Tiny Epic Galaxies is almost, but not quite a ‘4X’ game. That is a game whose mechanics focus on ‘Explore, Expand, Exploit, Exterminate’. Twilight Imperium, for example, is a classic example of a ‘4X’ game, but Tiny Epic Galaxies forgoes the Exterminate aspect to focus instead upon ‘Explore, Expand, Exploit’ for a competitive, but not combative board game. Tiny Epic Galaxies is a Science Fiction board game in which two to five players—though there is a solo option included—compete to exploit the abilities of planets across the galaxy, expand their fleet of rocketships, and colonise planets in order to expand their territories and become the preeminent power in the galaxy, and so win the game. Tiny Epic Galaxies is designed to played and does indeed play in thirty or so minutes and combines dice rolling and rerolling mechanics, player Follow mechanics, order assignment, and secret objectives. The third in the Tiny Epic series, following on from Tiny Epic Kingdoms and Tiny Epic Defenders, it is published by Gamelyn Games and like the rest in the line, Tiny Epic Galaxies packs a lot of high-quality game components and game play into a relatively small—though not tiny—box. Consequently, if the components are a bit small for ease of use for big fingers, the game itself is easy to transport, easy to store, and occupies very little space on the table, all whilst still offering big game play.

Tiny Epic Galaxies comes with a lot of components. These consist of five Galaxy Player Mats, a Control Mat, forty Planet Cards, twelve Secret Mission Cards, seven Action Dice, twenty Ships, and five each of the Empire, Energy, and Culture Tokens, plus the twelve-page rulebook. Each Galaxy Player Mat consists of five tracks. One for Culture and Energy combined, and then one each to track a player’s Victory Points, the number of dice he can roll on his turn, the number of rocket ships he can have in his fleet, and the size of his empire. Increase the size of his empire and the number of Victory Points, dice to roll, and rocket ships to launch and move, all go up as well. To increase his empire a player will need to spend Energy and Culture.

Each player uses the Control Mat when it is their turn and it primarily has spaces for the dice as a player uses them. It also summarises all of the actions and has a Converter space which is used to sacrifice two dice in order to get the result a player wants on a third. One minor issue is that there is only one Control Mat and it would have been useful for every player to have one for ease of use.

The game’s objectives consist of the Planet Cards and the Secret Mission Cards. Each Planet Card is illustrated with a picture of a planet, which is surrounded by a track. This is the Colonisation Track which a player will move a ship along to in order to claim the planet and add it to his galaxy. It has a Victory Point value, ranging between one and seven, the greater the Victory Point value, the longer it takes to colonise. Lastly, it has a special ability. For example, ‘All players harvest 1 Energy, but you harvest 2 Energy’, ‘Spend 2 Energy to advance +2 Diplomacy’, ‘Utilise the action of an un-colonised planet’, or ‘Reroll any of your inactive dice’. A player can use a planetary ability by landing a ship on it or if he has it in his galaxy. Secret Mission Cards provide a player with a means of scoring points in secret and an objective to aim as well building his galaxy. For example, ‘Gain 2 if you have all of your ships in your galaxy at the end of the game’ or ‘Gain 3 if you have the most planets at the end of the game’.

The game’s seven dice are marked with six symbols, each indicating an action that a player can do. These are ‘Move A Ship’, ‘Acquire Energy’, ‘Acquire Culture’, ‘Diplomacy’, ‘Economic’, and ‘Utilise A Colony’. The ‘Move A Ship’ action lets a player land a ship on a planet and use its ability or allow it to enter orbit in readiness to move it along the colonise track on each planet. ‘Acquire Energy’ and ‘Acquire Culture’ add a point to the track on the player’s Galaxy Player Mat. The amount in either case depends upon the planets the player has assigned his ships to currently. The ‘Diplomacy’ and the ‘Economic’ actions enable a player to move one of his ships along the Colonise Track of a planet depending upon whether the planet is susceptible to Economic or Diplomatic influence. Lastly, ‘Utilise A Colony’ enables a player to either upgrade his galaxy and once he has added a colony to his empire, he can activate its ability.

At the beginning of the game, each player receives four ships and a Galaxy Mat plus associated tokens. Initially, a player can only use two ships, but can add the other two during play. He also receives two Secret Mission Cards and chooses one of them. Several Planet Cards are placed down for the players to try and claim. These will be refreshed as they are claimed one by one.

On a turn, a player rolls the dice and then uses the symbols rolled to undertake actions. It is as simple as that, the player making the best use of the symbols rolled and their associated actions. A player can reroll his dice as many times he wants, but for every reroll after the first, he has to pay an Energy cost. However, there is a wrinkle and that is Tiny Epic Galaxies’ ‘Follow’ mechanic. This is similar to that of Glory to Rome, which allowed the other players to immediately do the same action that the current player has just done. However, in Tiny Epic Galaxies, the Following players have to pay a point of Culture. Thus, it is important for players to build up their Culture so that they can do Follow actions. On the downside, the Follow mechanic does mean that a player’s turn can be interrupted over and over with Follow actions.

Play continues until a player has accrued twenty-one Victory Points. Then play continues until everyone has had the same number of turns. After that, Secret Mission cards are revealed and Victory Points are awarded for those. The player with the most Victory Points is the winner.

Besides keeping his Culture high, a player needs to keep a balance between building up his galaxy and gaining colonies. Building up his galaxy has the benefit of giving a player both extra ships to move around and more dice to roll. Gaining colonies gives a player ready access to their special abilities, as opposed to a player simply landing a ship on a colony in play to use it once. Although the primary interaction between players is via the Follow action, players can also interact through the effects of the various special abilities of the planets and racing to colonise a planet.

Physically, Tiny Epic Galaxies is very nicely produced. If the Galaxy Mats for each player and the Control Mat are a bit small, they are still clear and easy to read. The quality of the game is very good, but the inclusion of wooden spaceships and tokens just gives it that extra touch of class. Similarly, the fact that the wooden spaceships are designed to look like classic space opera rocketships gives it another touch of class, though a retro one. The rules are easy to read and understand. One minor issue is that everything does not quite fit in the game’s box. It is very full and everything goes in, but the lid is not quite flush. Nevertheless, Tiny Epic Galaxies is a good-looking game that also feels pleasingly tactile.

Tiny Epic Galaxies is a fantastic filler, which not only fits into a thirty-minute window with its playing time, but offers a player a wide variety of actions, both in terms of dice actions and the special abilities of the colonies, and then of course in the planets they can attempt to colonise. There is also enough variety in the number of planets available to give the game plenty of replay value. And then there is the theme, which Tiny Epic Galaxies simply does perfectly. In fact, Tiny Epic Galaxies is the perfect ‘3X’ board game—‘Explore, Expand, Exploit’—and the fact that it does it in a perfectly appointed, ‘tiny’ fashion without losing any game play or components just makes it that bit better.

