is , doing so would lose some of the flavaour and nuance to be found in each scenario.

If there is an issue with Vaesen – Mythic Britain & Ireland, it is that it does skimp on the history and background to its setting. It does have the benefit of familiarity though, so a Game Master and her players can rely on knowledge they may already have, but if not, it does mean that both will need to conduct more research. Thankfully, neither is all that difficult to research, and in addition, there are plenty of books readily available on the folklore of all four countries.

Physically, as you would expect, Vaesen – Mythic Britain & Ireland is a lovely looking book. The cover is ominous, but inside the various fairie and NPCs in the scenarios are brought to vivid life by the artwork of Johan Egerkrans. The book is well written, the handouts are well done—if a plain in places, and the cartography is excellent.

Vaesen – Mythic Britain & Ireland takes the structure and style of Vaesen – Mythic Britain & Ireland and places it in what be the familiar for much the English speaking hobby. That familiarity may lead to clichés, but this is actually not all that much of an issue given the supplement’s mix of the fantastical and the historical, meaning the Player Characters can don deerstalkers and tramp the moors in search of malicious or mischievous wee beasties or hunt for horrors on the fog-bound streets of London and neither would be out of place. Vaesen – Mythic Britain & Ireland is an excellent supplement, opening up the world of Vaesen to a whole new realm and making the fairie something to fear.

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Free League Publishing will be at UK Games Expofrom Friday 2nd to Sunday 4th, 2023.

One of the innovations of RuneQuest is that it introduced a world in which religion plays an intrinsic role. Glorantha has numerous mythologies, pantheons, deities, cults, heroes, and villains, and they are important to all of the peoples of Glorantha such that everyone belongs to a cult, worships one or more gods, whilst also acknowledging many others. Originally introduced in the ground-breaking Cults of Prax and its companion, Cults of Terror, the cults of Orlanth, Humakt, Ernalda, Yelmalio, Kygor Litor, Zorak Zoran, and many others have even entered the roleplaying lexicon. Each provided beliefs, outlook, and spells, and in play even roleplaying hooks. However, having access to all of these cults has historically been something of an issue, the last complete treatment of Glorantha’s gods and cults being GloranthanClassics Volume III – Cult Compendium, which collates material from Cults of Prax, Cults of Terror, and Trollpak, and more. One of the plans for RuneQuest: Roleplaying in Glorantha was to produce its own similar tome, Cults of Glorantha, initially in a two-volume set—now only to be seen in a limited ashcan edition released at Gen Con. Instead, the Cults of RuneQuest is to be a ten-volume series, each entry dealing with particular pantheons and aspects of Glorantha’s mythologies.
Cults of RuneQuest: The Prosopaedia is the first volume in the series from Chaosium, Inc.. It is essentially an encyclopaedia to the gods and other mythological figures and groups of the fantasy world of Glorantha and contains hundreds of entries. Entries are arranged alphabetically as you would expect. Some entries only receive a single paragraph, for example, Delaeo, Goddess of Fortune, Good Luck, and Wealth, Lanbril, King of Thieves, and Zistor, The God Machine of the Dwarfs. Others, however, are accorded two more paragraphs, such as Babeestor Gor, Avenging daughter and Sacred Guardian, Kyger Litor, Mother of Trolls, and the Seven Mothers, the Recreators of the Red Goddess, the New Gods. Perhaps some of the longest entries are devoted to some of the more well-known figures in Gloranthan mythology—of which Ernalda, Goddess Creation, Goddess of Love, and Orlanth, King of the Gods, Storm God, Chieftain, Warrior, Leader of the Lightbringers, are the best examples. The Cults of RuneQuest: The Prosopaedia is also cross-referenced, so the entry for Orlanth includes references to both Ernalda and the Lightbringers, and when you turn to the Lightbringers entry, there are references to Chalana Arroy, Eurmal, Flesh Man, Ginna Jar, Issaries, Lhankor Mhy, and Orlanth. Not every entry is a god. For example, Gerak Kag is a Dark Troll hero who defeated Praxian nomads and invaded Pavis in the 1230s, Jaldon Goldentooth is the immortal hero of the Praxian tribes who returns again and again to lead them all into battle, and Zzabur is the First Wizard.
Every entry includes a pronunciation guide, its place and role in particular pantheon, and cross-references as needed. Also included is the Rune symbols associated with that particular god, a practice continued from The Red Book of Magic, and particularly useful it is too.
What is not included in Cults of RuneQuest: The Prosopaedia are any game stats or rules mechanics. This it shares with The Glorantha Sourcebook, which framed the conflicts between the differing mythologies in the forthcoming Hero Wars. The lack of stats or mechanics is intentional. Cults of RuneQuest: The Prosopaedia is intended as an overview of the mythologies and gods and other figures of Glorantha, drawing on diverse sources and collating everything for ease of reference. For the player new to RuneQuest: Roleplaying in Glorantha and the setting of Glorantha this is an easy starting point to look up such details, with the core rules providing the mechanics necessary. For the Gloranthaphile, it still provides a good overview, but they will, of course, be left wanting more, but that will come as further entries in the Cults of RuneQuest series are published. Further, it should be pointed out that Cults of RuneQuest: The Prosopaedia is not designed as a standalone product. In being an overview of the gods and mythologies, it is a companion volume to the rest of the titles in the series.
There is one other aspect of Cults of RuneQuest: The Prosopaedia which stands out and that is Katrim Dirim’s artwork. It is gloriously rich and vivid in its colours, capturing the majesty, power, glory, and might of the many deities depicted. It gives them all a naturalistic feel as if painted by their worshippers, yet still unworldly.

As comprehensive as the Cults of RuneQuest: The Prosopaedia is, there is one feature which would have increased its utility, and that is perhaps an index by pantheon and thus refer to particular entries in the Cults of RuneQuest series. It is likely that at the end of the series that an index for all ten books will be necessary.
Physically, Cults of RuneQuest: The Prosopaedia is a slim volume. It professionally written and presented, and as already mentioned, is superbly illustrated. That said, in places, the writing will send the reader to a dictionary to look up the definitions of unfamiliar words.
Cults of RuneQuest: The Prosopaedia is beautiful introduction to the pantheons and mythological figures of Glorantha. Superbly comprehensive, it sets up and serves as a companion to the Cults of RuneQuest series and if the rest of the titles are going to look as good and delve deeper into their subjects, then the RuneQuest fan and the Gloranthaphile are going to very pleased with each new volume.
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Chaosium, Inc. will be at UK Games Expofrom Friday 2nd to Sunday 4th, 2023.

Mutant Crawl Classics #14: Mayhem on the Magtrain is the fourteenth release for Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, the spiritual successor to Gamma World published by Goodman Games. Designed for Second Level player characters, what this means is that—just like Mutant Crawl Classics #13: Into The Glowing Depths before it—Mutant Crawl Classics #14: Mayhem on the Magtrain is not a Character Funnel, one of the signature features of both the Mutant Crawl Classics Roleplaying Game and the Dungeon Crawl Classics Role Playing Game it is mechanically based upon—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. In terms of the setting, known as Terra A.D., or ‘Terra After Disaster’, this is a ‘Rite of Passage’ and in Mutants, Manimals, and Plantients, the stress of it will trigger ‘Metagenesis’, their DNA expressing itself and their mutations blossoming forth. By the time the Player Characters in Mutant Crawl Classics #14: Mayhem on the Magtrain have reached Second Level, they will have had numerous adventures, should have understanding as to how both their mutant powers and how at least some of the various weapons, devices, and artefacts of the Ancients they have found work and can use on their future adventures.

Mutant Crawl Classics #14: Mayhem on the Magtrain takes the Player Characters in a totally unexpected direction, quite literally, but not an unprecedented one. The scenario opens with the village elders summoning the Player Characters before the tribal council. A fellow tribe member, agitatedly reports that she and her hut-mate were attacked by several Sk’wik, the notoriously violent worm-folk which turn everything into a charnel heap that they constantly stir. (It is notable that the Sk’wik are very much like the mysterious worm-like race known as the Sathar from Star Frontiers.) The Player Characters are tasked with returning to the site of the attack and burn out the nest before the Sk’wik spread and threaten the village. The Player Characters quickly locate the nest and after killing the horrid worm-things, find themselves in a cavern of the Ancients. Investigating further, they discover a metal door and beyond that a metal tube of the Ancients, and if the Player Characters have played through the scenario, ‘Assault on the Sky-High Tower’, the Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic core rule book, then they will have been here before! That scenario involves a journey by tube train, not too dissimilar to the journey they are about to make. The scenario is also just a little like that of Mutant Crawl Classics #6: The Apocalypse Ark being set aboard a moving vehicle.

All of the action of the scenario—and the scenario is very action orientated—takes place aboard a runaway Maglev train, still intent on completing its timetable and reaching its next destination at its best possible speed. Or rather, as it turns out, the worst speed possible! At first, the journey seems to going well, but the virtual Conductor becomes increasingly jittery and uncertain until she explains the other A.I. aboard the Maglev train, the Engineer is following its programming to the letter and refusing all attempts at communication. As the Maglev speeds up, it begins to buck and rock as the repulsor on one of its forward carriages begins to fail. As the Maglev hurtles towards its next destination, the Conductor asks the Player Characters to help save the train and go forward to the ‘bridge’ and deal with the Engineer.

Cue all of the classic train shenanigans—only on a Maglev! Do the Player Characters have to climb onto the roof of the train? Are they shot at whilst atop the train? Do they have to inch their way along the undercarriage of the train? Do they have a fight with the Rail Marshal-Bot? The answer is yes to all of questions and more!

Mutant Crawl Classics #14: Mayhem on the Magtrain is a short adventure. Action-packed, but short. It is designed to provide a means to getting the Player Characters a long way away from their village to somewhere possibly more interesting. In the standard Mutant Crawl Classics set-up, the Player Characters rarely get that far from their base village, going out and back again to deal with issues and threats the tribe faces. Mutant Crawl Classics #14: Mayhem on the Magtrain gets the Player Characters far away and hopefully somewhere interesting.

In addition to the floorplans of the Maglev, the scenario includes several new artefacts. The most fun of these is ‘Ocean Apes Insta-Pet’, an entertaining update of sea monkeys!

Physically, behind a suitably briny cover, complete with a metallic logo, Mutant Crawl Classics #14: Mayhem on the Magtrain is cleanly and tidily laid out, clearly written, and decently illustrated. As already mentioned, the maps are really nicely done.

Mutant Crawl Classics #14: Mayhem on the Magtrain is an action movie of a scenario. It is fun, fast, and furiously thrilling, and both the players and the Judge will enjoy playing this in between longer, more involving scenarios.

The world of Okkorim was rich and verdant. Then the Empire of Ydrissid rose and fell and so we have the Blighted Lands. The sorcerers of the Empire of Ydrissid commanded great magic and not only established dominion over Okkorim, but also out onto other planes. Key to their power were the ‘eanifisilat’ or ‘dragoncoils’, the focal points where magical power coalesced around slumbering elemental dragons. Yet over time, the power of the ‘eanifisilat’ began to fade, eventually dwindling to nothing and the sorcerer god-kings of the empire sought other means to maintain their arcane power. They could not recreate the ‘eanifisilat’ which had enabled them at their height, to send whole armies across the empire in the blink of an eye, but they could create artifacts imbued with the power of the elemental dragons—air, earth, fire, and water. One of these artefacts is the Occulus of Senrahbah. Like many of its type, it would lost in the years that followed the collapse of the Empire of Ydrissid due to the Wrath which turned its territories into the Blighted Lands and many lesser empires and nations rose and fell. Several factions in the port city of Chentoufi believe they have determined the location of the Occulus of Senrahbah. If there is even the slimmest possibility of holding a sliver of the power of the sorcerer god-kings of the Empire of Ydrissid, then these factions will do their utmost to either obtain it, or prevent it from falling into the wrong hands. Enter the Player Characters…
This is the set-up for OS1 The Eye of Chentoufi, an adventure compatible with Dungeons & Dragons, Fifth Edition that is notable for several things. First and foremost, it is set in ‘Luke Gygax’s World of Okkorim’ and thus co-authored by Luke Gygax, the son of E. Gary Gygax, the co-creator of Dungeons & Dragons and thus the hobby itself. Second, it is the first part of a trilogy, which will continue with OS2 The Heart of Chentoufi and OS3 The Fate of Chentoufi. Third, it can be run as a tournament scenario, in just a single four-hour session, and there are notes and points awards so that the players’ progress can be tracked and scores compared at the end of the tournament. Alternatively, it can played through in two or more sessions with the addition of the scenario’s optional scenes. Fourth, it was written as a special tournament scenario for Gary Con XIII, the convention held each March in Lake Geneva, Wisconsin.

OS1 The Eye of Chentoufi begins en media res. The Player Characters are somewhere in the sands of the Blighted Lands as the ground drops away from them and they find themselves in a giant cavern with many creatures wanting to eat them! They have a chance to get out and then fade to black… Several options are suggested for this, but the players are encouraged to come up with their own solutions. The action switches to the port city of Chentoufi where Pelicos Red approach the heroes to help him find a missing artefact, the Occulus of Senrahbah. If they agree—and if not, then there is no adventure—their investigation leads to the city’s Grand Library where with a bribe or intimidation, they can learn that clues to the artefact’s location lies in the sewers and catacombs below both city and library. Here there is a big set-piece, a puzzle which the Player Characters (or preferably, the players) have to solve before they can move on. They face one of the factions interested in stopping the efforts of the Player Characters and doing so by any means necessary. The fight is made all the more challenging because at this point the Player Characters are weapon-less, having had to hand them over in order to enter library. Improvised weapons can be found, but the spell-casting Classes are at possible advantage here.

The second act begins with the Player Characters discovering a vault under the city and using the clues found there to identify another location in Chentoufi, a tower made of lapis lazuli! Atop the tower is another puzzle, which if solved points to the next location. This leads back under the city, but much deeper this time, encountering several ancient guardians before confronting the Guardian of the Eye and… well… Not actually locating the Occulus of Senrahbah, just more clues. Which of course, leading into OS2 The Heart of Chentoufi.

OS1 The Eye of Chentoufi has some great features. Each of its three acts starts with a summary of the plot for that act; there are suggestions as to what music to play during various scenes (with links to YouTube for the PDF version of the scenario); and the monsters are decently done, with a favourite being the Sussarate Spiders which exist on the Prime Material and Ethereal Planes which grapple their prey and drag them into the Ethereal Plane where they consume them. The two big puzzle scenes in the scenario are really particularly good and like any good tournament scenario do their very best to challenge the players as much, if not more than, the Player Characters.

However, OS1 The Eye of Chentoufi is not a great scenario for a number of reasons. The primary problem is that there is not enough context for the benefit of the players and their characters. There is no background information that is readily presentable to the players, whether on the Blighted Lands or the city of Chentoufi. So, the players will have difficulty getting a feel for the setting as a place, let alone motivation for their Player Characters. This starts with a beginning—en media res, and thus intended to be exciting—in a situation where no attention at all paid to why the Player Characters are there and what they are doing. Some of this could have been alleviated with some pre-generated Player Characters, but there are none. Which makes no sense for a tournament scenario, especially one set in a background which is not vanilla fantasy. The background to Okkorim, the Blighted Lands, and Chentoufi all have an Arabic or Middle Eastern feel, much like Al-Qadim: Land of Fate. Some of this information could have been presented in a set of pre-generated Player Characters, which could also been used to provide motivation for the players and their characters and have been used to showcase what can be played in the ‘Luke Gygax’s World of Okkorim’ and its differences between it and Dungeons & Dragons, Fifth Edition. This is a missed opportunity.

Physically, OS1 The Eye of Chentoufi is hit and miss. The artwork is excellent, as is the cartography, and on the whole, the scenario is a fine-looking book. However, the editing is inconsistent. Further, whilst the monsters and NPCs are given clear stats at the end of the book, not all of them.

OS1 The Eye of Chentoufi is playable as is, but it is underdeveloped in all too many places, especially as far as the players are concerned. They will probably complete the scenario not knowing quite what their characters will have achieved as they only get part ways towards locating the Occulus of Senrahbah and feeling unrewarded for their efforts, although there are some nicely thematic magical treasures to be found. Not enough for a party of six Player Characters though. Where OS1 The Eye of Chentoufi shines is in its big set-piece puzzle encounters, but getting to them and playing them will take some development upon the part of the Dungeon Master, both in preparing pre-generated Player Characters and the background for the players and so ready them for the scenario and help bring it to life.

At the Mountains of Madness is horror author H.P. Lovecraft’s longest and one of his most famous stories. It takes the form of a series of letters, written by Doctor William Dyer, a geologist from Miskatonic University, who in late 1930 led an expedition to the Antarctic which would end in disaster, madness, and death following the discovery of the remains of prehistoric lifeforms unknown to science, buried in the permafrost and the remains of a cyclopean city behind a mountain range the height of the Himalayas—previously never seen before, the city long abandoned for terrible reasons which are ultimately revealed at the denouement of the story. Specifically, Doctor Dyer’s letters have been written in an effort to prevent a second, and much more important and widely publicised expedition which is being mounted to the Antarctic from following in the same path. The story has a strong sense of atmosphere and environment—the ice and snow, and extreme low temperatures play a major role in the narrative, serving as a starkly frigid backdrop against which its events take place and its equally stark revelations as to the horrid and horrifying events in the past and their dark influences upon the origins of mankind.

Originally serialised in the February, March, and April 1936 issues of Astounding Stories, At the Mountains of Madness has been published many times since and in more recent years adapted into songs, musicals, graphic novels, radio serials, and more. The very latest adaptation is none of these, but an illustrated version of the novel. At the Mountains of Madness is published by Free League Publishing, a publisher best known for roleplaying games such as Mutant: Year Zero – Roleplaying at the End of Days and Forbidden Lands – Raiders & Rogues in a Cursed World, this is not the publisher’s first such title. That would be The Call of Cthulhu, the classic of American horror literature and the short story that is arguably H.P. Lovecraft’s most well-known. As with that classic, the Free League Publishing edition of At the Mountains of Madness is fully illustrated by French artist François Baranger and presented in a large 10½ by 14 inches folio format.

At the Mountains of Madness Volume I only took the protagonists as far as the upper reaches of the Elder Thing city, it closing at the point where the protagonists are preparing to enter the city’s subterranean depths. Baranger’s final illustration was subtly ominous, the stonework of the wall around the entrance to the tunnel below the Elder Thing city casting a skull-like shadow… It is Baranger’s gorgeous artwork that stood out in the first volume and again, his superlative illustrations capture the frigid, shattered, and alien of the Elder Things on the other side of the Mountains of Madness in the second volume, At the Mountains of Madness Volume I. If the first volume was dominated by wide panoramas of the Antarctic wastes, his artwork balances that here with a sense of height that dwarves the explorers, Doctor William Dyer and the student, Danforth. As they delve deeper into the city and Dyer begins to translate the hieroglyphic murals, the art changes to match, illustrating it in time to Lovecraft’s text as both men learn the long history of the city and its strange inhabitants. Thus there is a switch back and forth between the city in ruins and the city as a living place for the Elder Things, sense of stillness in the former and movement in the latter. No more so than in the terrible confrontation between the Elder Things and the Cthulhu Spawn, an eldritch battle over which great Cthulhu looms. In the text, Dyer notes the sense of awe at the alien city and again that is matched by the Baranger from the first page to the last.

The tone changes as the Elder Things devise and develop the terrible protoplasmic intelligences known as Shoggoths. Even their appearance seems to overawe the Elder Things, imbuing the alien creatures with sense of sympathy and even fear on their behalf...! This though turns shock as the two men first discover the remains of the missing Gedney and his dog—whose disappearance was detailed in At the Mountains of Madness Volume I—and the strange giant albino penguins! Then find out what happened to the Elder Things that were woken in the first half and who were responsible their nemesis—the dread Shoggoth! The final scenes are a rush, as the Shoggoth threaten engulf Dyer and Danforth and the two men make a desperate escape from the city and to their aeroplane. Only in the final scene, do we focus at all upon either of the men, a look of sheer terror upon Danforth’s face as he takes one last terrible look at where he has just come from!

The text for this second volume of At the Mountains of Madness, as with the first, are taken from the standard version of Lovecraft’s story. Although there is no change to the text in terms of content, there is in terms of emphasis, there in places being sentences and paragraphs being placed in a larger font. This is often jarring and does not match Lovecraft’s story, feeling unnecessary given that Branager’s illustrations are there exactly to deliver that emphasis.

If the reader was disappointed to have to wait for At the Mountains of Madness Volume II is after At the Mountains of Madness Volume I, then that wait has been worth it. At the Mountains of Madness Volume II is a stunning book, but then again, so was At the Mountains of Madness Volume I. François Baranger fantastically depicts and contrasts the present and the past of the city beyond the Mountains of Madness in this second volume, just as the second volume as a whole, contrasts the stark alienness and openness of the Antarctic with the oppressive heights of the ruins of the Elder thing city. Of course, At the Mountains of Madness Volume II is not a standalone book, yet its artwork almost transcends the necessity for the first volume. Together, At the Mountains of Madness Volume I and At the Mountains of Madness Volume II combine to retell H.P. Lovecraft’s At the Mountains of Madness in a glorious fashion that will delight readers who already know the story and readers who are new to his cosmic horror.

The gaming magazine is dead. After all, when was the last time that you were able to purchase a gaming magazine at your nearest newsagent? Games Workshop’s White Dwarf is of course the exception, but it has been over a decade since Dragon appeared in print. However, in more recent times, the hobby has found other means to bring the magazine format to the market. Digitally, of course, but publishers have also created their own in-house titles and sold them direct or through distribution. Another vehicle has been Kickststarter.com, which has allowed amateurs to write, create, fund, and publish titles of their own, much like the fanzines of Kickstarter’s ZineQuest. The resulting titles are not fanzines though, being longer, tackling broader subject matters, and more professional in terms of their layout and design.

—oOo—

The Travellers’ Digest #1 was published in 1985. It marked the entry of Digest Group Publications into the hobby and from this small, but ambitious beginnings would stem a complete campaign and numerous highly-regarded supplements for Game Designers Workshop’s Traveller and MegaTraveller, as well as a long running magazine. That magazine was The Travellers’ Digest and it would really begin as a fanzine before developing into a full magazine that together would run for twenty-one issues between 1985 and 1990. The conceit was that The Travellers’ Digest was a magazine within the setting of the Third Imperium, its offices based on Deneb in the Deneb Sector, and that it awarded the Traveller’s Digest Touring Award. This award would be won by one of the Player Characters and thus the stage is set for ‘The Grand Tour’, the long-running campaign in the pages of The Travellers’ Digest. In classic fashion, as with Europe of the eighteenth century, this would take the Player Characters on a tour of the major capitals of known space. These include Vland, Capitol, Terra, the Aslan Hierate, and even across the Great Rift. The meat of this first issue, as well as subsequent issues, would be dedicated to an adventure, each a stop-off on the ‘The Grand Tour’, along with support for it. The date for the first issue of The Traveller’s Digest and thus when the campaign begins is 152-1111, the 152nd day of the 1111th years of the Imperium.
To best run ‘The Grand Tour’, the Referee will need access to The Atlas of the Imperium, Supplement 8: Library Data (A-M), Supplement 11: Library Data (N-Z), Supplement 7: Traders and Gunboats (or alternatively, Supplement 5: Azhanti High Lightning), as well as the core rules. In addition, the supplement, The Undersea Environment, and adventure, The Drenslaar Quest, published by Gamelords, Ltd., are both useful for running underwater adventures—though they are really only useful if the Referee develops adventuring content beyond that presented in the issue. Alien Module 4: Zhodani may also be useful. Of course, that was in 1985, and much, if not all, of the rules or background necessary have been updated since.
The set-up for ‘The Grand Tour’ begins with descriptions of the pre-generated Player Characters. There are four. They consist of Akidda Laagiir, the journalist who won the Traveller’s Digest Touring Award; Dur Telemon, a scout and his nephew; Doctor Theodor Krenstein, a gifted-scientist and roboticist; and Doctor Krenstein’s valet, ‘Aybee’, or rather, ‘AB-101’. The fact is, AB-101 is a pseudo-biological robot, both protégé and prototype. Consequently, the mix of Player Characters are surprisingly non-traditional and not all of them are easily created used the means offered in Traveller or MegaTraveller.
The Feature adventure in The Travellers’ Digest #1 ‘of Xboats and Friends’, its opening fiction, ‘It’s a Small Galaxy!’, setting the scene for the scenario as the four characters meet up on a passenger liner bound for the world of Jode in the Pretoria subsector. The primary motivations are to locate Neric Andor, a fellow Scout and friend of Dur Telemon, and for Doctor Krenstein, to test out a theory he has about the extinct sentient species on Jode. The Player Characters begin by looking for Neric Andor, searching high and low in the bars and casinos on Jode Orbital, but without any success, although they do pick up plenty of rumours—sabotage of a surface processing plant, a missing Vargr starship, and slowed outsystem mail being the least of them. When the Player Characters do find information about their missing friend, that he frequented a casino, they are warned off by a couple of Scouts—or are they? It turns out that they are actually part of a Zhodani spy operation on Jode and AB-101 has the means to detect their origins via their speech patterns.
In the second part of the adventure, the Player Characters manage to get aboard the Express Boat Tender Albany, where Neric is stationed and has just returned to. The Albany is detailed and deck plans are included as the Player Characters quickly discover that the Neric stationed there is an imposter. The plot quickly wraps up and should reveal the extent of Zhodani espionage operations in the system. The Player Characters are well rewarded, including the robot.
The adventure includes some roleplaying notes for each of the Player Characters, both the Referee and the players. It is noticeable that as a journalist, Akidda Laagiir, has an incredible skill of ‘Interview-5’! (The Journalist Career would appear in The Traveller’s Digest #2.) However, the roleplaying notes mix and match the information, so they contain information for both the Referee and the players, so there is information present that the players should not read as well as stuff they should know. Which is a problem which runs throughout the scenario, mixing information the players and their characters should know with information they should not. Consequently, the fairly linear and often direct adventure does need to be pulled apart and quite heavily prepared for the players, especially in terms of handouts.
The world of Jode is described in some detail. This includes its UUP—both past and present, its toxic, chlorine-tainted atmosphere, limited landmasses, and importance as a source of pharmaceuticals and the fact that it was once home to a sentient, land-dwelling species prior to a geological disaster. Options for further adventures are included. The Player Characters can go sea hunting or mining—details of a submersible are provided—and there is the suggestion that the scientist Player Character is interested in the archaeology of Jode.
There is some further library data in The Travellers’ Digest #1, divided into two strands. One covers some nineteen worlds of the Deneb sector, plus of a map of the Xboat routes across the Deneb sector. The other is a more general, covering the Shudusham Accords (by which armaments carried by robots are limited), the Vilani supremacist group known as the Rachele Society and its associated revolt which took place on Pretoria in the Pretoria subsector, and more. All of it is relevant to the main adventure to some degree. The Pretoria subsector is detailed, including both subsector map and the UPPs for all of its worlds.
The last three articles in The Travellers’ Digest #1 all have a technical bent. ‘Robot Design Revisited, Part 1’ expands on the ‘Ref’s Notes’ article, ‘Robots’ which appeared in The Best of the Journal of the Travellers’ Aid Society. The article provides a new seven-step robot design system, from chassis and power plant through to sensors/devices and programming. It includes a fully worked (and costed!) example, which fittingly, is for the Player Character, AB-101. Of course, the article would be superseded the year following the publication of The Travellers’ Digest #1 with the release of Book 8: Robots from Game Designer Workshop. ‘Using Skills Effectively’ provides the Referee with a more consistent set of mechanics than is necessarily found in Traveller at the time, whilst ‘Orbital Complexes’ provides guidance for creating such facilities using Book 5: High Guard. The trio is well thought out and certainly would have been appreciated by the Traveller Referee at the time.
Physically, The Travellers’ Digest #1 is very obviously created using early layout software. However, that layout is surprisingly tidy and if some of the artwork is created using a computer too, it is not actually that bad.
The Travellers’ Digest #1 contains a lot of information that the prospective Traveller Referee would have found useful, whether that is ‘Robot Design Revisited, Part 1’, the ‘Library Data’, or ‘Using Skills Effectively’. However, the scenario in the first issue, ‘Of Xboats and Friends’, is both a highlight and a missed opportunity. Of course, it sets up ‘The Grand Tour’ and it is direct and likely fun to play. However, it needs a lot of work to pull apart and prepare, particularly with handouts and library data and the downside to being direct is that it does direct the players at certain points. The missed opportunity is what else to do on Jode. For example, Doctor Krenstein has a theory that the extinct sentient species on the planet was more advanced than is currently believed, but he never gets to test out that theory. There is not enough information given about this aspect of Jode and if the Referee had wanted to do anything with it because Doctor Krenstein’s player was interested, she would have to develop it herself. (Subsequent supplements have further developed the sentient species, known as Serpents.)
Overall, The Travellers’ Digest #1 is a good first issue, if flawed. Despite it leaving a lot for the Referee to do, The Travellers’ Digest #1 does lay the groundwork for ‘The Grand Tour’, a lost campaign that has disappointingly never been revisited.

The gaming magazine is dead. After all, when was the last time that you were able to purchase a gaming magazine at your nearest newsagent? Games Workshop’s White Dwarf is of course the exception, but it has been over a decade since Dragon appeared in print. However, in more recent times, the hobby has found other means to bring the magazine format to the market. Digitally, of course, but publishers have also created their own in-house titles and sold them direct or through distribution. Another vehicle has been Kickststarter.com, which has allowed amateurs to write, create, fund, and publish titles of their own, much like the fanzines of Kickstarter’s ZineQuest. The resulting titles are not fanzines though, being longer, tackling broader subject matters, and more professional in terms of their layout and design.