Much like the Miskatonic Repository for Call of Cthulhu, Seventh Edition, the Jonstown Compendium is a curated platform for user-made content, but for material set in Greg Stafford’s mythic universe of Glorantha. It enables creators to sell their own original content for RuneQuest: Roleplaying in Glorantha, 13th Age Glorantha, and HeroQuest Glorantha (Questworlds). This can include original scenarios, background material, cults, mythology, details of NPCs and monsters, and so on, but none of this content should be considered to be ‘canon’, but rather fall under ‘Your Glorantha Will Vary’. This means that there is still scope for the authors to create interesting and useful content that others can bring to their Glorantha-set campaigns.

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What is it?
Eurmal’s Truth is a scenario for use with RuneQuest: Roleplaying in Glorantha which presents a simple, straightforward plot outline that the Game Master can run and prepare for a single session’s worth of play.

It is a two page, full colour 257.16 KB PDF.

The layout is tidy, the artwork rough, but serviceable. It does need an edit.

The scenario is can be easily be adapted to the rules system of the Game Master’s choice.
Where is it set?As written, Eurmal’s Truth takes in the lands of any clan of the Locaem tribe, specifically beginning at Salvi Top. However, with some adjustment, the scenario can be placed anywhere where the presence of Eurmali is accepted and has been under the occupation of the Lunar Empire.
Who do you play?
Eurmal’s Truth does not require any specific character type. Worshippers of Eurmal are not required, but a shaman could be useful.
What do you need?
Eurmal’s Truth requires RuneQuest: Roleplaying in Glorantha only. However, The Book of Red Magic and both Cults of RuneQuest: The Lightbringers and Cults of RuneQuest: The Earth Goddesses may be useful for the cult connections.
What do you get? Eurmal’s Truth is a murder mystery. Not so much a ‘whodunnit’ as a ‘didtheydoit’. Just as respected priest is about to acclaim the new King of the Locaem, an Eurmali, a member of the local clown society, not only accuses him of murder, but gives the location of the body too. With such a claim hanging over his head, the acclamation cannot be made, the priest’s status is in doubt, and his family is affronted. This situation must be sorted out, the priest’s guilt or innocence verified, and the accusing Eurmali proven to be either a lie or telling the truth. Fortunately, the Eurmali knows where the body is and the Player Characters are passing by—and as a neutral party with no interest in local politics or events, are requested to investigate.
The plot really has two strands. Determining whether the priest is guilty or not and once determined, what the Player Characters do with the information. The priest’s family have an interest, in particular, in ensuring that he continues to hold such an important position and role in the clan. The scenario details both the site of the ‘possible’ body dump and gives suggestions as to possible consequences of what the Player Characters discover and what they do with the information.
The scenario does require some development upon the part of the Game Master. She will need to create and develop some NPCs, in particular, the Eurmali accompanying the Player Characters and the members of the tribal ring and the priest’s family. Stats may also be required depending upon the actions of the Player Characters. This is not a criticism of Eurmal’s Truth, since there is only so much that can be packed into even a detailed, two-page scenario outline.
Eurmal’s Truth is short, simple, and to the point. It is easy to prepare and run, and it is easy to slot into an ongoing campaign, especially if the Player Characters are travelling somewhere or the Game Master wants a short interlude or side Quest or there are fewer players in the group than normal.
More scenarios in this format this would be a welcome addition to the the Jonstown Compendium.
Also, the alternative title, ‘The Bear Facts’ would have worked.
Is it worth your time?Yes—Eurmal’s Truth is a short, sharp, sweet plot that the Game Master can quickly prepare and drop into her campaign.No—Eurmal’s Truth involves those irritating buggers, the Eurmali, and anyway the Game Master’s campaign is not set in Sartar.Maybe—Eurmal’s Truth does involve the Eurmali and not everyone is comfortable with the tricksters in play, but here the scenario plays up to their nature as disruptive force for good.

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: The FloodPublisher: Chaosium, Inc.
Author: Cesar Silva

Setting: Jazz Age New EnglandProduct: Scenario
What You Get: Nineteen page, 2.06 MB Full Colour PDF
Elevator Pitch: If you go down in the woods today, you’re sure of a big surprise—Deep Ones!Plot Hook: A missing persons case sends the Investigators deep into the weird woods of New England
Plot Support: Staging advice and two Mythos creatures.Production Values: Excellent
Pros# The Sinister Secret of (the) Saltmarsh# Simple, but not straightforward plot# Easy to adapt to other time periods# Mysophobia# Ichthyophobia# Teraphobia
Cons# Needs a very strong edit# ‘Glens’ of New England?# NPC descriptions, but no stats# Simple, but not straightforward plot# Instructions to draw the map, instead of an actual map
Conclusion# Very serviceable plot undone by a lack of maps and NPC stats# Unsettling small town horror that could be better and easier to run