—oOo—

From the off, Knock! An Adventure Gaming Bric-à-Brac grabs the reader’s attention and starts giving him stuff. Open the book and there is the beginning of an adventure on the front folded flap of the dust jacket. Slip that off—a dust jacket on a paperback book, no less!—and the adventure continues so that the reader can run its adventure separate from the actual book. Flip through the pages of the book and the reader will be impressed not by the range of content, but the look of the thick booklet. Heavily illustrated with a mix of artwork, both publicly available and new, there are think pieces and opinion pieces, tables galore of almost everything and anything imaginable, Game Master advice, new twists on old ideas, new ideas about old monsters, new monsters, new Classes, and even an adventure or three. And all of it for the Old School Renaissance and the Retroclone of the reader’s choice. Some of the content has been drawn from blog entries written by the leading luminaries of the Old School Renaissance, but since the publication of Knock! #2 An Adventure Gaming Bric-à-Brac there has been less of this and the mix of the old and the new has been more balanced. Published by The Merry Mushmen, each issue of promises and delivers oodles and oddkins of and for Old School Renaissance, making it a very companionable cumulation ready for the Game Master’s consultation.
Knock! #3 An Adventure Gaming Bric-à-Brac was published in June, 2022 following a successful Kickstarter campaign. The contributors for this issue, just to give you an idea of its range include Alexandre ‘Kobayashi’ Jeanette, Andrea ‘Vyrelion’ Back, Antoine Bauza, Arnold K., Ava Islam, Bill Edmunds, Brent Edwards, Christopher S., Ciro Alessandro Sacco, Danilo Moretti, David McGrogan, Diogo Nogueira, E. A. ‘taichara’ Bisson, Eric Brimstin, Eric Nieudan, Frank Reding, Harbowoputra, Islayre d’Argolh, Jack Shear, James Hall, James Holloway, James Malizsewski, Jason Sholtis, Jean Verne, John Grümph, Jorge Velasquez, Joseph Manola, Justin Hamilton, ktrey parker, Matt Strom, Nicolas Dessaux, Nobboc, Nyhur, Paolo Greco, Phill Loe, Pierre Vagneur-Jones, Roger SG Sorolla, Ron E. Ortiz, Rosie Grey, Stuart Robertson, Thomas Rey, Vagabundork, Vasili Kaliman, and Zach Howard aka Zenopus. There are some sixty articles and entries in the issue across a range of themes and ideas.
The scenario on the inside of the dust jacket for Knock! #3 An Adventure Gaming Bric-à-Brac is ‘Valley of the Desert Hound’, a sandbox by Thomas Rey and Eric Nieudan for First and Second Level Player Characters. It describes a desert valley wherein the Desert Hound was imprisoned in ages past in a Cursed Ziggurat. Now home to bandits and a tribe of semi-feral Halflings, much of the valley is buried under sand and there is a ‘Liberal Archaeology Table’ to roll on any time the Player Characters decided to search the sands. The suggestion is that the adventure could be tied in with the Basic Dungeons & Dragons module, B4 The Lost City. The scenario comes with a table of ‘Rumours and Hooks’ too, so that the Game Master can get her players and their characters easily involved.

What strikes the reader about Knock! #3 An Adventure Gaming Bric-à-Brac is its array of tables. There are tables upon tables and whole articles of tables and tables that are whole articles in the issue. For example, David McGrogan asks ‘What Happened to the Bodies?’ and gives a table of options what happens to the bodies of the humanoids and the large monsters after the Player Characters have put them to the slaughter. Its counterpart by Andrea ‘Vyrelion’ Back is ‘I slit open the body’, a table of contents of the stomach or intestines of some great beast. Andrea ‘Vyrelion’ Back adds flavour and fun to the Kobold with ‘d8 Weird Kobold* Weapons’ with entries like ‘Stink-n-Poke’, which inflicts low damage but marks the target with a stench that never really quite goes away or a ‘Burning Blade’, which is a bone blade covered in hot pepper powder! ‘What are my rations?’ by Eric Brimstin gives detail and verisimilitude to something that is otherwise incredibly mundane and always overlooked in Dungeons & Dragons.

Knock! #3 An Adventure Gaming Bric-à-Brac does not have a theme, but there are themes to be found. The most obvious one is that of ‘Domain-level’ play, which comes about when the Player Characters reach Ninth and Tenth Level and switch their focus from adventuring to maintaining a realm or institution of some kind. ‘Revisiting the Domain Game’ by Jack Shear gives options for making it interesting by giving a table of unavoidable issues and unruly neighbours, whilst Joseph Manola dives into the subject in more detail with ‘Meet the new BOSS – 7 thoughts on domain-level play’ with advice on how to run such a campaign. This is born of his own campaign in which the players and their characters have switched focus to ignore adventuring. The advice is excellent covering problem solving, keeping it OSR-style, turning threats into resources, and more. Similarly, Christopher S. creates dragons through ‘The Seven Draconic Sins’ to give them personality and motivation, Ava Islam suggests ways of making dragons more interesting in ‘Playing Dragons’, and in ‘Humanising the Monster’, Brent Edwards presents means of combining humanising and monstrous traits to make them fathomable, all three articles forming a draconic strand.
The advice and thoughts on Dungeons & Dragons begin with ‘The Story is the Campaign’ by David McGrogan, which suggests that the play of the roleplaying game and the story that it creates is not about the Player Characters per se—although they star, of course—but about the overall campaign. He draws parallels with soap opera and its ongoing series of stories which end and are replaced by another, as well its characters who also come and go. Of course, in the soap opera, their transience is driven by the writers and the story, but in Dungeons & Dragons, it is typically driven by Player Character death—which is the starting point for the article. James Maliszewski draws similar parallels in his ‘Picaro and the “Story” of D&D’, distinctly dividing Dungeons & Dragons between its original picaresque style of play and the heroic individualism and story focus of the post-Dragonlance era. He contends the original style of play is pulp-ish, if not outright pulp fantasy, the Player Characters are roguish, and the further the roleplaying moves away from this, the more it breaks and deviates from its roots. It a very Old School Renaissance stance, but clearly explained and relatable. The advice includes Diogo Noguiera’s ‘(My) Ten Commandments For Good Refereeing’ and Arnold K.’ s ‘Dynamism and the Generic Optimum’, which dangerously modish from its title, but really suggests ways of making dungeon exploration exciting and challenging by adding dynamism, whether through random events, increased difficulty, adding a unique element, and more. This is in and out of combat. Of course, these are articles whose type we have seen again and again, both before the advent of the Old School Renaissance and after, and the ideas are still interesting and the advice sound.

The volume is full of good articles, but some of the more fun and more inspirational ones include Joseph Manola’s ‘When All You Have Is a Hammer – Item-based problem solving’ which takes the act of a player consulting his character sheet for the means to solve a problem—often with weapons or magic—as a spur to provide interesting treasures that the Player Character might otherwise sell, but when noted on the character sheet could be used to solve a problem and let the player be inventive. For example, “Broad-brimmed fisherman’s hat. Waterproof and wide enough to conceal most of the wearer’s face. Could be used as an improvised boat for carrying small objects across water.” or “A fiery political tract, full of stirring revolutionary rhetoric cataloguing the crimes of the ruling classes and calling upon the people to rise up. Handy if you want to rile up a mob in a hurry.” All have a monetary value, but all have other uses if the players think about it. Warren Denning answers that age-old question, ‘What To Do Now That Your 1st Level Magic-User Has Cast Their One Spell?’ with not exactly new suggestions, but they are spelled out in detail and do give that poor wizard something else to do, whilst Frank Redding’s ‘Compelling Arena Fights’ does a fine job of making arena fights exciting with plenty of variations.

One of the most interesting articles in the issue is ‘Jennell Jaquay’s The Caverns of Thracia – Appreciation, Critique, and DM User Guide’. This is a fascinating guide by Roger SG Sorolla to one of the classic modules to be published by Judges Guild. The other, of course, is Dark Tower, and both are, of course, designed by Jennell Jaquay. This is a detailed breakdown of the adventure, its history, quirks, nature, and the challenges that a Referee will be faced in running one of the larger adventures published by Judges Guild. It is a thorough analysis, its often-scholarly tone at odds with the rest of the issue. It does feel a little compact in places, but this an excellent piece well worth reading by anyone interested in the history of Dungeons & Dragons and the Referee preparing to run the adventure. More articles like this would add a little more thoughtful heft to the magazine.
The last quarter of Knock! #3 An Adventure Gaming Bric-à-Brac does settle down and become more focused as it organises its content into regular departments. The ‘Portfolio of Cartographic Curiosities’ contains seven maps, all absolutely beautiful pieces that you could just sit there and look at, appreciating their artistry, whilst at the same time wishing that you had the time to use them to create adventures (or more likely, someone else had the time). One niggle is that two of the maps are in French, having been originally published in a d20 System magazine. One of them has lots of text and it would have been nice if that text had been translated. This is followed by the Menagerie of Monstrosities which provides seven new monsters (in addition to those already given or discussed in  in the volume, such as ‘What Are Those Stirges Doing?’, Ktrey Parker’s table of making Stirges more interesting than just vermin) that start with the Herdling by Nobboc, half-human, half-cattle folk that are amiable and will trade secrets for trinkets and even a portion of their flesh, which provides certain benefits upon consumption. This has just a little (if not more) of the Ameglian Major Cow or ‘Dish of the Day’ from Douglas Adams’ The Restaurant at the End of the Universe. James Holloway, of The Monster Man podcast offers the Homunculites, tiny Halfling-sized magically-created worker, soldier, or based on some artificial humanoids. Almost clone-like, these chibi-style monsters are rather silly in their way and sure to infuriate certain players. James Maliszewski describes two monsters, the Blighter, disease-ridden undead which spread contagion, and the Eidolon, undead spirit of a cleric who died while in the grips of despair, no longer finding solace in True Faith, whilst the Birch Maiden by Danilo Moretti, cousin to Dryads, provides a nice variation upon the latter.
‘Retinue of Rogues’ details six new Classes. Nobboc’s ‘The Lost Droid’, a humanoid robot crashlanded onto a fantasy world, its memory banks wiped clean. As it advances in Level, it activates Techno-modules like Force Field or Echo Radar 3000, each of which has a Usage Die a la The Black Hack. This is an entertaining Class should the Game Master wants to take her campaign into the realms of Science Fiction or Science Fantasy. Vagabundork’s ‘The Rat Catcher’ is an obvious nod to the Career from Warhammer Fantasy Roleplay, but here given advantages when it coms to dungeoneering, such as being able to find his way round sewers and catacombs, track vermin (including Kobolds and Goblins, as well as Rats), and possessing a certain danger sense. ‘The Blemmye’ by Pierre Vagneur-Jones is a headless humanoid—its head is in its chest—that best works with an attending group of retainers, whilst Eric Nieudan’s ‘The Lazer Mage’ is an Illusionist who can convert spell slots into explosive beams, holograms, laze swords, and light flashes. The accompanying illustration suggests that the Marvel Comics character, Dazzler, is the inspiration. ‘The Space Vampire’ by Jack Shear is intended to be vampy and campy, feels more suited to a Hypertellurians: Fantastic Thrills Through the Ultracosm-style game. Lastly, James Maliszewski’s ‘The Chenot’ is a plant-like humanoid, tiny, who can perform certain abilities such as ‘Climb sheer surfaces’, ‘Find or remove traps’, and so on with its tendrils. Again suited to weirder campaign settings, it could just be another alien species, if the setting is more Science Fiction or Science Fantasy than fantasy.
‘Extraordinary Excursions’ includes three adventures. The first is ‘Imprint’ by Jason Sholtis. This is set in ape-haunted Upper Mastodonia, the location for the brilliant Operation Unfathomable adventure and now its fully detailed setting explored in Completely Unfathomable. Described as an ‘Open Air Dungeon’, It is a miasmic-filled, lethally contaminated deression left behind by a titanic being from another place which left behind sloughed-off corporeal tissue (now decomposing) and alien gold, setting up a race to grab the lot by various factions. It is weird and pulpy, with Sci-Fi elements that provides a taster of the Odious Uplands setting, but really works in conjunction with the campaign setting. James Hall’s ‘Titan Cliffs’ begins with the hands and face of a gigantic statue of a Titan emerging from the ground. Surely something worthy of exploration, especially after cloaked figures have been seen entering the Titan’s mouth. The dungeon, relatively small, is all contained within the Titan, and also being explored by a cult attempting to revive the Titan. There is nice sense of ‘magic as technology’ here, but the villains of the piece are underdeveloped. Lastly, ‘Nexus of the Ixx’ by Nicolas Dessaux is another Science Fantasy scenario, this time inspired by Barbarella. So, it is campy and it is mature in tone, the ‘dungeon’ being dedicated to a goddess of love. Thankfully, the scenario avoids anything prurient, but there are probably a limited number of campaigns or settings into which it will fit.

Physically, Knock! #3 is impressively bright and breezy, just as with the previous two issues. The layout is a little cluttered in places and the text a little too busy, but on the whole, it looks good. It needs an edit in places, but the artwork is good and the cartography excellent.
Knock! #3 An Adventure Gaming Bric-à-Brac is another good, but not perfect issue. A very great deal of the issue could easily find its way into the campaign of any Referee, but not the scenarios, either because they have their own setting or because their tone is just not quite right for most campaigns. That aside, there is so much in the pages of the issue which is interesting, entertaining, or just fun. Knock! #3 An Adventure Gaming Bric-à-Brac contains a wealth of inventive content, and just as with the first two issues, is another great addition to the shelf of any Old School Renaissance Referee.
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An unboxing of Knock! #3 An Adventure Gaming Bric-à-Brac can be viewed here.

The gaming magazine is dead. After all, when was the last time that you were able to purchase a gaming magazine at your nearest newsagent? Games Workshop’s White Dwarf is of course the exception, but it has been over a decade since Dragon appeared in print. However, in more recent times, the hobby has found other means to bring the magazine format to the market. Digitally, of course, but publishers have also created their own in-house titles and sold them direct or through distribution. Another vehicle has been Kickststarter.com, which has allowed amateurs to write, create, fund, and publish titles of their own, much like the fanzines of Kickstarter’s ZineQuest. The resulting titles are not fanzines though, being longer, tackling broader subject matters, and more professional in terms of their layout and design.

—oOo—

Technically Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 1 is not a magazine. It collects some of the downloadable content made available for Cyberpunk RED , the fourth edition of R. Talsorian Games, Inc.’s Cyberpunk roleplaying game. So, its origins are not those of a magazine, but between 1990 and 1992, Prometheus Press published six issues of the magazine, Interface, which provided support for both Cyberpunk 2013 and Cyberpunk 2.0.2.0. It this mantle that Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 1 and future issues is picking up in providing support for the current edition of the roleplaying game. As a consequence of the issue collecting previously available downloadable content, there is a lot in the first is that is immediately useful can be prepared for play with relative ease. There is also some that is not, and may not make into a Game Master’s campaign.

Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 1 opens with ‘Old Guns Never Die: A step-by-step conversion guide for bringing weapons from Cyberpunk 2020 into Cyberpunk RED’ by Mike Pondsmith, James Hutt, Cody Pondsmith, and J Gray. One of the issues with Cyberpunk RED is that its technology is often genericised and that includes its guns. This is in comparison to the weapons of Cyberpunk 2.0.2.0., in which all of the weapons are named and branded. In part, this has been offset by the release of the Black Chrome, but that does not include every weapon or piece of gear from the previous versions of the roleplaying game. Which is where this article comes in, providing a step-by-step process that enables a Game Master to take a design from the previous editions of the roleplaying game and bring it up to Cyberpunk RED. The article is nicely supported by an example and enables the Game Master to loot her old sourcebooks for material just as the Player Characters can loot the city and beyond for old technology.
‘Red Chrome Cargo: A Cyberpunk Red Screamsheet’ by Cody Pondsmith is the single adventure in the magazine. Tensions have come to the boil in Night City’s Combat Zone as two gangs, the neo-fascist Red Chrome Legion and the heavily cybered Iron Sights, the Player Characters are connected by a fixer. His clients wants them to rob a train and steal a Red Chrome Legion shipment. In other words, this is a train heist, and it is as simple as that. The Player Characters have to get from one train to the target train, deal with any opposition, and bring the goods back. This is all action and combat, though the mission definitely requires a Netrunner. Although simple, the mission is nicely detailed and the Screamsheet makes a great handout. The mission will also make a decent demonstration scenario and so could be run at a convention, and it is easy to add to a campaign.
Mike Pondsmith, James Hutt, Cody Pondsmith, and J Gray further provide ‘Single Shot Pack: Pregen Characters and NET Architectures’. This presents ten pre-generated Player Characters (or detailed NPCs as required) and six ready-to-use NET Architectures for the group’s Netrunner to hack. There is one Player Character for each of the roleplaying game’s archetypes and the NET Architectures include ones for conapt security, clinic security, a small corporate facility, and even a vault for anyone who likes to lock their valuables away. All of these are designed for use on the go. The NET Architectures are easy to use and the ten pre-generated Player Characters can easily be used as replacement characters, as NPCs, or even in conjunction with the ‘Red Chrome Cargo: A Cyberpunk Red Screamsheet’ for the demonstration game.
‘Cyberchairs: New options for mobility’ by Mike Pondsmith, James Hutt, Cody Pondsmith, and Sara Thompson detail two models of cyberchair. The Mecurius Cyberchair is wheeled, whilst the Spider Cyberchair has legs. Both require operation, but both can plugged into operated cybernetically of course. Their inclusion opens up options in terms of representation of the disabled in the Time of the Red and enables their characters to become actively involved in missions and adventures.
The longest entry in Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 1 is actually two entries, dedicated to the same in-game MMORPG played via Braindance. ‘Elflines Online: A Segotari Rush Revolution Exclusive’ by James Hutt and Mike Pondsmith explains what it is, whilst ‘Elflines Online: Expansion Pack’ by James Hutt and Melissa Wong adds further background—online and offline—as pre-generated ready-to-play characters for the MMORPG, to the game within a game. Essentially this pair of articles is about a popular leisure activity in the Time of the Red, that the Player Characters really can play if they want to, almost as if they were roleplaying like the players. It has rules for in-game character creation, but otherwise uses the mechanics of Cyberpunk RED. The articles suggest the game as a platform where the Player Characters met, can encounter other NPCs, or simply as diversion. It is an interesting option that adds a layer of both immersion and complication, and that perhaps means it may not be suitable for every Cyberpunk RED campaign.
Lastly, the all-new article in the magazine is ‘All About Drones: Your Amazing Animatronic Friends!’ Written by Mike Pondsmith, James Hutt, Cody Pondsmith, and J Gray, this adds the element of biomimicry to drone design, such as the giraffe-like Zhirafa GRAF3 construction drone (there is even a junior model, My First GRAF3 for the budding engineer to build) and the Savannah Panther patrol drones. The five drones here have a generally utilitarian to them despite the thematic design, and they are all solid additions which add colour and flavour to the streets of Night City.

Physically, Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 1 is cleanly, tidily laid out. The map for the screamsheet is somewhat scrappy, but the artwork elsewhere is excellent, and the shorter page count means that that it feels as if there is more of it.

Although much of it was originally available for free, with the publication of Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 1 it is nice to have it in print. There is much that is useful and helpful in its pages, but none of it is absolutely necessary to expand either the rules or setting of Cyberpunk RED, and some of it, will be simply labelled as silly by some gaming groups. Overall, Interface RED: A Collection for Cyberpunk RED Enthusiasts Volume 1 is a solid, but essential first issue.

The gaming magazine is dead. After all, when was the last time that you were able to purchase a gaming magazine at your nearest newsagent? Games Workshop’s White Dwarf is of course the exception, but it has been over a decade since Dragon appeared in print. However, in more recent times, the hobby has found other means to bring the magazine format to the market. Digitally, of course, but publishers have also created their own in-house titles and sold them direct or through distribution. Another vehicle has been Kickststarter.com, which has allowed amateurs to write, create, fund, and publish titles of their own, much like the fanzines of Kickstarter’s ZineQuest. The resulting titles are not fanzines though, being longer, tackling broader subject matters, and more professional in terms of their layout and design.

—oOo—

Most magazines for the roleplaying hobby give the gamer support for the game of his choice, or at the very least, support for the hobby’s more popular roleplaying games. Whether that is new monsters, spells, treasures, reviews of newly released titles, scenarios, discussions of how to play, painting guides, and the like… That is how it has been all the way back to the earliest days of The Dragon and White Dwarf magazines. Wyrd Science is different—and Wyrd Science – The Horror Issue (Wyrd Science Vol. 1/Issue 3) is different in comparison to both Wyrd Science Session Zero and Wyrd Science – Expert Rules. Gone is the ‘BECMI’ colour coding of the colours and the focus upon fantasy and the Old School Renaissance. Instead, the issue focuses on a much darker genre—horror, and instead of providing new monsters or scenarios, it explores the genre which has threaded its way through roleplaying since 1981 with the publication of Call of Cthulhu with a range of interviews and articles. This is not say that other genres are completely ignored, but the emphasis in this issue is very much on the dark and the forbidding, the scary and the spinetingling, and the unknown and the uncertain.

Wyrd Science – The Horror Issue (Vol. 1/Issue 3) was published by Best in Show in September, 2021 following a successful Kickstarter campaign. There are some ten interviews in the issue, beginning with ‘Publish & Be Damned: The Merry Mushmen’, or rather Eric Nieudan and Olivier Revenu, the French publishers best known for Knock! #1 An Adventure Gaming Bric-à-Brac and its subsequent issues. They give a little of their history and how they came to work together and their interest in the Old School Renaissance, including both Knock! and other projects. ‘Cast Pod: the Vintage RPG Podcast’ continues the magazine’s showcasing of a podcast in each issue and this time it is the podcast, The Vintage RPG Podcast run by Stu Horvath and John ‘Hambome’ McGuire. The podcast is dedicated to the history and art of RPGs, but the interviewees explain how they came to hosting a podcast and how they about creating an episode and in the process create a community around themselves.

Two artists are interviewed in Wyrd Science – The Horror Issue. The first is Tazio Bettin in ‘Art of Darkness: Tazio Bettin – Fighting Fantasy’. An Italian artist, he is the illustrator of Secrets of Salmonis, one of the two titles released for the fortieth anniversary of the Fighting Fantasy series and the first to be written by the series’ co-creator, Steve Jackson. There is some fantastic artwork on show here alongside the interview, in which the artist talks about his work and his turning his interest and hobby into a full time occupation. The second is Jonathan Sacha. In ‘Monstrous Arcana: Goblins & Gardens’ we find out how he came to be interested in Tarot decks and adapting the monsters of Dungeons & Dragons in weirdly bucolic, but unsettling Tarot deck by combining them with a gardening book!

Where all of the previous interviews have been conducted by John Power Jr, the editor of the magazine, Will Salmon interviews David Hughes of Plumeria Pictures on the release on Blu-ray of the 1982 television film starring Tom Hanks, Monsters & Mazes. The interview provides some context for the film and is more positive about it than others might be.

The issue’s horror theme swings into action with ‘I Will Show You Fear In A Handful Of Games...’ by Shannon Appelcline, which takes the reader through a history of the horror genre in roleplaying. He does this in a series of one-page mini essays, each one dedicated to a particular ear. Thus we begin in the early days of the hobby and Dungeons & Dragons, in which its horror was best seen in modules such as X1 Isle of Dread and I1 Dwellers of the Forbidden City veering towards the Lovecraftian, but quickly steering away following issues with Deities & Demigods and mostly adhering to Pulp horror. The title of the opening essay, ‘Dark Shadows: 1974-1986’ is a nice nod to the soap opera of the period. The article really takes off with the appearance of Call of Cthulhu, the Satanic Panic of the eighties (of which the aforementioned Mazes & Monsters was a partial instigator), and the appearance of Vampire: The Masquerade in 1990, tracing their evolution over the past forty years and coming up to date with the more recent broadening of means, such as the Jenga of Dread, and areas explore, like LGBT adolescence with Monsterhearts and the feminine fairytale in Bluebeard’s Bride. It is an excellent history and with any luck, should future issues of Wyrd Science explore other genres, there will be similar articles.

Roleplaying games and the Gothic collide in Jack Shear’s ‘Wuthering Frights’. Here he looks at his favorite setting, Ravenloft. First seen in the 1983 module, I6 Ravenloft, this would be later developed into a full setting with the Realm of Terror boxed set in 1990. Shear examines the origins of Dungeons & Dragons’ signature villain, Count Strahd von Zarovich, of I6 Ravenloft fame, in Dracula and then each of the other Domains and their villains more recently for Dungeons & Dragons, Fifth Edition presented in Van Richten’s Guide to Ravenloft. A clearer bibliography might have helped what is otherwise an informative article and useful accompaniment to whichever version of the Ravenloft setting that the Dungeon Master is using.

Just as horror roleplaying games have changed over the decade, so have their portrayal of mental health. After all, the nature of the genre is all about the loss of self and control—physically, emotionally, and mentally. However, as Stuart Martyn points out in ‘Mind Games’, the portrayal of that loss, especially the mental loss, has not always been an accurate one, often leading to the enforcement of stereotypes about mental health and a lack of understanding of those suffering from poor mental health. To be fair, much of this can be explained by a game’s age. Call of Cthulhu is rightfully acknowledged as the first roleplaying game to explore fear and model the loss of control through its Sanity mechanics, but Call of Cthulhu and Vampire: The Masquerade are singled out as leading examples poor portrayals of mental health. However, as the article moves into the twenty-first century and comes up-to-date, it makes clear that modern iterations of these roleplaying games, as well as others, designers have shown more awareness and understanding of the subject and better tried to reflect that in their games. This is a fascinating look at a key mechanic, or least concept, that almost no roleplaying game can really avoid dealing with, and how it has changed over the years.

John Power Jr. takes us temporarily to the ‘Mythic North’ of Scandinavia, before returning to the British Isles in ‘This Septic Isle’ and an interview with Graeme Davis about Mythic Britain & Ireland, his supplement for Vaesen – Nordic Horror Roleplaying. This highlights the stronger tensions and divisions present in nineteenth century Britain, discusses some of the new Vaesen to be found in the new setting, and interestingly, suggests how the limited geography of the setting can lead to distinct variations upon the Vaesen within only a few miles. Davis also draws the distinction between the horror of Vaesen – Nordic Horror Roleplaying and the horror of Call of Cthulhu, primarily in that the later the aim at best is not to lose, whilst in the former, it is possible to resolve situations without necessarily resorting to despair. A different type of horror roleplaying game, Campfire, is discussed in ‘Flames of Fear!’, Samantha Nelson’s interview with its creators, Adam Vass and Will Jobst. Campfire is a storytelling game inspired by the horror anthologies such as Creepshow and Are You Afraid Of The Dark? The game uses decks of cards as prompts to encourage the players to tell horror stories about the protagonists rather than a single character each and also allows the players to step back from the story itself to comment upon the ongoing narrative as they are watching it unfold. This is shared storytelling and designed for shorter sessions than most roleplaying games.

Just as Call of Cthulhu remains the template for horror roleplaying in general, Ridley Scott’s 1979 Alien remains the template for all Science Fiction horror games. John Power Jr.’s ‘Dark Future’ looks the three roleplaying games and how they handle horror and fear in examining this meeting of genres. Most obvious here is Free League Publishing’s Alien: The Roleplaying Game, but Mothership Sci-Fi Horror RPG – Player’s Survival Guide is also inspired by the film too. The third roleplaying game is The Wretched, a solo-journalling game about the last survivor aboard a spaceship whose crew was killed by alien monstrosity except for the survivor. One aspect of these settings that the article does not really explore is the class distinction between these and other horror roleplaying games. These are all Blue-Collar sci-Fi horror roleplaying games whereas many horror roleplaying games are not. Again, this is a legacy of the film Alien. Featuring interviews with the designers of three roleplaying games, article however, does nicely balance the unknown, but not cosmic, nature of the sub-genre’s horror against the possibility of survival—and even hope.

Wyrd Science – The Horror Issue also interviews the team at Rowan, Rook, & Deckard. They talk to Luke Frostick in ‘The Importance of Powerful Deaths’ about the origins of Spire: The City Must Fall and the consequences that its protagonists—Drow rebels seen as terrorists by the High Elf state—suffer in acting against the regime. Spire is not necessarily seen as a horror roleplaying game, at least not in the traditional sense, but the article makes it clear that it has strong horror elements. The article explores how the team works together and some of the ideas and concepts which make it into the setting, but without restricting the setting for the Game Master and her creativity. The issue returns to the Old School Renaissance with ‘In The Darkest Recesses of Ourselves’, an interview by Walton Wood with Paolo Greco of Lost Pages about The Book of Gaub. This brings out the horrific nature of the book and its spells and their broader effect upon a campaign. It is a pity that this book comes from Old School Renaissance, because being systems agnostic it can have a wider use in non-fantasy genres and settings too. The interview does not necessarily suggest this, but it highlights the nature of the book and will hopefully bring it to the attention of a wider audience. The interview by John Power Jr. of Guilherme Gontijo, in ‘Silver Scream’ turns to mundane horror, but horror, nonetheless. Blurred Lines – Giallo Detective Solo RPG is the Brazilian designer’s solo journalling game designed by the Italian giallo cinema of the sixties in which the protagonist is a crime scene photographer who hunting, and in turn being hunted, by a serial killer. Like the earlier The Wretched, this explores the notion of playing alone and at night, how that can immerse the player deeper into the game. The interview also notes the difficulty in bringing designs from Latin America to the English-speaking hobby and various attempts to support this.