The City is one of contrasts and contradictions. Of gleaming skyscrapers from where the Trusts control every aspect of commerce and politics and governance, whilst the majority of the populace reside in crumbling, concrete tower blocks or alleyway-ridden rookeries. Of buildings without end and no city limits, yet few rarely travel beyond the confines of their community. Of the advanced technology that only the rich and powerful have access to versus the rickety, often make do devices that the masses have—the rusting machinery they have to work with in the factories, mills, workshops, and mines, the guttering, reeking fish oil lamps and flickering electrics with which they light their homes, and the dim televisions and squawking talkboxes they have for entertainment. Of the cleanliness of the rich and the churches versus the squalor of the slums and the streets. Of the humanity to be found there versus the inhumanity of the petty bylaws enforced by the authorities and the nightmares that stalk the streets—killers such as the Ticktock Man and the Iron Lady and the Shifted, strange entities barely whispered of in the darkest of corners of pubs and speakeasies. The City is divided by massive series of concentric canals, crossed mainly by skiffs due to the lack bridges, the iron for them going into the railway which clanks and groans its way around The City, policed heavily and often heavy-handedly by the Transit Militia. The City is a Dickensian nightmare filtered through the films Brazil, Delicatessen, and Dark City, where life is mean and paltry, but there are those that will stand up to the narrow-mindedness of the authorities, of the avariciousness of the Trusts, the viciousness of the gangs, and worse. They do this not for themselves, but for their corner and their community, even if it means causing trouble. This is the setting for A|State.
A|State was originally published by Contested Ground Studios in 2004 as a traditional roleplaying game that presented a fascinating setting, but unfortunately no real idea what it was about or what the players and their characters were supposed to do. A|State, Second Edition returns to the setting of The City and provides a reason to explore its dystopian dimensions as well as shifting to a more modern set of roleplaying mechanics that emphasise both player agency and its consequences. A|State, Second Edition is published by Handiwork Games and it uses the Forged in the Dark rules, first seen in Blades in the Dark, published by Evil Hat Productions in 2017. In A|State, Second Edition, the Player Characters are Troublemakers, who have banded together to form an Alliance, which seeks to protect and improve the Corner and its surrounding community that they call home. In the process, they will travel across The City, further than any other members of their community, discover secrets, and more importantly, in returning to the Corner, bring usually unwanted attention upon themselves and their community, and accrue trouble. The Corner itself is not predefined, but created collectively during the roleplaying game’s set-up process and through play, the players and their Troublemakers can expand and upgrade its features in ways which grant them further benefits whilst also having to protect the newly added Claims.
A Troublemaker in A|State has three Attributes and twelve Actions. The three Attributes are Insight, Prowess, and Resolve. These represent a Troublemaker’s ability to resist bad consequences. Each Attribute has four Action Ratings associated with it. Examine, Find, Scrounge, and Tinker for Insight; Fight, Sneak, Touch, and Wreck for Prowess; and Care, Command, Charm, and Persuade for Resolve. Action Ratings vary in value between zero and four. The value for Attributes are equal to the number of associated Action Ratings which have points in them and not the number points in the Action Ratings. A Troublemaker has an Origin, an Upbringing, and Faith; one or more special abilities; an Escape, such as Faith or Gambling, as means of relieving stress, but which can also become a Vice; and potentially one or more Trusted Allies. This is with another member of the Alliance, another Troublemaker, and must be agreed between the two Troublemakers and their players.
Troublemaker creation begins by selecting a Playbook. A|State gives seven Playbooks. These are the Stalwart, who uses politics to improve the Corner; the Dinginsmith, who uses small computing devices called dingins and other advanced technology not readily accessible to the general populace of The City; the Ghostfighter, a warrior renowned for his stealth and skill with the preternaturally sharp ceramic knives they wield and the scars from wounds closed by adhesive; the Lostfinder, revered for his ability to find things; the Mapmaker, turned to whenever an intermediary or dealmaker is required; the Sneakthief, who avoids confrontation and steals from the wealthy and the cruel; and the Stringer, citizen-journalist who feeds the constantly turning over media machine of The City. Each Playbook provides base values into two Action Ratings and a player assigns another four points. Each Playbook suggests where to assign them, but the player is free to decide. The player also selects a Special Ability, notes his Troublemaker’s special equipment, and rolls for Backing Faction, a faction in The city which supports the Troublemaker. The player though does not have to choose the standard version of each Playback, for all seven provide three alternatives and what to choose to create them. Thus, the alternatives to the Dinginsmith are the Wiretapper, who accesses The City’s communications for information; the Fulgurator, a member of the Fulgurator’s Guild and works with The City’s railway network; and the Scientist, who examines the nature of The City. Once a player has chosen his Troublemaker’s playback, he also adds Troublemaker’s Origin, Upbringing, Faith, and Escape.
Hope Botchlethorpe – Lostfinder
INSIGHT 2Examine 0 Find 2 Scrounge 2 Tinker 0
PROWESS 0Fight 0 Sneak 0 Touch 0 Wreck 0
RESOLVE 3Care 1 Command 0 Charm 1 Persuade 1
Special AbilityAntiquarian
Special ItemInvestigation Kit
Origin: Lower middle class, medium-sized businessUpbringing: ApprenticedFaith: Third Church of God the ArchitectEscape: GamblingBacking Faction: Professor Pohler’s Historical Institute
Once the players have their Troublemakers and their Alliance, they work together to create the Corner their Troublemakers are protecting. This is done by choosing a spot on the map of The City and then the Crossroads, the central meeting point for the Alliance, such as the unstable waiting room of an abandoned railway station or the dusty attic of a tax records storage depot. This is placed on one of the really quite lovely local maps which will become unique to the Troublemakers’ Alliance as the game progresses. The players select a Reputation, such as Ambitious or Rough, assigns points to its own associated Action Ratings, sets its Morale and Resources values, and adds two Qualities like Bombed Out or Towering. Factions, which can be a Trust, Government, Enforcement, Media, or Criminal, and range in Tier 0 or known on the block to Tier VI or guides the whole city, and take an interest in the Corner to provide potential allies and enemies. This includes the initial Claims that the Troublemakers will want to add to their Corner. Each faction will have its Faction Record which tracks it actions and influence on the Corner as well as NPCs that the Troublemakers can have relationships with. In general, Troublemaker creation is easier than Corner creation, but together their set-up process will take a session for their own.
Mechanically, A|State is quite simple. To have a Troublemaker undertake an action, his player decides on the action’s goal and the Game Master sets its associated risk and reward. The player will roll a number of six-sided dice equal to an Action Rating. Extra dice can be added and rolled if a fellow Troublemaker helps in the action, for suffering either grief or pushing the Troublemaker, and from Special Items and Special Abilities. Pushing the Troublemaker will cause him to suffer stress, whilst grief is narrative consequence, such as collateral damage, losing an item, pushing a Trouble Clock onwards, and so on. Once the dice have been rolled, the player selects the highest value rolled. If this is a six, the action is successful; if four or five, it is successful, but either imperfect or with an added complication; and on a one to three, it fails. Essentially, the equivalent of ‘Yes’, ‘Yes, but…’, and ‘No’. Further, the players collaborate with the Game Master to determine what happens and before the roll is made have the opportunity to manipulate any reward or risk, whether due to a Special Ability, pushing the Troublemaker, or pushing the reward at a cost of a bigger risk. This has its own Risk/Reward Grid for use in play.
Primary Rewards take the form of ticks on the Progress Clock towards the Alliance’s objectives, increasing the quality of an item or tool, or altering the scale of the action. Risks typically add ticks to the Threat Clock, but other Consequences can add complications to a situation, lose opportunities, and even harm the Troublemaker. The latter is how combat works in A|State and when a Troublemaker does suffer harm, he can either block it via any armour worn (after which the armour must be repaired) or he can resist using the associated Attribute. This inflicts Stress and if the Troublemaker takes too much Stress, he can suffer a Stress Condition such as Obsessed, Reckless, or Vicious. The Stress will need to be relieved either via the Troublemaker’s Escape or his letting his guard down, but this can leave him open to further trouble. It should be noted that the use of firearms in any situation always increases the nature of the risk associated with an action.
What is not made immediately clear is that mechanically, A|State is a player-facing roleplaying game. This means that throughout, the Game Master does not roll any dice. Thus, the player will not just be rolling to see if his Troublemaker succeeds or fails, but in some cases, whether an NPC succeeds or fails.
A|State is played in three phases—downtime play, the mission phase, and mission fallout. Missions are intentionally broad, such as Broker, Confront, Deliver, or Evade, and the players will work together to determine the nature of the mission and what it requires, but only to an extent. The aim here is to get to the point where the mission becomes risky and what Troublemakers now do matters. The downtime play is a period when the Alliance can recover from a previous mission, make some coin, engage in a community project, build trust, and so on. It also allows time for personal projects or private jobs. A Troublemaker can also pursue Hidden Agendas which can come into play through the factions whose backing they enjoy, but can suffer consequences if they do not purse an assigned Hidden Agenda.
There is really very good advice for the players and the Game Master, but the advice for the players does feel slightly hidden in the rulebook. For the Game Master, the advice on running A|State is extensive, beginning with a look at using the clock to track progress in a number of different aspects of The City and the campaign. These include Goal Clocks, Threat Clocks, and more. In the long term, the Danger Clock will track new problems and difficulties that the Troublemakers will face as it generates new Troubles for them. These feed into their own Trouble Engine, which tracks how a Trouble, which might be a change in the mood at the Corner or the disappearance of a contact or friend, changes and escalates, and how the factions might react in the meantime, if the Troublemakers do nothing.
The last third of A|State is devoted to describing The City itself. It never eases up on its extremes and its brutality, such as the Deathdealers patrolling after cold snaps for the dead who have died from hypothermia or been killed because they want or have access to the cold or the mikefighters which flit and dogfight in the skies above the city, piloted by children because of their size. Short sections break down aspects of The City such as weather, travel, law and order, technology and industry, and more, all with advice on how to use each of the sections. There is a wealth of detail here for the Game Master to bring colour and flavour into her portrayal of The City and that is before a series of two-page spreads detail the numerous neighbourhoods to found across The City. These include notable powers in each neighbourhood, what everyone knows, transport links, locations, what might be known on a Corner there, and ‘Faces in the Crowd’, NPCs that the Game Master can quickly bring into play. For example, Mire End is a large crime-ridden neighbourhood actively denied help by the nearby Three Canals Authority, slowly mouldering into the ground, and known for its for dampness due to its ruined drainage system and the fact that most of the population has turned to the Hohler Gang for help and work. Its main point of access is via the ancient, creaking chain ferry from Folly Hills district and the Mire End Terminus is one of the major buildings in the district. Even the mission from the Third Church is run down and poorly funded by the bishopric, whilst some of the Hohler affiliated gangs get by like everyone else, some want to buck the situation and will do anything to do that. The ‘Faces in the Crowd’ are Dandy, Fritillery, and Hoop, a trio of urchins that the Troublemakers might run into, often found snooping about and exploring the neighbourhood, much to the despair of Father Herbert at their Third Church Children’s Home. As a consequence, they probably know more than most about what is going on in Mire End.
In addition to detailing the various neighbourhoods of The City, A|State describes its various factions, from Trusts such as Arclight which sells military technology and hires out security forces and mercenaries and governing powers like the Lay Reserves Martial of the Third Church and The Transit Militia to unions such as The Venerable Society of Lock Keepers and criminal gangs such as The Third Syndicate whose assemblies can be found almost anywhere controlling whole districts through violence. Some of the mysteries of The City are detailed too, starting with The Shift, an event which changed the city, yet no one can agree on what it was, but many are sure that enabled The Shifted, monsters liked Sixfingers and Rotting Billies, to creep into The City. Other mysteries include The Bombardment, Lost Palaces, and even The City’s Edge, but again no-one can agree on what these are and were… Instead, A|State hints at options and leaves it to the Game Master to decide, or perhaps even leave it up to the players and their Troublemakers to discover and determine—if they can or even want to… There are no stats for The Shifted as there might be in another roleplaying game, but mechanically the threat they represent is going to be more narratively based and drawn from the Risks incurred on failed dice rolls.