The last two articles in Wyrd Science – The Horror Issue do not switch subject, but they do switch format under discussion. In ‘Roll & Fright’, Dan Thurot asks whether a sense of horror can be created in playing a board game, pointing to hidden identity or movement games such as Fury of Dracula or Battlestar Galactica, as possible vehicles as they both add a high degree of uncertainty to play. Whilst he acknowledges that most horror board games are merely themed, adding the veneer of the genre, he ultimately concludes that it is possible, if only under its terms. The challenge being that sense of immersion and the loss of control at the heart of the genre makes it all the more difficult to do in a board game. The last interview in the magazine is again by John Power Jr. and with wargames designer, Joseph McCullough. In ‘A Field of Horror’, the designer of the highly regarded Frostgrave: Fantasy Wargames in the Frozen City talks about his latest design, The Silver Bayonet, which fuses Napoleonic wargaming with horror and narrative storytelling. This looks to be a fascinating setting and with rules for solo play included suggests it can be played on a more casual basis without the need for more confrontational play of traditional wargaming.

Wyrd Science – The Horror Issue is rounded out with ‘Hit Points’, its extensive reviews sections. It includes reviews of wargames such as Warlord Games’ Sláine – Kiss My Axe Starter Set, roleplaying games like the RuneQuest Starter set from Chaosium, Inc. and Orbital Blues from Soulmuppet Publishing, board games such as Tales From The Loop: The Boardgame from Free League Publishing, and a range solo games (all revewed by Anna Blackwell), like Be Like a Crow and Bucket of Bolts, before looking at Christopher Frayling’s Vampire Cinema – The First one Hundred Years and various films and television series, which has a report from the FrightFest 2022. Two of the more interesting reviews here are of The Elusive Shift: How Role-Playing Games Forged Their Identity by Jon Peterson and Slaying the Dragon: A Secret History of Dungeons & Dragons by Ben Riggs, pleasingly placed opposite each other in an entirely appropriate pairing. Lastly, the issue catches up with the adventures of Mira Manga in ‘Appendix M’. It adds a personal touch to the magazine and brings it to a close.

Physically, Wyrd Science – The Horror Issue is impressively bright and breezy—despite its subject matter. The layout is clean and tidy, but the issue does need another edit in places though.

Wyrd Science – The Horror Issue covers a wide range of roleplaying games in exploring the issue’s genre. Some of the roleplaying games and supplements, such as Call of Cthulhu, Van Richten’s Guide to Ravenloft, and Mythic Britain & Ireland obviously fall into the horror genre, others less obviously so, for example, The Book of Gaub. There is a lot to read and discover in the pages of the magazine and that is where it is at its best, finding out about a game you never heard of or wanted to know more about. Yet the format of the magazine, or at least this issue, makes it unbalanced and often not as engaging to read as it deserves to be. There are simply too many interviews in the issue compared to other articles, so that the other articles, whether Shannon Appelcline’s ‘I Will Show You Fear In A Handful Of Games...’ and Jack Shear’s ‘Wuthering Frights’ stand out more because they are different rather just because they are both interesting and informative. Consequently, whilst the issue is interesting and informative, providing an engaging look at a particular genre in roleplaying, Wyrd Science – The Horror Issue is better for what it covers rather than the way it covers its content.

The gaming magazine is dead. After all, when was the last time that you were able to purchase a gaming magazine at your nearest newsagent? Games Workshop’s White Dwarf is of course the exception, but it has been over a decade since Dragon appeared in print. However, in more recent times, the hobby has found other means to bring the magazine format to the market. Digitally, of course, but publishers have also created their own in-house titles and sold them direct or through distribution. Another vehicle has been Kickststarter.com, which has allowed amateurs to write, create, fund, and publish titles of their own, much like the fanzines of Kickstarter’s ZineQuest. The resulting titles are not fanzines though, being longer, tackling broader subject matters, and more professional in terms of their layout and design.

—oOo—

Senet—named for the Ancient Egyptian board game, Senet—is a print magazine about the craft, creativity, and community of board gaming. Bearing the tagline of “Board games are beautiful”, it is about the play and the experience of board games, it is about the creative thoughts and processes which go into each and every board game, and it is about board games as both artistry and art form. Published by Senet Magazine Limited, each issue promises previews of forthcoming, interesting titles, features which explore how and why we play, interviews with those involved in the process of creating a game, and reviews of the latest and most interesting releases.

Senet Issue 4 was published in the Spring of 2021 and as is usual, opens with ‘Behold’, a preview of some of the then-forthcoming board game titles. Perhaps the most notable of these are Tales From The Loop: The Board Game and The Thing. Both are based on well-known properties, the former the roleplaying game, Tales from the Loop – Roleplaying in the '80s That Never Was, in which Player Characters are teenagers living an alternate Sweden and the latter, the 1981 film directed by John Carpenter. Both of these games have an emotional heft to them. Tales From The Loop: The Board Game in that the players are teenagers with difficult family lives as well having to deal with the mysteries of the Loop and The Thing with the uncertainty that one of your fellow base members might be a mutating alien infection! Other games previewed include Dreamscape, a solo exploration of H.P. Lovecraft’s Dreamlands and HEL: The Last Saga, a dark fantasy co-operative board game in which the players create their own Viking saga. These are not quite full reviews, but they are given as much prominence as the reviews are later in the issue, and in each they entice the reader to investigate further.

‘Points’ provides a selection of readers’ letters, two of the letters making some interesting points about using board games as part of the teaching process, whilst in ‘For Love of the Game’, Tristian Hall continues his designer’s journey towards Gloom of Kilforth. In the previous issue, he explored how the game became a vehicle for roleplaying and storytelling, but here he he looks at how he uses the mechanics to bring the setting to life and have events going on in the background that can affect the lives of the Player Characters. There are some interesting ideas here that draw parallels with roleplaying worlds and much that will be familiar to Game Masters running their own campaigns. These connections continue to make the series a fascinating path and it will be interesting to follow in in future columns.

As with previous issues of Senet, the fourth issue of the magazine dedicates its centre section to a quartet of lengthy, immensely enjoyable articles. These begin with Owen Duffy’s ‘How The West Was Fun’ examines how the Western and the Wild West figures in board games. Perhaps the most well-known board game in the genre is the Spiel des Jahres-winning Colt Express, but as entertaining as banditry and shootouts is in games like BANG! and Flick ’em Up!, the genre offers more than just that. For example, Western Legends offers multiple means of achieving victory, including herding cattle and mining for gold as well as the banditry and the hunting for the perpetrators of such banditry. Along with recommendations for the best Western-themed board games, the article interviews several designers, most of them surprisingly European rather than American. This highlights how the Euro games that employ this theme are often inspired not so much by Hollywood as the bandes dessinées, such as those of the character, Lucky Luke.

Martin Wallace, best known as the designer of Age of Steam, Brass, and Discworld: Ankh-Morpork, is the subject of the interview by Sara Elsam in ‘Lord of Creation’. The discussion focuses on his exploration of both history and technology—many of his designs involving trains and early industry, if not both—in games, before branching out to look at the fantasy games he has designed and the difficulties involved in making that switch. Written just before the release of Rocketmen and Wildlands: The Ancients, the interview is not quite as interesting as those in previous issues, but still worth reading. The artist interviewed by Dan Jolin in the issue is Dominik Mayer, whose work has been seen in cards for Magic: The Gathering, the cyberpunk game In Too Deep, and ISS Vanguard. His artwork is rich and deep and as with previous artists interviewed in Senet, it is given a fine showcase here.

Previous issues of Senet have explored various mechanics key to board game design and play, such as deck-building in ‘Decks in Effect’ from Senet Issue 2 and ‘Roll-and-Write’ from Senet Issue 3. The mechanic examined in this issue by Matt Thrower is tile placement in ‘On the Tiles’. Tracing a line back to medieval China with Dominoes, the mechanic is much older than those, and in modern terms is still predates those other mechanisms. Having appeared in Acquire and 1829—the later the first railway construction and stocks game which would spawn a large family of its own—before featuring at the heart of classics such as Settlers of Catan, Tikal (Tikal is in fact, this reviewer’s first modern Eurogame), and most famously of all, Carcassonne. In the case of the latter, and for most tile-laying games, there is usually a pleasing sense of organisation and having built something using the mechanic at the end of the play. In addition, there is also often a semi-co-operative aspect to play, the players building something together even if they are still competing for the points in doing so. It is a solid overview of the mechanic, but being an older one does feel as if the limits of what it can have already been reached and that sense comes across in the article.

As ever, the ‘Unboxing’ section of Senet Issue 4 covers only a relative handful of games, but there there is a range to them and they are all interesting titles. Leading the way are reviews of the big titles, Gloomhaven: Jaws of the Lion and Pandemic Legacy 0, providing roleplaying and dungeoneering and legacy-style espionage respectively, whilst Dune Imperium offer strategic play and intrigue and Mysterium Park, confrontation-free deduction. None of the reviews are necessarily long, but they are to the point and they cover a decent range of titles in smart fashion. Three of games reviewed also appear in the self-explanatory ‘The Best of 2020’, so their reviews are a pleasing accompaniment and like any good list, this one is worth checking out because it does contain some classics even two years on.

Rounding out Senet Issue 4 is ‘How to Play’ and ‘Shelf of Shame’. In ‘How to Play’, Andy Bush of the podcast, Bush’s Board Game Thing, discusses ‘The tricky art of explaining rules’ and how to get around the problem of someone having to explain how a game is played for the first time. It is a challenging problem still today, in general not for the dedicated board game enthusiastic, but certainly for the more casual player, but there is good advice given here that is still useful. In ‘Shelf of Shame’, Ella Ampongan of Ella Loves Boardgames, in which takes her copy of Bärenpark off the shelf and plays it for the first time. Her verdict that it is better than Carcassonne, which is high praise indeed.

Physically, Senet Issue 4 is very professionally presented. Previous issues of the magazine have all looked sharp and attractive, and this issue is no exception, ensuring that the games it covers live up to the magazine's motto of “Board games are beautiful”.

Senet Issue 4 maintains the high standards set by the previous issues, another fine looking magazine with a good mix of reviews, interviews, and articles. In places the articles do feel shorter, with less depth to them, and so not quite as involving. Nevertheless, the quality of the magazine and its writing is excellent, maintaining its place as vehicle to show off and explore some of the best ideas, contributors, and games in the hobby.

The gaming magazine is dead. After all, when was the last time that you were able to purchase a gaming magazine at your nearest newsagent? Games Workshop’s White Dwarf is of course the exception, but it has been over a decade since Dragon appeared in print. However, in more recent times, the hobby has found other means to bring the magazine format to the market. Digitally, of course, but publishers have also created their own in-house titles and sold them direct or through distribution. Another vehicle has been Kickstarter.com, which has allowed amateurs to write, create, fund, and publish titles of their own, much like the fanzines of Kickstarter’s ZineQuest. The resulting titles are not fanzines though, being longer, tackling broader subject matters, and more professional in terms of their layout and design.

—oOo—

The fourth issue of Parallel Worlds magazine was published in the winter of 2020. As with previous issues, beginging with the the inaugural issue, Parallel Worlds Issue #01 published in 2019, it contains no gaming content as such, but rather discusses and aspects of not just the hobby, but different hobbies—board games, roleplaying games, computer games, films, and more. Unlike like later issues, for example, Parallel Worlds Issue #21 and Parallel Worlds Issue #22, this fourth issue is a fairly unbalanced issue, with relatively little, direct gaming content in favour of focusing on computer games and films. Further, the standard of writing is better, which when combined with its selection of interesting articles and brevity serves to make it overall an engaging, even sometimes thoughtful read. Of course, Parallel Worlds Issue #03 is readily available in print, but all of the issues of Parallel Worlds, published by Parallel Publishing can also be purchased in digital format, because it is very much not back in the day of classic White Dwarf, but here and now.
Parallel Worlds Issue #04 opens with its editorial from Tom Grundy, briefly mentioning the importance of escaping into the fantasy of a new book, film, or video during the winter, before giving an overview of the issue’s contents. It is followed by the first of several articles in the issue dedicated to computer games. This is the issue’s ‘Interview’ with Julian Gollop, designer and programmer of the classic, turn-based strategy games, Laser Squad and UFO: Enemy Unknown. Timed with the then release of Phoenix Point, this is a relatively short piece which looks back at the creation process of UFO: Enemy Unknown in particular and how that has developed with the then new game. It would have been useful perhaps if there had been some more information on the designer’s earlier titles, perhaps to give context for younger readers, but otherwise an enjoyable read. Aliens are the subject of the second article dedicated to computer games. In Louis Colvert’s Thinkpiece, ‘Why Aren’t Aliens In Video Games More… Alien?’, the author explores the role and expectations of the alien in our most modern form of fiction—the video game. Drawing from a number of different titles, Halo and Oddworld: Abe’s Oddysee in particular, he notes how the design of the aliens have been used to reinforce and subvert the expectations of the players. In Halo, the size and speed of the aliens often reflects what expect of the animal world—larger aliens are slower, hit harder, and take more damage, whereas with the smaller ones, the reverse is true. Oddworld: Abe’s Oddysee has alien creatures which are human-like in all but appearance, meaning that in telling a story around slavery it can draw parallels with our own history. Ultimately, the near familiarity of how these aliens act is how we are best able to interact with them in game.
Under ‘Video Games’, Parallel Worlds Issue #04 continues its computer game strand with Ben Potts’ ‘Anthem: The game that nearly was’ examines the perceived failure and difficulties of Bioware’s Anthem, drawing parallels in terms of development with Destiny and Destiny 2 and highlighting the anticipation for the game following its 2017 demo versus the disappointment upon its release. That was in 2019 of course, and Anthem can be seen as a failure now, since development on the game ceased in 2021. Nevertheless, the article is another interesting read, and contrasts nicely with the piece that follows by Thomas Turnbull-Ross. ‘Lambda Cubed: The continuing mystery of Half-Life 3’ sets up and then explores the anticipation, even then a decade old, for the eagerly awaited, but yet to appear, third part in the Half-Life series from Valve. Even several years on from the article, fans will have to be satisfied with a sequel of sorts, Half-Life: Alyx, though that, of course, is unlikely. Consequently, this article has not really dated!
The ‘TV & Film’ articles in the issue open with ‘Star Wars Rebels: A Love letter To The Fans’ which examines the animated series and how it fits into Star Wars canon. Exploring the links to what is now known as ‘Legends’, but which was previously known as ‘The Expanded Universe’, the article highlights how much fan service it delivered, how it delved into and developed the lore, and some of the stories it told. It is clear that its author, Louis Colvert, is a fan, and he very much sells the series. Fans of Star Wars Rebels will enjoy the article, whilst anyone else should be intrigued enough to want go and watch it. Next, Jane Clewett provides thumbnail reviews of various genre films, such as Us, Midsommar, and It Chapter Two in ‘2019 in horror cinema’, which are decent enough. More interesting is ‘Let’s Talk About... Ad Astra’, which is a follow on from Parallel Worlds Issue #03 and its ‘Let’s Talk About... The Dark Crystal: Age of Resistance’. This is a discussion piece, a two-hander between Tom Grundy and Jane Clewett about their reaction to the film and their thoughts about it. This article is shorter, but it highlights the odd nature of the film and disparity of its story elements.
The issue includes three entries under the ‘Tabletop Games’ label. First, ‘We Found a Body’ launches the first in a series of ‘The Generic Adventure Module’ which explore particular plot types which can be added to a game. In this case, Allen Stroud adds a corpse and accompanying mystery. Graphically, it suggests that this is for a modern game, but the article is broad enough to suggest otherwise, in turn examining ways in which the body can be introduced, forensics applied, suspected questioned, and the death investigated. This is all from a point of setting up a good story and whilst it could have been more detailed, the advice is sound and the article lays the groundwork for future articles to come. It is followed by Christopher Jarvis’ review of Zombie Kidz, which is given high praise. The trio is rounded out the ‘Mini of the Month’, this time by Allen Stroud. The regular article, this time devoted to ‘Grak, warlord of the Clan’, an orc miniature that he purchased at Gen Con UK, benefits greatly from being a page in length, but is very much a nostalgia piece, since the convention and the miniature date from 1995.
Ant Jones and Tom Grundy follow up Allen Stroud’s ‘Diamonds in the Rough: Read Adventurous!’ on self-published novels in Parallel Worlds Issue #03 with ‘Self-Pub Review’, a trio of reviews of three self-published books. These are all good and sound interesting reads from the reviews. With half of the article devoted to its award winners, Allen Stroud’s ‘Fantasy Con Glasgow’ is never given sufficient space to make the event come alive or sound interesting as other entries in the ‘Events’ department in previous issues managed to do. Rounding out the issue are two pieces of short, ‘Original Fiction’. They consist of ‘Lazaraki Chronicles’, a horror piece by Connor Edles, and a Science Fiction piece, ‘Red 14’ by Ben Potts. These are decent enough.
Physically, Parallel Worlds #04 is printed in full colour, on very sturdy paper, which gives it a high-quality feel. Unlike in previous issues, it not does suffer from a lot of empty space and the articles are compact rather than stretched out. Consequently, the issue does not feel as empty as was the case with the first three issues.
Parallel Worlds Issue #04 is the best issue yet. It has more content, the less interesting articles take up decidedly less space, and there are more interesting articles to read. ‘We Found a Body’ is good, as is, again ‘Let’s Talk About... Ad Astra’, and also ‘Star Wars Rebels: A Love letter To The Fans’. Yet as much as there is more interesting content in the pages of the issue to read, it is unbalanced. The tabletop gaming content does not come off as a poor second or third so much as a poor fourth or fifth. Three articles, one of which is a review (and compare that to the fact that three books are reviewed to one game) and another a nostalgia piece about a twenty-five year old miniature, compared to four computer game articles and three film and television articles, all lengthier articles, do not feel enough for magazine which was at the time being pitched to sell in game shops. ‘We Found a Body’ is a good start, but Parallel Worlds needs more gaming content to balance everything else out. In the meantime, Parallel Worlds #04 is still a decent read.

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 noneeless—to put forward their ideas and share with others. The programme was notable for having launched the writing careers of several authors, but for every Cthulhu Invictus, The Pastores, Primal State, Ripples from Carcosa, and Halloween Horror, there was Five Go Mad in Egypt, Return of the Ripper, Rise of the Dead, Rise of the Dead II: The Raid, and more...

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

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Name: Victor Frankenstein-ReanimatorPublisher: Chaosium, Inc.
Author: Al Smith

Setting: Regency Cthulhu: Dark Designs in Jane Austen’s England
Product: Pamphlet ScenarioWhat You Get: Two-page, 1.92 MB Full Colour PDF (Plus more)
Elevator Pitch: H.P. Lovecraft writes Mary Shelly/Mary Shelly writes H.P. LovecraftPlot Hook: Victor Frankenstein’s greatest experiment!Plot Support: Staging advice and FAQ, four pre-generated Investigators, two handouts, one NPC, one floor plan, one Mythos tome, and one Mythos monster.Production Values: Decent.
Pros# Minimalist pseudo-scientific one-shot# Low preparation scenario# Plenty of elements left up to the Keeper to decide# Another find the solution to the unstoppable monster scenario (but themed)# Chemophobia# Necrophobia# Diokophobia
Cons# Minimalist pseudo-scientific one-shot# No stats for Victor Frankenstein or Igor (Fritz)# Plenty of elements left up to the Keeper to decide# A grand manor with one floor?# Another find the solution to the unstoppable monster scenario (but themed)
Conclusion# Lovecraftian creature-feature in minimalist style# Easy to set-up and run Mythos-Monster mash that goes all points Herbert West

The world—nay, the universe—is drawing to its end, and the eternal struggle between Law and Chaos will come to its fruition. What will be born in the wake of that mighty battle, who knows, but now there are enemy forces upon enemy forces arrayed before, threatening you, your loved ones, and your family. Whether a doomed prince, cunning vagabond, or greedy mercenary, you cannot escape the conflict to come, so where will stand as the final trumpet is blown? Take up your mighty sword infused with the power of demons, place the helm capable of shining the light of law upon world upon your head, remember the spells you stole long ago from the longest library of the age and slip onto the tip of your tongue ready to cast, and renew the pacts of power with the lords of law and counts of chaos and the elemental earls. Their might and magics are yours to command one last time as you explore the dark streets and mausolea of the forbidden city, ride alongside a mercenary band in driving back the raiders from the north, entreat with the wealthiest of mercantile leagues for support lest all theirs be sunk by creatures summoned from the depths—and beyond, and more, for you are a champion of the age and the final fight will come to you.
This sounds much like the classic Swords & Sorcery stories of Michael Moorcock and his Eternal Champion, most notably Elric of Melniboné and Stormbringer, the great blade he wields which infamously feeds upon the souls it kills and infuses the albino prince with their vitality. And it is, but it is also the tales of R.E. Howard’s Conan, Karl Edward Wagner’s Kane, Fritz Leiber’s Fafhrd and the Gray Mouser and Lankhmar, and Jack Vance’s Dying Earth. It is all of those things, but not. Rather this is a roleplaying game of dark Swords & Sorcery fantasy inspired by them—rough and ready, decadent and dangerous… Several of these story series have had their own roleplaying games. Most obviously Stormbringer from Chaosium, Inc., Robert E. Howard’s Conan: Adventures in an Age Undreamed Of, the Dungeon Crawl Classics Lankhmar Boxed Set from Goodman Games, and Dungeon Crawl Classics Dying Earth: Adventures in a Doomed World, also from Goodman Games. The influence of these stories is not just seen in these roleplaying games, but also Dungeons & Dragons going back to 1974, and thus to the Old School Renaissance. The Black Sword Hack: Ultimate Chaos Edition takes these influences—none more so than that of the Eternal Champion—and puts them front and centre.

The Black Sword Hack: Ultimate Chaos Edition is an update of the earlier Black Sword Hack. Published by The Merry Mushmen—best known for the Old School Renaissance magazine, Knock! An Old School Gaming Bric-à-Brac—following a successful Kickstarter campaign, as its title suggests, the Black Sword Hack: Ultimate Chaos Edition is written for The Black Hack Second Edition, the player-facing retroclone originally published in 2016. Although it uses the base architecture of Dungeons & Dragons, what this means is that the players are going to be making all the rolls—not just to attack, but also to defend, resist magic effects, and so on. The Black Sword Hack: Ultimate Chaos Edition is standalone though, eschews the Classes of The Black Hack and thus Dungeons & Dragons, allows the Player Characters of all backgrounds to learn sorcery and enter into demonic pacts, and provides the Game Master with the tools to create her own world (or worlds) and have her Player Characters encounter runic swords, the fae, arcane science, and more.

A Player Character in the Black Sword Hack: Ultimate Chaos Edition is defined by six Attributes—Strength, Dexterity, Constitution, Intelligence, Wisdom, and Charisma. These are initially rated between eight and thirteen. He also has an Origin, which is either Barbarian, Civilised, or Decadent, and three Backgrounds. These provide him with extra bonuses. There is one Background unique to each Origin, Berserker for Barbarian, Inventor for Civilised, and Assassin for Decadent. A Player Character can only have a unique Background if from its Origin. In effect, Backgrounds replace the Classes of The Black Hack. Each gives a single attribute bonus and a skill or ability. To create a character, a player rolls to generate the value for his character’s Attributes, selects an Origin category and rolls for its specifics, and then selects three Background. Two must tie into his Origin, but the other not. The process is quick and easy.

Name: Frivif
Origin: Civilised (Born on the prison island where the monarch’s political opponents are sent)
Backgrounds: Street Urchin, Sword Master, Storyteller
Languages: Thyrenian, Askavian

Doom Die: Ud6

Strength 11 Dexterity 12 Constitution 9
Intelligence 10 Wisdom 11 Charisma 13

Hit Points: 9
Damage: Weapon d6 Unarmed d4
Coins: 50

Mechanically, the Black Sword Hack: Ultimate Chaos Edition is simple. To have his character undertake an action, a player rolls an Attribute Test. He rolls the twenty-sided die and if under the appropriate attribute, his character succeeds. If it is equal to the Attribute or higher, he fails or succeeds at a cost. A roll of one is always a success and twenty a failure, and the Black Sword Hack: Ultimate Chaos Edition also uses a standard Advantage and Disadvantage mechanic. To handle resources, such as arrows or influence or debt, a Usage die is used. For example, ‘Arrows Ud10’. When a Player Character uses a resource, its associated Usage die is rolled. If the result is one or two, the die size is decreased and when a four-sided die has to be decreased, all of the resource it represents is expended. One genre addition that every Player Character has is the Doom Die. This is a Usage die. It is rolled when a Player Character repeats an action in combat, rolls a critical failure on an Attribute Test, or uses a Gift which requires it, and so on. However, it can be called upon and rolled to modify an Attribute Test, but this forces it to be downgraded. With rest it can reset. Once the Doom Die has been depleted, a Player Character cannot use any actions or Gifts which require it and is considered to be Doomed. All rolls are made with Disadvantage until the Player Character rests.

Combat in the Black Sword Hack: Ultimate Chaos Edition uses the same rules and is designed to be quick and deadly. Attacking with melee weapons and parrying require a Strength Test, ranged attacks and dodging a Dexterity Test. Armour subtracts damage, but a shield enables a player to roll a Strength Test at Advantage when parrying. Attack effects such as breaking an opponent’s weapon, disarming an opponent, and making a brutal attack are possible, but require a player to roll his character’s Doom Die. These effects provide a more cinematic feel to combat. Each time a Player Character survives a number of adventures—recorded as story titles—equal to his current Level, he goes up a Level. At all Levels, a Player Character gains a Hit Point, but at even Levels, he increases an attribute and at odd Levels, he is granted a Gift. These divided between the Gifts of Balance, Law, and Chaos, for example, Spirit Alliance, Riddle of Steel, and Bloodlust, respectively. A Player Character in the Black Sword Hack: Ultimate Chaos Edition has a maximum of ten Levels and the gifts his player chooses will affect his final fate.

The Black Sword Hack: Ultimate Chaos Edition grants certain Player Characters access to certain powers from ‘Dark Pacts & Other Vileness’. Initially, these are dependent on particular Backgrounds. Thus, the Warlock for Demonic Pacts, the Shaman for Spirit Alliances, Forbidden Knowledge for Sorcery, the Changeling for Faerie Ties, and Inventor for Twisted Science. None of these are quite straightforward. For example, Demonic Pacts can be invoked daily, such as ‘Ruin’ which breaks a single targeted item or ‘Nightmare’ which prevents the target from sleeping. If more than Demon is invoked per day, the Doom Die is rolled with Disadvantage and the Demon can take its revenge on the invoker if the Doom Die is depleted. There are also suggestions as to how new pacts can be created. Spirit Alliances work in a similar fashion, but are primal in nature and their powers are broader. Sorcery is tied to Chaos, but not as powerful as Demon Pacts and the roll to cast a spell is only at a Disadvantage if it has been cast before that day. Faerie Ties are broader and more varied, such as ‘Barrow Wisdom’ which lets the Player Character talk to the dead, but takes a Wisdom Test and decreasing the Doom Die to get them to co-operate or ‘Cold Iron Weapon’, an inherited blade of legend that inflicts extra damage on the faerie. Twisted Science allows the Player Character to design and build technological marvels a la Steampunk. There are some examples provided, but it is up to the player’s imagination and whether the device fits the world as what his character might create. The Player Character has weekly invention Points to spend creating devices, but must maintain the old ones he already has, so the more devices he has, the less time he has for inventing. This is simple and clever. Lastly, with Runic Weapons, the Game Master can create a great weapon to be wielded by an agent of Law, Chaos, or Balance, often as dangerous to the wielder and his friends as his foes.

The six categories for ‘Dark Pacts & Other Vileness’ are all optional and the Game Master can pick and choose which ones she wants to have for her Black Sword Hack: Ultimate Chaos Edition campaign world—or worlds. Their inspirations are obvious too from the works of Michael Moorcock. The Young Kingdoms for Demonic Pacts and Runic Weapons, the Dark Empire of Granbretan for Twisted Science, and so on. For the Game Master there is also bestiary as well as the all but obligatory for the Old School Renaissance ‘What Do You Find On The Corpse?’ table, and then a complete toolkit to help her create her campaign world. This provides options on the nature of Law and Chaos and the struggle between them; pages of adventure seeds by region or group, like a forbidden city or an iron horde; tables for creating great cities where the forces of Law and Chaos feud; and tables for making travel interesting as it should never be trivial. Balance receives its own section, which also discusses the end game, placing the point of True Balance far away, and it is here perhaps that in the final clash, the Player Characters will be forced to choose a side—losing the Gifts of Chaos if they side with Law and vice versa—and bring the campaign to then end. All of this is written in succinct style, yet this is not enough for the end game. More advice would have been useful for creating such a climatic, campaign-ending adventure.

Two adventures are included in the Black Sword Hack: Ultimate Chaos Edition. The first, ‘Dark Seeds’ is a good starting scenario, the Player Characters waking up with amnesia after having served some kind of prison sentence and forced to work together to survive in a strange land where everyone seem to want them dead. The ending is open and can go anywhere the Game Master decides her campaign is set. The second, ‘Slayers of the Blood God’ is more a mission, the Player Characters sent after a mercenary captain to prevent him from performing a ritual. Both scenarios are short, easily playable in a single session, and leave details ready to be expanded upon by the Game Master. Lastly, there is ‘Heimdallir: Port of the North’, a complete city port standing on the edge of the tundra, ready for the Player Characters to visit.

And there are the appendices. The Black Sword Hack: Ultimate Chaos Edition contains not just one, two, or three appendices, but twelve! In turn, they give advice on running the game, take advice from various inspirational authors, provide solo rules and a bibliography, introducing a Cosmic Usage Die for both Law and Chaos, a complete world with map by Evlyn Moreau in two pages, and more. It is an unexpected embarrassment of riches, short and direct, but always useful and interesting, giving the Game Master more tools and further inspiration.

Physically, the full colour Black Sword Hack: Ultimate Chaos Edition is clean, tidy, and very well laid out. The artwork, oppressive and foreboding, is excellent throughout, and the book easy to read and understand. There are plenty of examples too, and if the book is unnecessarily succinct in places, such occurrences are rare. Otherwise, the Black Sword Hack: Ultimate Chaos Edition is a grand treatment of The Black Hack.