Physically, A|State is very well presented. The artwork throughout is excellent, always focusing on the neighbourhoods of The City and their inhabitants rather than The City as a whole. The maps for developing and marking up a Corner have an engaging architectural feel to them, whilst the adverts, such as the one for a shoe store specialising in the footwear of the recently deceased, add verisimilitude and help pull the Game Master into the world of The City. That said, it does feel as it could have been better organised for ease of use and the index is not quite as useful as it could be. What is missing is examples. There are examples throughout the roleplaying game, but it never feels as if there are enough and it never feels as if they provide enough detail to help the Game Master understand how A|State works with any ease.
The original A|State was a straightforward and easy to understand roleplaying game. A|State, Second Edition is not and from the start it is going to demand a lot from both the Game Master and her players in creating the Corner and engaging in Missions, whilst the Game Master has lot of tools and details and especially clocks to keep track of as play progresses. Forged in the Dark veterans will have no issue with either, but anyone new to it, will need a gentle ramp up into play. That said, the advice for both the Game Master and the players is very good and will definitely help the Game Master understand the game and how it is played. It is still not going to be easy though.
In shifting to the mechanics of Forged in the Dark, what A|State, Second Edition does is provide the tools and means for the players and their Troublemakers to not just explore the baroque, dystopian Dickensian contrasts of The City, but make a part it of their own and something to care about and invest in. It puts giving the players and their Troublemakers a stake in their part of The City and its future first and foremost, and provides the tools for the Game Master to help the players tell their Troublemakers’ stories and that of their Corner. A|State, Second Edition is a demanding return for a setting that showed promise, but with that return and the commitment it asks for, A|State, Second Edition brings The City to life like never before.

The majority of the roleplaying that we do involves heroes in fantastic and fantasy situations. A mighty warrior holding off a horde of orcs. A powerful wizard opening a portal to another world. A skilled star pilot threading his way through an asteroid field in pursuit of pirates. A wily thief sneaking into the headquarters of a bank to break into the vault. A priest forcing back the undead through the power of faith alone. A superspy confronting a supervillain in his volcano secret base. A telepath with two heads exploring the ruins of the long past in a post-apocalyptic future. All of these situations are familiar from our roleplaying. What though if we could roleplay heroes in situations that are fantastic, but grounded in reality rather than fantasy? What if we could roleplay heroes who help others and come to the rescue of those caught in situations beyond their ability to cope with, let alone survive? Fight fires before they spread? Search mountainsides for climbers and skiers caught in avalanches? Dig into earthquake zones to find the trapped? Range across flood zones to get to those still caught? Research outbreaks of deadly diseases before they can infect more? As we have seen on the screen—big and small—all of these situations can form the basis for exciting and dramatic storytelling where the protagonists rush into danger to save others, but curiously, not in roleplay.
First Responders presents the means to roleplay exciting situations in the contemporary world where highly skilled men and women deal with emergencies and disasters—fires, floods, volcanos, earthquakes, pandemics, and even nuclear disasters. The only other roleplaying game to deal with this is Deep7’s Disaster! 1PG, but that put the Player Characters at the heart of the disaster and has them survive it rather than deal with its consequences. In First Responders, the Player Characters are ordinary men and women, but they are trained as firefighters, medics, search and rescue specialists, scientists, HAZMAT specialists, counsellors, Incident Commanders, and more. They are literally the first to respond, and in the default setting, do so as members of Sovereign Agency of Veteran Emergency Responders—or SAVER—on an international scale. The players will take on multiple characters, troupe style, drawing from a rooster of Player Characters, each with different skills, abilities, and areas of expertise, in order to ensure that the right personnel are assigned to deal a particular situation. Alternatively, First Responders can be played as a series of one-shots, with different teams still tackling different situations, but the roleplaying experience providing a genre cleanser, a change from the more fantastical fare that a roleplaying group might roleplay. First Responders is published by Monte Cook Games and is a genre supplement for the Cypher System.
As a supplement, First Responders fairly zips along, racing through its rules and advice in smart order before providing multiple scenarios that deal with a range of threats and disasters in a good third of the book. It begins though, by explaining what the Player Characters do as first responders and giving advice to the Game Master on how to run a First Responders game effectively. This means eschewing realism, or rather eschewing too much realism, whether particular techniques or terminology used by first responders, or even scientific detail—note, not science itself, but overly encumbering play with it. Everyone, players and Game Master, need to set the mood by accepting that disaster scenarios invariably mean they the first responders are against the clock and they need to act urgently, and the first responder Player Characters work together to co-ordinate a plan and then execute it. Also discussed are the types of actions that the first responders can take, and whilst they are often very physical in nature and not combat actions per se, they still involve the first responders battling against a danger, such as a fire or rising waters. That danger is actually defined in the same way as creatures and monsters are in the Cypher System, but instead of Health the danger has Threat. Thus, a first responder can ‘Suppress’ a fire or flood, to reduce its Threat; he can ‘Quell’ it to temporarily subdue or stop its progress; Vent’ a flood or fire or alter the flow of larva, to redirect the danger and effectively hinder it; and ‘Contain’ a danger to stop its spread. Other actions include the more obvious ‘Detect’, ‘Rescue’, and ‘Heal’. What have here though, is an adjustment in terminology for many of the actions that the first responders will be undertaking, from the more standard actions that Player Characters would undertake in a more fantastical Cypher System setting. There is advice here also, on consent, on the dangerous and often deadly nature of the First Responders setting, and the use or not of gallows humour. It is all good, solid advice.
In terms of what a player roleplays, First Responders explains how to use the “I am an adjective noun who verbs” phrase to create Player Characters, noting how the more fantastical language of the many options in terms of Descriptors and Foci can be applied to a real-world setting like that of First Responders. For example, “I am Brash Warrior who Stands Like a Bastion” can be a firefighter or a rescuer and “I am a Careful Explorer who Runs Away”, a volcanologist or a nuclear scientist. This does take some adjustment and some interpretation upon the part of player and Game Master, but the results are no less exciting or heroic. Useful skills are listed, as are numerous roles, whilst the Responder is a character Type—like Warrior or Adept from the Cypher System core rules—specific to First Responders. The new Foci, such as ‘Battles the Blaze’, ‘Controls the Scene’, and ‘Shuts Death’s Door’ are also specific to First Responders, but could find their way into settings. The focus of the equipment section is mostly on protective gear, much of which will actually be part of the first responders’ role, so there is very much not the need to go looking for bigger and better equipment as play. There are also few weapons in the traditional sense, just the knife and fireman’s axe, whilst the backpack pump, the charged fire hose, and so on, are treated as weapons because they are used to fight or battle the elements of the emergencies.
For the Game Master there is excellent advice on the nature of a First Responders campaign and how to run one. Most notably, the Game Master is expected to proactive in telling her players what their first responders know, since after all, they are trained in their respective fields. Introduced here is the ‘Challenge System’ as a means to present the emergencies and disasters as obstacles to be overcome in both dealing with them and the dangers that they place NPCs and the first responders in. This will often require the putting together of an Amalgamated Goal, representing a number of objectives that need to be overcome in order achieve it. Some of the dangers can be unexpected and these can be handled through Game Master Intrusions, the means of presenting greater challenges to the Player Characters in the Cypher System. Game Master Intrusions are also used to drive the escalating nature of the emergencies, known as ‘Disaster Mode’. In standard play of the Cypher System, and initially in First Responders, a mandatory Game Master Intrusion occurs when a player rolls a one on the die. In ‘Disaster Mode’, when this occurs, not only does the Game Master make an Intrusion, the range under which a mandatory Game Master Intrusion can occur also increases. Initially at one, the first time it occurs, it rises to two, the second time, it rises to three, and so on. A list of Game Master Intrusions is given here, but there are also plenty throughout the book in its sidebars. First Responders also encourages something that runs counter to the age-old advice of ‘Never split the party’, but here it is necessary. The first responders will be facing multiple, often separate difficulties, which need to be dealt with simultaneously rather than sequentially. Lastly, it suggests bringing them back together to deal with mundane issues, such cleaning equipment or aiding a friend or helping an organisation. In this, it neatly models the epilogue of an episode of a television series, where the characters have a chance to relax and recover from the dangers that they faced in the field. It also points to the one of the origins for the supplement.
In terms of disasters, First Responders explores and categorises six—fires, floods, earthquakes, nuclear disasters, pandemics, and volcanos. In each it explores the danger they represent and gives samples of each model different danger levels. Thus, for fire, there is a Small Fire, a Standard Fire, a Demanding Fire, a Difficult Fire, a Challenging Fire, and an Intimidating Fire. Each is treated like a monster with a Task Difficulty which the player must roll against to affect it when it is his first responder’s turn to act and again when trying to avoid its effects, whether that is actual damage from the fire or being engulfed by flood waters. As mentioned before, a disaster like this will have Threat which must be reduced rather than Health, though not always, as for example, flood dangers have no threat at all. First Responders does this for six of its disaster types. It provides enough detail for the Game Master to use SAVER as an organisation for her campaign, and then suggestions to use each of the six disaster types in other genres. These are thumbnail descriptions only, designed to give the Game Master ideas. As well as giving sample NPCs, First Responders suggests new Cyphers that can be used in the genre in addition to those found in the Cypher System core book. These are all subtle Cyphers, like ‘Big Breath’ or ‘Dumb Luck’, all entirely in keeping with the non-fantastical nature of the genre.
Penultimately, the Scenarios chapter provides situations which both SAVER and the first responders can come to the rescue. These all have a challenge rating of four and vary from a Collapsed Motel for earthquakes to a crashed transport truck for nuclear disasters. All are nicely detailed, with details of their Amalgamated Goals, encounters, challenges, and Game Master Intrusions, and more. Any one of them could provide a solid single session’s worth of play and if used as part of a SAVER campaign provide episodes for that. Lastly, First Responders does include a glossary of emergency responders’ terms and some sample first responders reader for play.
Physically, First Responders is very presented. Both artwork and cartography are excellent and the writing is engaging, helping to bring exciting if mundane action to life and present as something that is playable.
Even if its mechanics would not work in other roleplaying games, the advice and the situations described is so good that it actually makes First Responders the key sourcebook to opening up the no less heroic world of emergency response teams to roleplaying in general. It also works as a sourcebook for running a television style series-style campaign based around hospitals and firefighting teams, perhaps with a little bit of Soap Opera thrown in! In whatever way it is used, First Responders provides everything the Game Master needs to run an exciting and challengingly heroic campaign in the world that they already know and see in the daily news broadcasts. With First Responders, you can be heroes and it does not have to involve magic.