To be clear, the Black Sword Hack: Ultimate Chaos Edition is not an Elric of Melniboné roleplaying game, a Conan roleplaying game, a Karl Edward Wagner’s Kane roleplaying game, a Lankhmar roleplaying game, or a Dying Earth roleplaying game. It is none of these—but it could be. Its inspirations are clear throughout and what they inspire is generic in nature, rather than specific to any particular setting. Think of it, instead, as a tribute act to all of them, but to Elric of Melniboné and the Eternal Champion in particular. And then it goes one step further in providing both players and the Game Master with the tools to tell great adventures and stories in the style of the constant struggle between the primal forces of the universe. In the absence of a roleplaying game in the English language set in the Young Kingdoms—there only being Mournblade from Département des Sombres Projets and that is in French—or indeed any of the other worlds of the Eternal Champion, the Black Sword Hack: Ultimate Chaos Edition not only fills that niche in but perfect fashion, but does so with a very well presented, accessible, and impressive set of roleplaying tools to run dark fantasy in its style.

Magister’s Guide – A Spire RPG GM Handbook is supplement for Spire: The City Must Fall, the roleplaying game of secrets and lies, trust and betrayal, violence and subversion, conspiracy and consequences, and of committing black deeds for a good cause. It is set in a mile-high tower city, known as the ‘Spire’, in the land of the Destra, the Drow, which two centuries ago the Aelfir—or ‘High Elves’—invaded and subjugated the Dark Elves. The Drow have long since been forced to serve the High Elves from their homes in the city’s lower levels and allowed only to worship one facet Damnou, the moon goddess, instead of the three they once did. However, not all of the Drow have resigned themselves to their reduced and subjugated status and joined ‘The Ministry of Our Hidden Mistress’, or simply, the Ministry. Its members—or Ministers—venerate the dark side of the moon, the goddess of poisons and lies, shadows and secrets, her worship outlawed on pain of death, and they are sworn to destroy and subvert the dominion of the Aelfir over the Drow and the Spire. Published by Rowan, Rook, and Decard Ltd., Spire: The City Must Fall inverts traditional fantasy, making the traditional enemy in fantasy—the Drow—into the victim, but not necessarily the hero.

Magister’s Guide – A Spire RPG GM Handbook is a a companion to Spire: The City Must Fall. Born of four years development, it brings together a number of new systems, new stuff for every Character Class in Spire, including content drawn from the Strata and Sin sourcebooks, as well as advice for the Game Master. It is a fairly slim book, but comes packed with content for both the player and the Game Master. The book opens with four New Systems, beginning with ‘Liberty’, based on the ‘Control’ mechanic from Strata. This is a further measure of control and oppression applied by the authorities on the Dark Elves in response to actions of the Ministers that make the High Elves feel threatened. It does not target them specifically, but the Drow population in general. Liberty is a broad response and its Fallout can be Minor, Moderate, or Severe. For example, Light Fallout might be ‘No Congregation’, meaning that no Drow can gather together, Moderate Fallout might be ‘Branding’ or tattooing of Drow criminals, and Servere ‘Sanctioned Killers’ which arms the agents operating against the Ministry. Its broad nature means that Liberty is difficult to reclaim or remove. Only two options are listed, but the rules suggest using ‘Acquisitions’, the third of the new Systems to supplement these two.
‘Advancement Beats’ give a Minister and his player options in terms of challenges, goals, and achievements. Each ‘Beat’ can be a personal aim or shared with a fellow Minister, but is not specifically tied to the broader advancement of the Ministers’ cell and overall objectives of the The Ministry of Our Hidden Mistress. A Minister can have as many Beats as he wants, but only two are active in play at any one time. They are measured in terms of time they take to achieve. So a Low Beat such as ‘Sell someone out to the authorities’ can be fulfilled in a single session, a Medium Beat like ‘Research and perform a demonological ritual’ takes two or three, and so on. Essentially an adaption of the concept of ‘story beats’, this New System provides a player with story options that flag to the Game Master what he would like to have happen to his Minister—good or bad—in a session or more.

‘Acquisitions’ provides a further means of Player Character improvement, not just a means of getting items of equipment. One way to use them to is reclaim or remove the aforementioned Liberty, but options here include gaining an Ability from an entirely different Class, Favours, extra Advances, and a Safehouse. The latter nicely ties in with the rules for safehouses later on. For the Player Characters, this takes time, but they can push the attempt and act recklessly, to increase the Stress they suffer. Acquisitions are similarly categorised into Low, Medium, and High. The system is nicely worked through with a couple of good examples and enable a Player Character to have something going on in the background that he is working towards in terms of story and bring it into the action when necessary.

The fourth and last of the New Systems is for ‘Safehouses’. Out of all of the New Systems in the Magister’s Guide – A Spire RPG GM Handbook, this does like the most obvious addition. After all, the Player Characters do make a terrorist cell and will need somewhere to hide out and operate from. Once they have a safehouse—and the rules here suggest a ‘starter’ safehouse—the Player Characters can upgrade it with facilities such as a secret entrance, a gunsmith, and even a sacrificial chamber! Each of these is rated as a Medium Advance or a Medium Acquisition, using the previously presented ‘Acquisitions’ system. Suggested too are options for making the sanctuary a community instead of a hidden base and for using it as part of the story, so again giving both the players and the Game Master some flexibility in how the System is used.

The bulk of the Magister’s Guide – A Spire RPG GM Handbook is devoted to new options for the roleplaying game’s numerous Character Classes. Each is given various options including, but not all, new abilities, equipment and special equipment, adversaries, and Fallout (or consequences specific to the Class). For example, the Midwife emphasises the arachnid nature of the Drow and her role in the nurseries with Abilities such as ‘Hands of Silk’ which give her silk glands in the wrist from which can draw and combine with any hand-to-hand weapon to stun and bind, whilst with ‘Trapped Door’ she casts glyphs upon a door to hide it. She can use equipment such as a ‘Prosthetic Limb Array’, useful for the Midwife who finds it difficult to partially change into a spider, or a weapon like a ‘Arachnid Glaive’ . Her Special Equipment includes ‘Frenzy Incense’ which allows her to shrug off the negative effects from Minor or Moderate Blood Fallout. Her Adversaries include ‘The Black Sheep’, those that the Midwife raised, but which turn out bad—criminals, High Elf loyalists, apostates, heretics, and worse... Potential Fallout specific to the Midwife consists of ‘Spiders’ which crawl out her clothing, the walls, or even her mouth, much to the consternation of those around her.

In addition, the entry examines the nature of birth and child-care amongst the Drow, but also neatly provides a list of elements related to her role that the Game Master can bring into play. So, children, families, sacrificial altars, upholding traditions, and so on, and these work for NPCs as much as they do for the Player Character. The Magister’s Guide – A Spire RPG GM Handbook does this again and again for each of the Classes in Spire: The City Must Fall, each time providing options for the player to chose from, as for the Game Master to add to the story.

Rounding out the Magister’s Guide – A Spire RPG GM Handbook is a quartet of short essays in ‘Essays and Advice’. ‘Just the Basics’ is a relatively short blurb which the Game Master can use to explain the setting to prospective players or even for convention games. Even better is ‘Preparing For A Game of Spire’, which gives advice on how to prepare a scenario if a Game Master has no time, twenty minutes, an hour, or two hours. The advice of course, directly applies to Spire: The City Must Fall, but could easily be adapted to any roleplaying game. The essay also includes advice for preparing for a one-shot and again, is applicable to other roleplaying games. If Rowan, Rook, and Decard Ltd. was to publish a generic book of advice for running games, a version of this essay would definitely be included. Similarly, ‘When To Roll, And When Not To’ and the shorter ‘Creative Use Of Skills’, can apply to this roleplaying and others, but are not quite as interesting.

Physically, the Magister’s Guide – A Spire RPG GM Handbook is well presented and its contents are neatly organised and easy to reference, done in a succinct style for start to finish. All of that content is really very good, providing options in terms of Player Character abilities and actions, that both the player and the Game Master can use or effectively tag in the game. It is backed up by really good advice for the Spire Game Master, that is applicable in any roleplaying game. Overall, the Magister’s Guide – A Spire RPG GM Handbook is great supplement for the Spire Game Master, which the Game Master for almost any other roleplaying game should borrow (from her Spire Game Master) just to read the essays.

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 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.

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What is it?The Terminator Quick Start is the quick-start for The Terminator RPG, based on 1984 film, The Terminator, in which Resistance Fighters travel back from the future to prevent Skynet, a computer system, from achieving awareness and declaring war on mankind and so bringing about a devastated world where the survivors are hunted by robots.

It includes a basic explanation of the setting, rules for actions and combat, details of the arms, armour, and equipment fielded by the Player Characters, the one-shot mission, ‘Two Steps Back’, and seven ready-to-play, Player Characters, or Resistance Fighters.

It is designed to be played by three to five players, plus the Game Master.

It is a fifty-two page, full colour book.

The quick-start is very lightly illustrated, but the artwork is excellent. The rules are a slightly stripped down version from the core rulebook, but do include examples of the rules which speed the learning of the game.

The themes and nature of The Terminator RPG and thus the The Terminator Quick Start, specifically the horror and despair associated with the future it depicts, and the fact that the Resistance Fighters will be hunted, means that it is best suited to a mature audience.

How long will it take to play?
The Terminator Quick Start and its adventure, ‘Two Steps Back’, is designed to be played through in one or two sessions.

What else do you need to play?
The Terminator Quick Start requires six ten-sided dice per player. One of these dice should be a different colour to the rest, ideally, black.

Who do you play?
The seven Resistance Fighters in The Terminator Quick Start consist of a mechanic-turned explosives expert and strategist, an engineer and hacker, a heavy weapons expert with the best hair in the future, a medic with a sense of humour, close-in knife-wielding Sikh, a veteran sniper, and a rookie grunt. Two are core characters, needed for the plot, and three standard characters. The other two are ‘advanced’ characters intended as replacements or alternatives.

How is a Player Character defined?
A Resistance Fighter has six stats—Strength, Dexterity, Knowledge, Concentration, Cool, and Luck. Stats are rated between zero and six, whilst the skills are rated between one and four. A Resistance Fighter can have Traits, such as Addiction, Arrogant, Exceedingly Cool, or Vision (Good). He also has Hope Points, which divided between three categories—Body, Brains, and Bravado—and indicate the ways in which a Resistance Fighter can emulate the cinematic style of The Terminator. For example, with Body 2, Brains 3, and Bravado 1, Minguez the strategist could ‘Go Crashing In’ to dive into a room and gain a single charge or ranged action before combat begins, to make a ‘Luck Guess’ and gain a free bonus to a Knowledge or Concentration skill roll, or ‘Lead From The Front’ to lead soldiers into battle and bolster their morale. Some of the pre-generated Resistance Fighters specialise in one category, whilst others are more balanced.

All of the Resistance Fighters have a special ability related to their role. For example, Davis is the Engineer and has ‘Technical Minded’. This allows the Resistance Fighter’s player to spend a point of FATE to reroll any or all dice for any Techanical Skill Test.

How do the mechanics work?
Mechanically, The Terminator Quick Start uses the ‘S5S’ System first seen in SLA Industries, Second Edition. This is a dice pool system which uses ten-sided dice. The dice pool consists of one ten-sided die, called the Success Die, and Skill Dice equal to the skill being used, plus one. The Success Die should be of a different colour from the Skill Dice. The results of the dice roll are not added, but counted separately. Thus, to each roll is added the value of the Skill being rolled, plus its associated stat. If the result on the Success Die is equal to or greater than the Target Number, ranging from eight and Challenging to sixteen and Insane, then the Operative has succeeded. If the results of the Skill Dice also equal or exceed the Target Number, this improves the quality of the successful skill attempt. However, if the roll on the Success Die does not equal or exceed the Target Number, the attempt fails, even if multiple rolls on the Success Dice do. Except that is where there are four or more results which equal or exceed the Target Number on the Success Dice. This is counted as a minimum success though.

FATE can be spent to reroll the Success Die or any of the Skill Dice. The rules also cover fear and willpower. Failing Fear Tests, which typically occur when the Fear Rating of situation is above a Resistance Fighter’s Cool stat, lead a loss of Willpower, as can losing too many Hit Points or encountering a Terminator. As long a Resistance Fighter’s remains above ten, they should be fine.

How does combat work?
Combat in The Terminator Quick Start is designed to be desperate and dangerous. It is detailed and tactical. It takes into account offensive and defensive manoeuvres, rate of fire, recoil, damage inflicted on armour, cover, aiming, and so on. The scenario features a lot of combat and the Game Master should pay particular attention to those rules in the quick-start.

All Resistance Fighters are combat trained, though some do specialise more than others. In general, the more combat capable Resistance Fighters should be working to protect the less capable, but less important specialists on their mission.

How does Hacking work?
One of the pre-generated Resistance Fighters possesses the Computer skill and is the designated Hacker for the mission. This enables him to hack electronic devices and computer systems. In general, hacking small systems requires only a simple skill test, but for bigger systems and where it is narratively appropriate, the hacker can attempt to infiltrate a system consisting of a series of connected nodes represented by a ‘Network Architecture Diagrams’. The player rolls Computer skill tests to generate points of Progress which can be expended to move deeper into the network, create a backdoor, capture a node, exploit a subroutine. If alerted, Network Security, or ‘NetSec’, will spread through the system attempting to locate the hacker and halt his progress.

Hacking is in effect a two-player mini-game between the Hacker’s player and the Game Master. Fortunately, it is intended to take place at the same pace as combat rounds do, so it can be run in parallel with them if need be. It needs careful study by both the Hacker’s player and the Game Master, and although there is an example hacking attempt given of the system include in the scenario, it would be a good idea for the Game Master to run through this at least once to understand it.

What do you play?
The Terminator Quick Start includes ‘Two Steps Back’, a short, one-shot mission. Set in the future, the Resistance Fighters must break into a Skynet compound to find their captured leader and prevent Skynet from sending several Terminators into the past to destroy several armouries set up by John Connor. It begins en media res with the attack on the compound, and after some bloody encounters with Terminators and a chance for hacker to show off his skills, before they can get into the Time Displacement Chamber and take command of it. Once alerted, Skynet will do its very best to prevent the Resistance Fighters from taking command of and using the Time Displacement Device. It ends in an even bigger battle and a cliffhanger...

As a mission, ‘Two Steps Back’ feels very appropriate for The Terminator setting.

Is there anything missing?
The Terminator Quick Start is complete and it even comes with advice for the Game Master on running the game. Where it is lacking is in art. None of the Resistance Fighters or NPC are illustrated, and neither are the weapons. The Game Master may want to provide them. In addition, the Resistance Fighter biographies are separate to their character sheets, so the Game Master will make sure that each player receives both.