The Phoenix Initiative is a scenario for Traveller. It takes place on the world of Wochiers in the Regina Subsector of the Spinward Marches Sector and involves the classic set-up of research facility not having been heard from in a while and the Player Characters being hired to investigate. It ideally requires the Player Characters to basic training in both weapons and vacc suit, and if they do possess a starship, that it should be capable of Jump-2. The scenario includes a set of eight pre-generated Player Characters, four of which between them have the skills necessary to operate a starship as well as one of them owning a an A2 Type Far Trader. Thus, if the Player Characters own their own starship, the minimum number of Player Characters is four, but there is greater flexibility if they do not. That said, the scenario does allow the Player Characters’ employer to loan them a starship if they do not have one and to prevent piracy only a few locations are programmed into the ship’s computer to use the Jump drive. Both the mechanics and the plot of The Phoenix Initiative are straightforward enough that running it using Traveller, Classic Traveller, or Cepheus Deluxe Enhanced Edition are all easy enough to do.

The Phoenix Initiative is written by Carl Terence Vandal and begins with the Player Characters on Regina in the Spinward Marches Sector and short of funds having paid their monthly mortgage payment on their starship. In need of work, they hear of an employment opportunity with Phoenix Enterprises LIC. The company is concerned about the loss of contact from one of its research facilities and will pay handsomely for the situation to be investigated and for the safe return of the staff at the facility. The facility is on Wochiers, a nearby world declared a TAS Amber Zone due to its inhospitable environment which requires enhanced vacc suits. Wochiers is primarily known as a source of crystals, the best of which are used to enhance the performance of both starship computers and starship lasers. As the Player Characters will discover, the Law Level on Wochiers is very high and access limited, done primarily via shuttlecraft rather than starships. So, the Player characters will have to dock at the high port, and then travel down to the surface, the journey involving an engaging recognition of local customs at either end.

The journey from Wochiers Landing to the research facility is relatively straightforward—a week’s drive across the planetary surface in specially adapted ATVs. The main problem on the journey will be the environment rather than planetary species, which are for the most part passive creatures unless provoked or a lone traveller is caught outside in his vacc suit. This all sets up a mystery for the Player Characters when they do reach the research facility. There are signs of a struggle almost everywhere, a mixture of gunfire and animal attacks. The question is, what happened here and are there any survivors? Was the gunfire the result of the animal attacks or is something else going on? The Player Characters will find out, but will also find themselves being stalked by something else in the facility… This may lead to a frantic firefight…

The research facility is described in some details with various skill checks thrown in to determine what happens and what happened from room to room. The floorplans of the facility and its illustrations are decent, and the scenario is supported by a set of good Library Data entries.

The author of The Phoenix Initiative commits one cardinal sin. He does explain to the Game Master what is going on in the scenario, but leaves it right until the very end for the NPCs to do it. Which leads to a very frustrating read for the Game Master as she wonders exactly what is going on and in effect, has to find out when the Player Characters do.

Physically, The Phoenix Initiative is disappointing. It needs a good edit, it is often unnecessarily repetitive, and the map of the subsector is bitmapped and there are no names or locations on the world map. So, the Player Characters will have no idea where their journey on planet starts or ends.

The set-up in The Phoenix Initiative is incredibly familiar. A distant research base. All contact lost with the research base. Itinerant trouble-shooters hired to solve the problem. The base is home to an alien (or not) stalking and slashing the survivors after an accident. Essentially this is Death Station from Traveller Double Adventure 3: Death Station/The Argon Gambit writ large. Well, not entirely. The primary plot for it is, but the secondary plot—which does not really become apparent until the epilogue—is more interesting as it involves Duke Norris and his family, and it sets up the sequels to this scenario, Manticore and The Mariposa Affair.

The Phoenix Initiative is not a bad scenario, but it is not a good one either. It requires development in terms of presentation overall and presentation of its information. Certainly, with the completion of the latter, it might avoid—or at least ameliorate—the Game Master reading through the scenario and getting the feeling of déjà vu. However, The Phoenix Initiative does show potential in terms of presentation and detail and once past the all too familiar plot, there is promise of something more interesting to come.

The Bone Alchemist is an adventure for Dungeons & Dragons, Fifth Edition. Written and published by Gaz Bowerbank—one half of the podcast, What Would The Smart Party Do?—it is designed for use with First Level Player Characters and takes place in a pseudo-Arabian Nights setting. The author suggests two possible initial locations. One is the city of Calimport in the Forgotten Realms Campaign Setting, the other is the great port city of Pylas Maradal in Valenar in the Eberron setting, but if not, the scenario is easily adapted to a Swords & Sorcery-style setting of the Dungeon Master’s choice. Wherever the scenario is set, a king and royal family rules the city inviolate, kept both safe and isolated from city life and any of its unpleasantness by a mixture of the royal guard and secret police. This includes the young nine-year-old prince, Masoud, whose pet pseudodragon has died, and with him unprepared accept the situation, merely thinking the beast asleep, Zoya, his mother has sought a solution to the problem and is prepared to spend deeply from the king’s purse. Unfortunately, their isolated lives have left both Zoya and Masoud gullible and thus ready to accept the ‘help’ and ‘advice’ of any of the city’s charlatans, tricksters, and opportunists. As The Bone Alchemist begins, both prince and his mother are missing, and the Royal Guard is desperate to find them. Ideally before someone tells the king…

The Bone Alchemist begins with the Player Characters in the city, in a tavern, come to meet a contact who may be able to help them find work. The scenario provides adventure hooks by Player Character Background—Acolyte, Charlatan, Noble, Sage, Soldier, and so on—to suggest why they might be there and why they might want to make contact with Equitable Ehsan, one of the city’s many wheelers and dealers. They know to meet him in a cantina, Olidammara’s Rest, which is where they find themselves in the scenario’s opening scene. In true fantasy fashion, this develops into a brawl and as a consequence, the Player Characters are either pushed or pulled into the scenario’s plot. This takes them into the bazaar where they haggle with a merchant or two, one of whom is perhaps too helpful, but will provide the Player Characters with a device which will enable them to track Prince Masoud, his mother Zoya, and his bodyguard, Atul. The device first points down to the beach where the Player Characters can gain further help, but not before delving into the first of the scenario’s two dungeons, but a dungeon with a difference! This is inside the body of a giant kraken, which a local gang is plundering for its precious alchemical components. Descending into its foul and foetid depths is optional, but doing so is to the Player Characters’ advantage. It is a ripe and bilious experience, thankfully short, but engagingly described and utterly in contrast with the rest of the scenario.

The other locations for the scenario include atop a dragon turtle, which is a great scene for a fight, and lastly, the dungeon of the true villain at the heart of the scenario, the Bone Alchemist herself. This is more like a traditional dungeon, but enlivened by some excellent descriptions and an air of decay and disregard that lingers in each and every one of its caves. Ultimately, the scenario will end with some home-truths for prince Masoud, who may have to grow up just a little, and the Player Characters either heroes or in further trouble. Either way, the scenario is supported with several hooks for the Dungeon Master to develop sequels of her own.

There is no denying that The Bone Alchemist is full of fun and inventive scenes, whether it is the brawl between the Talons, the local gang, and the palace guard in a tavern with the Player Characters caught in the middle, having to delve into the insides of the corpse of a kraken, fighting atop a dragon turtle, or fighting an undead giant goat who has already bleated out a warning! There are also pleasing descriptions for each of the scenario’s NPCs, accompanied by some flavour text that imparts what they might and how they might say it, instantly granting the Dungeon Master a feel for the NPC. Further, the author gives every scene a table of random events that enhance the action in that scene. For example, in the opening scene in Olidammara’s Rest, there is a table of rumours to glean and a table of events to throw into the combat, such as “The barkeep smashes someone over the head with a bottle from behind. One Talon or guard drops to 0 hp.” and “Equitable Ehsan appears on hands and knees, trying to crawl his way out of the carnage.” Of course, these are clichés, swiped from any one of a number of films, but they help set the tone of the brawl and thus the scene, as well as adding an element of humour, almost winking knowingly at the players in their familiarity. The combat events and random events tables are in general inventive and more tailored to their particular locations.

Yet in places the writing could be stronger, for example, the location descriptions vary in quality and ease of use. For example, the opening scene in the cantina, Olidammara’s Rest is very much underwritten in comparison, for example, to the description given of the bazaar, which is rich in detail and flavour. The Dungeon Master may want to prepare some better descriptions—the equivalent of her own ‘purple prose’—to help set the scene for her players and their characters. To be clear, not every description suffers from this, the majority of them being expressive and great scene-setting. Similarly, the villainess of the scenario, the Bone Alchemist, is fiercely underwritten and really lacks motivation.

Physically, The Bone Alchemist is clean and tidy, and well laid out. The maps are decent and the artwork also good. Throughout there are notes for the Dungeon Master which add detail and flavour. Stats are provided only for two NPCs and monsters in the scenario. The Dungeon Master will need to provide the rest, but links in the PDF connect to DnDByeond.com and the right stats in each case.

The Bone Alchemist is straightforward and easy to prepare and run or even adapt to the retroclone of your choice. Similarly, it is easy to add to any Arabian Nights or Swords & Sorcery-style setting or campaign. Above all, The Bone Alchemist provides some entertaining set scenes backed up with evocative detail and description that will help the Dungeon Master set these scenes and then bring both their action and their NPCs to life.

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.

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The first thing you notice about Dungeons & Dragons Adventurer Issue 3 is not the free gift that comes with the issue, but the price. It is almost double that of Dungeons & Dragons Adventurer Issue 2 and almost four times that of Dungeons & Dragons Adventurer Issue 1. This though is not unexpected. Published by Hachette Partworks Ltd., Dungeons & Dragons Adventurer is after all, a partwork. A partwork is an ongoing series of magazine-like issues that together form a completed set of a collection or a reference work. In the case of Dungeons & Dragons Adventurer, it is designed to introduce the reader to the world and the play of Dungeons & Dragons, specifically, Dungeons & Dragons, Fifth Edition. With the tag line, ‘Learn – Play – Explore’, over the course of multiple issues the reader will learn about Dungeons & Dragons, how it is played and what options it offers, the worlds it opens up to explore, and support this with content that can be brought to the table and played. Over the course of eighty issues, it will create a complete reference work for Dungeons & Dragons, Fifth Edition, provide scenarios and adventures that can be played, and support it with dice, miniatures, and more. The first issue of any partwork will always be inexpensive, the second issue more expensive, and the third and subsequent issues full price. The first issue, if not the second, is a loss leader, designed to pull the buyer in, and hopefully engage him enough to purchase further issues or even subscribe. So it is with Dungeons & Dragons Adventurer.