Is it easy to prepare?
The core rules presented in The Terminator Quick Start are relatively easy to prepare. The Game Master will need to pay closer attention to how combat works in the game as it is the most complex part of the rules and highly tactical in play, as it figures heavily in the scenario. She should also study and work through the hacking rules so that they can be easily taught to the player who roleplays the hacker.
Is it worth it?
Yes. The Terminator Quick Start is a short, bloody, and brutal mission that demonstrates the desperate and dangerous nature of the future under the dominance of Skynet. The emphasis on combat and the hacking rules make it slightly too complex for a convention scenario unless the Game Master knows the rules for both well. Otherwise, The Terminator Quick Start is solid introduction to the setting and potentially more if the Game Master decides to run the sequel, The Terminator Quickstart Part II ‘One Step Forward’.
Where can you get it?
The Terminator Quick Start is available to download here.

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

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Published in 2003, Dungeon Crawl Classics #1: Idylls of the Rat King was the first adventure to ask the question, “Remember the golden days of role playing, when adventures were underground, NPCs were there to be killed, and the finale of every dungeon was the dragon on the 20th level? Well, those days are back. Dungeon Crawl Classics feature bloody combat, intriguing dungeons, and no NPCs who aren't meant to be killed. Each adventure is 100% good, solid dungeon crawl, with the monsters you know, the traps you fear, and the secret doors you know must be there somewhere.” In doing so, it launched the Dungeon Crawl Classics line from Goodman Games that in the twenty years since has seen the publication of over one hundred titles for three different roleplaying games. It began with Dungeons & Dragons, Third Edition in 2003, before moving on to Dungeons & Dragons, Fourth Edition in 2008 and finally finding a home with Dungeon Crawl Classics Roleplaying and the release of Dungeon Crawl Classics #66.5: Doom of the Savage Kings and the classic Dungeon Crawl Classics #67: Sailors on the Starless Sea.

Dungeon Crawl Classics #1: Idylls of the Rat King is designed to ape the appearance of early adventures for Advanced Dungeons & Dragons, First Edition. Thus, the blurb is on the front cover rather than the rear, the rear being saved for a list of other products, and the maps inside the card cover are done in white on blue to thwart photocopying. The scenario itself is set in and around the town of Silverton, known for its silver mines. In recent months, goblins have been raiding the caravans carrying the silver and so hindering the town’s primary trade and means of income. The scenario begins with the Player Characters at the entrance to an abandoned mine whose silver has long been worked out and where the tracks of the raiders on the last caravan lead back to. The Player Characters have been hired to deal with the raiders and end their menace once and for all. Dungeon Crawl Classics #1: Idylls of the Rat King is designed for a party of Player Characters of First to Third Level. It is recommended that a Rogue, a Good-aligned Cleric, and a strong Fighter, preferably one armed with a silver sword be amongst their number. That said, an Elf, which his ability to spot secret doors will also be very handy.

The bulk of the scenario consists of a four-level ‘Abandoned Silver Mine’ infested with goblins and worse. The rooms of the played-out mine are all decently described, and where the Player Characters do encounter opposition, the location descriptions do include their tactics upon seeing intruders. Initially, the Player Characters will face a fair bit of opposition. The goblins are on guard and prepared to defend their home. The first level of the mine appears to be quite lightly populated, but an encounter with the Goblin Chief reveals that there is something else going on in the mine. Patience upon the part of the players and their characters will pay off if they find the secret vaults scattered across this level. The secret vaults and chambers on this level and the levels below contain not just treasure, but also useful, silvered or magical weapons and clues to the secrets of the mine.

Notably, although the Goblins are Neutral Evil, and signs of their nasty, vicious ways are found throughout the mine complex, the scenario specifically states that Good-aligned Player Characters suffer an Experience Point penalty should they put the females and young of the tribe to the sword. There are several nurseries and day-care rooms where they may be found, but there are also several temples dedicated to the rat gods, Narrimunth and Nimlurun, as well. The lower levels—three and four—are smaller, with the third actually being worked by miners still. Zombie miners, including zombie badgers, but miners, nonetheless. The nature of the encounters down here changes too, and whilst there no dragon in the final room, there is a definite sense of something much bigger on the fourth level. In comparison to the upper levels, there is scope on the lower for more than combat. The important NPCs will at least initiate or engage in conversation before they turn on the Player Characters and attempt to kill them. Some of the encounters on the lower levels are tough.

So what is going in the mine and Dungeon Crawl Classics #1: Idylls of the Rat King? The back story explains that century ago, one Jasper Gannu discovered the first silver mine outside what would become Silverton. However, the miners uncovered a great evil which had been buried there in ages past—a vampire named Serrenna. She was only stopped and locked away once again after twenty miners were killed. The survivors turned on him, lynched him, and drove his wife and child out with a curse. This curse turned them both into wererats, and now, Jasper’s grandson, Lawrence, has returned to the area to enact his revenge. Not only is he directing the goblins in the raids on the caravans, but he has also turned some of them in Wererats too! This is the reason why the Fighter needs to come armed with a silver weapon. The other is the vampire, Serrenna. If the Player Characters do not discover the clues to the ’ancient evil’ buried in the mine or ignore the warnings when they do, they may well free her from her prison and that would be a bad thing to do. Of course, she is evil, but Serrenna is very tough opponent too. That said, the Dungeon Master should have fun roleplaying her should the Player Characters encounter her.

In addition, Dungeon Crawl Classics #1: Idylls of the Rat King includes two appendices. One describes the Silverton Area and its inhabitants. Lawrence Gannu can be encountered here, performing as a Bard, and spying on the townsfolk and anyone who passes through the town. The handouts hint at the great evil in the mine as well as give the Player Characters a map. The start of the scenario provides three possible employers who would pay well for the Player Characters to investigate the abandoned mine.

Physically, Dungeon Crawl Classics #1: Idylls of the Rat King is a mixed bag. The layout is clean and tidy. The artwork is decent. However, the handouts are plain, just handwriting founts and whilst the map of Silverton is clearly done using Campaign Cartographer, so is decent enough, the map of the four levels of the mine is dull. To be fair, we have all been spoiled by the fully featured and illustrated maps of the scenarios for Dungeon Crawl Classics, but here they are all but featureless. The maps primarily consist of straight corridors and rectangular rooms, so all of the detail comes from the room descriptions. Trying to describe the route through the mine can only be challenging for the Dungeon Master because the maps are so bland.

One issue with Dungeon Crawl Classics #1: Idylls of the Rat King lies in the presentation of the monster stats and that comes from the d20 System and Dungeons & Dragons, 3.5. NPCs, including monsters, in Dungeons & Dragons, Third Edition and Dungeons & Dragons, 3.5 can have Classes and that leads to extended, detailed stat blocks. In addition, there are lots of Wererat Goblins in the scenario, so for every encounter there are three sets of stat blocks—one for Goblin form, one for Dire Rat form, and one for Hybrid form. There is a lot of detail for the Dungeon Master to handle in terms of game stats in the scenario. Also, placing the town details in appendix makes it feel like an afterthought, but at the same time, it means that the Dungeon Master can get straight into the adventure without having to flip to the back of the scenario if it is not required.

Dungeon Crawl Classics #1: Idylls of the Rat King received an Honourable Mention for Best Adventure, at the ENnies in 2003. It would be followed by a sequel in 2006. This was Dungeon Crawl Classics #27: Revenge of the Rat King designed for Player Characters of Fourth to Sixth Level. Then in 2008, the two modules were compiled for release at Gen Con 2008, but not for Dungeons & Dragons, 3.5. Rather it was written for use with the version of the roleplaying game whose style for its scenarios the two scenarios were aping—Advanced Dungeons & Dragons, First edition. In addition, Dungeon Crawl Classics: Saga of the Rat King included a third adventure, ‘The Scourge of Silverton’, which bridged the two. Although titles for the Dungeon Crawl Classics line for previous iterations have since been updated for use with Dungeon Crawl Classics Roleplaying is not one of them. Perhaps on its twentieth anniversary, it deserves the Dungeon Crawl Classics treatment? Dungeon Crawl Classics #1: Idylls of the Rat King would also be the subject of several reviews at the time of its release—one of which is here.

Dungeon Crawl Classics #1: Idylls of the Rat King is twenty years old and was even a nostalgia piece back then. There is much to like. The choice of monsters is a surprising combination, and with its mixture of the Undead, Vampire femme fatale, and Wererat Goblins, there is an element of horror to the scenario which adds to both its atmosphere and mystery. Yet this is undone in part by the maps, which are featureless and uninteresting, adding nothing to the adventure and barely even supporting it. The scenario is primarily combat and exploration focused, but it does have the mystery of the unspeakable evil and a few roleplaying opportunities here and there. For a twenty-year-old, nostalgia focused scenario, that is not bad. Indeed, Dungeon Crawl Classics #1: Idylls of the Rat King is not perfect, but definitely not bad, and it definitely got the Dungeon Crawl Classics line off to a solid start.

Chariot Race is a ‘Roll & Race’ board game. Now lots of board games are races, involving the rolling of dice to move. For example, Snakes & Ladders and Ludo are both children’s classics, both involving races, but Chariot Race is a modern board game and uses its dice rolls to create different effects and determine what a player can do from turn to turn, much like the earlier King of Tokyo. In the game, the players are charioteers, standing in their chariots, reins and whip in hand, javelins and caltrops to one side, ready to race, to the sound of the roaring crowd of the colosseum. To win, a player must be first across the line after completing two laps of the arena. Unfortunately, his rivals will not only do their best to outrace him, but they will also do their best to stop him—dropping caltrops into his path if he is behind, throwing javelins at him if close enough, and even ramming him! The result is a fantastic spectacle for the crowds and glory for the winner who can survive long enough to cross the finishing line. All this will be done according to the rolls of the dice—can a player slow his chariot down enough to get round a corner without risking damage or speed up to catch his competitors? Can he change lane to avoid an obstacle, a rival charioteer and his chariot, or caltrops thrown in his path? Can he attack a competitor? Can he gain the Favour of Fortuna and make repairs to his damaged chariot or alter the results of the other dice? Only the bravest of the brave and luckiest of the lucky charioteer will be able to find out in Chariot Race.

Published by Pegasus Spiele, the biggest draw for Chariot Race is the fact that it is designed by Matt Leacock, who is best known for designing Pandemic, the board game of the CDC attempting to find cures to diseases before they overwhelm the world. Where Pandemic is co-operative, Chariot Race is not. It competitive, combative even. Designed for two to six players aged eight and up, it can be played in fifteen to forty-five minutes, is easy to set up and play, and includes advanced options too.

The core components consist of a double-sided game board, six chariot pieces in different colours, six double-sided chariot boards which match the chariot pieces, twenty wooden caltrop markers, eighteen pointer clips, and five dice. There are also Dolphin tokens to indicate if a player is on his first or second lap. Everything is in full colour and easy to use in play. The game board depicts the oval of the colosseum with three tracks. On the one side, this is plain, but on the other, it is marked with heaps of stone which will damage any chariot which runs over them. The chariot boards are marked with three tracks—the Damage Track, the Speed Track, and the Fate Track. The Pointer Clips are used to track these numbers. The amount of Damage a player’s chariot has taken restricts its maximum speed and the amount of dice the player can on his turn. The five dice are marked with Horse (Normal movement), Double Horse (Sprint), Steer, Attack, and Favour of Fortuna symbols. In play, a player will use these to alter his chariot’s speed, change lane, attack his competitors, and alter his luck.

Initial order of the chariots is determined randomly and then the turn order works from the chariot in the lead backwards, that is, from front to back. A player’s turn consists of six phases—Repair, Adjust Initial Speed, Roll Dice, Obtain the Favour of Fortuna, Move, and Attack. The Repair and Attack phases are optional. In the Repair phase, a player can spend three Fate Points to repair his chariot by up to three points of damage. The Adjust Initial Speed requires the player to check that his chariot’s Initial Speed does not exceed its current Damage Value as more damage reduces its maximum speed. The player than rolls the dice, the number again determined by the chariot’s current Damage Value. Then the player rolls the dice. A player can reroll as many dice as he likes once, but can spend Fate points to reroll again or to adjust a single die face to any non-Fortuna side.

Once a player has rolled the dice and made any rerolls, he begins applying them to his chariot. To Obtain the Favour of Fortuna he records any Fortuna symbols rolled on the dice. He can have a maximum of six. Then he can Move and Attack. However, actual movement is equal to his chariot’s Speed, and what the Horse (Normal movement) and Double Horse (Sprint) symbols do, is adjust that Speed. Horse (Normal movement) symbol lets a player adjust his chariot’s Speed, up or down, by one, whereas the Double Horse (Sprint) symbol lets a player adjust his chariot’s Speed, up or down, by two, but at the cost of a point of damage. The obvious reason for adjusting his chariot’s Speed is to catch up with another chariot, whether to pass it or ram it, but he may also need to slow down. This is because he might want to avoid another chariot or because he has to career around a corner! Both ends of the arena are marked numbers—higher numbers on the outside, lower numbers on the inside. If a chariot has a Speed higher than this number when it crosses through it, the chariot suffers damage. The inside track is shorter, but tighter, and so their number is lower. The outside track is longer, and its number is higher. On the expert board, which has stone heaps, the player might slowing down to avoid hitting them.

The Steer symbol allows a chariot to change lanes. Lastly, the player can use the Attack symbol to inflict damage on his rivals. First, by dropping a Caltrop on the track which another chariot might ride over and take damage from, and second, by throwing a javelin at a rival chariot. Another means of inflicting damage is to ram a chariot, but this inflicts damage to both the ramming chariot and the rammed chariot. It is possible to destroy a chariot, whether through poor handling round corners, riding over caltrops, being rammed, or having javelins thrown at it. A destroyed chariot means the player is out of the game, it leaves wreckage which does the same damage as a caltrop.

Chariot Race includes rules for two- and three-player games, with teams of chariots rather than singles. This enables a player to keep playing if he loses a chariot. Besides the alternative board on the other side marked with stone heaps, the chariot boards each have a different chariot on the back. They add a degree of variety to the game and a bit more individualism to the game.

Physically, Chariot Race is underwhelming. The components, done in full colour, are on thin card. The chariots are cardboard standees rather than wooden or plastic pieces. The dice are decently done though. Consequently, the feel is of a game with a lower budget and less durability. The rule book though, is clearly written, easy to read, and includes examples of play that ease learning the rules.

Chariot Race is primarily luck driven, with little in the way of player choices or tactics. Does a player race ahead to get a good start or hold back and avoid the carnage upfront as players battle for the lead, only to push forward on a chariot that has taken less damage and can thus maintain a higher speed? Other than that, a player is really only trying to make the best use of his dice rolls from one turn to the next. The result though tends to be a chaotic free-for-all, a brawl on two wheels drawn by thundering hooves and steaming nostrils of the horses. So, in the way Chariot Race does make a good filler. It is light, easy to understand, and quick to play. However, a group wanting something more thoughtful, less combative, but of a similar length, might try Ave Caesar. For more detailed, simulationist version of chariot racing, the classic Circus Maximus would be a good choice.

Ultimately, Chariot Race feels just a little too light, a little too lacking in depth for repeated play, and not enough choices. The variant rules do not add enough to keep the players’ attention for more than a few games, and ultimately, Chariot Race is more going to be remembered for the designer than the design.