Dungeons & Dragons Adventurer Issue 3 does, of course, include a free gift. This is a set of character miniatures, essentially done in full colour on acrylic sheets. The four correspond to the four Player Characters given characters in Dungeons & Dragons Adventurer Issue 1. Thus they include a Human Rogue, a Hill Dwarf Cleric, a Wood Elf Fighter, and a Halfling Wizard. The tallest stands about twenty millimetres tall and each comes with a clear plastic base. They are easy to assemble and perfectly serviceable. It is a pity that there are no tokens included to represent any of the monsters that have appeared in each of the three issues of the partwork to date.
Issues of Dungeons & Dragons Adventurer contain sections dedicated to the seven gameplay elements—‘Sage Advice’, ‘Character Creation’, ‘The Dungeon Master’, ‘Spellcasting’, ‘Combat’, ‘Encounters’, and ‘Lore’—of Dungeons & Dragons, Fifth Edition. Dungeons & Dragons Adventurer Issue 3 focuses on just three of these—‘Sage Advice’, ‘Character Creation’, and ‘Lore’, although it does also include an ‘Encounter’ which is exclusive to the partwork. The ‘Sage Advice’ looks at the one thing and explains how it works. Or rather several things and explains how they work. These are ‘Conditions’ which covers Blinded, Charmed, Frightened, Restrained, and more. These are clearly and simply explained.
‘Character Creation’ covers several background aspects to the process. ‘Introduction to Skills’ provides exactly that along with an explanation of skill proficiencies and it is accompanied by ‘Skills Explained’, which details each of the skills in Dungeons & Dragons, Fifth Edition. Unlike in the previous issues where only the one is detailed; Dungeons & Dragons Adventurer Issue 3 describes two species. One is the ‘Elves’, the other is the ‘Halflings’. For the former, various Mythical Lineages are mentioned for Elves in Faerûn, such as winged Avariel and the shape changing Lythari, along with the Wood Elves, Sun Elves, Moon Elves, and Drow. Also given is some background to the arrival of the Elves in Faerûn and the cause of the Crown wars. Similar treatment is accorded to the latter, though the Halflings will feel much the same as in other fantasy settings.
The Wizard is the subject of much of the rest of the issue. ‘Wizard’ provides description of the Class, what Wizards do, their desire for knowledge, the importance of their spellbooks, the various schools of magic. Its companion piece is ‘Wizard Features’. Or rather, ‘Wizard Feature’, for whilst the Wizard cannot necessarily do quite as much as other Classes, this article looks at just the one, which is its spellcasting ability. Thus its looks at how the Spell Attack Bonus and the Spell Save DC works for the Wizard and then how a Wizard’s spellbook is used, how Arcane Recovery works, and what cantrips are. In comparison to the ‘Rogue Features’ article from Dungeons & Dragons Adventurer Issue 2, which just looked at the Backstab feature, ‘Wizard Features’ does not feel as one-note. For although it is covering the one feature, that is, spellcasting, there are several aspects to its subject, it is talking about more than the one thing. On the downside, it does feel more technical and of course, it is. Learning and casting spells is always going to be more technical than stabbing someone in the back. 
Penultimately, as is now traditional in the partwork, the ‘Lore’ section proves to the shortest section in Dungeons & Dragons Adventurer Issue 3. ‘The Red Wizards’ continues the issue’s theme of wizards by examining the primary wizarding threat of the Forgotten Realms. This includes a description of their towering plateau home of Thay with its volcanically ashen skies, their lich leader, Szass Tam, explains what a lich is, and notes how Thay interacts with other nations, and in particular, how Red Wizards explore the surrounding lands in search of power and influence. It is a solid overview that nicely prepares the Dungeon Master for the last part of the issue.
As has also become traditional, the last part of Dungeons & Dragons Adventurer Issue 3 includes an encounter that at six pages long, is the longest section in the issue. In keeping with the issue’s wizardly theme, the encounter, ‘Adventure 1 – 3 The Tower of Iron Will’, not only involves a wizard, it involves one of the infamous Red Wizards of Thay! As with other encounters in the partwork, it is set in and around the village of Phandalin, in the Forgotten Realms, more recently detailed in the campaign, Phendelver and Below: The Shattered Obelisk. The Player Characters are hired by Sister Garaele, an Elf Cleric of Tymora, who maintains a temple of luck and good fortune in the village. A few days ago, she sent a scout, Naivara Rothenel, to investigate an observatory in the mountains nearby where she knew a Red Wizard had taken up residence. She wanted to know if the Red Wizard posed a threat to Phandalin and the surrounding region. Unfortunately, Naivara Rothenel has not returned and now Sister Garaele wants to find out what has happened to her. The encounter proper begins outside the observatory. The building consists of just eight locations, all quite detailed and all quite eerie, dark, and gloomy as it appears to have been abandoned. There is a small mystery here to be solved and a fight or two to be had, and the tone of the encounter is creepy and weird, but quite constrained. Since Dungeons & Dragons Adventurer Issue 3 was published in October prior to Halloween, the ghostly nature of the encounter feels timely and appropriate.
Physically, Dungeons & Dragons Adventurer Issue 3 is very well presented, in full colour using the Dungeons & Dragons, Fifth Edition trade dress and lots and lots of Dungeons & Dragons, Fifth Edition artwork. So, the production values are high, colourful, and the writing is supported with lots of ‘Top Tip’ sections. The result is that Dungeons & Dragons Adventurer Issue 3 is as physically engaging as the first two issues, but the glued together spine and disparate nature of the contents highlight how the partwork is designed to be pulled apart and its pages slotted into the binders that will be available for Dungeons & Dragons Adventurer as a whole.
Now that Dungeons & Dragons Adventurer has reached its standard price, the question of whether it offers good value for money is difficult one to answer. Given their cheaper prices, the first two issues undoubtedly did, especially Dungeons & Dragons Adventurer Issue 1. Of course, price was always going to rise. This is how partworks work. So undoubtedly, Dungeons & Dragons Adventurer Issue 3 does not offer as much good value for money as either Dungeons & Dragons Adventurer Issue 1 or Dungeons & Dragons Adventurer Issue 2. Yet what it does offer is a reasonable set of plastic miniatures, some solid and useful information if you are new to Dungeons & Dragons, and an encounter that can be run in a couple of hours involving five people at a price less than that of a cinema ticket. In addition, it is strongly themed, from looking at Player Character Wizards and enemy Wizards to facing one of them in the issue’s encounter. And if the players have seen the film, Dungeons & Dragons: No Honour Among Thieves, they get the added bonus of facing a Red Wizard of Thay, so they get to be like the heroes they saw on screen. Further, the encounter, ‘Adventure 1 – 3 The Tower of Iron Will’ is exclusive to Dungeons & Dragons Adventurer and it does tie in with the campaign, Phendelver and Below: The Shattered Obelisk. So, there is value there if you look for it, and of course, it has to be remembered that Dungeons & Dragons Adventurer is not aimed at the veteran Dungeons & Dragons player or Dungeon Master, but those new to the roleplaying game and those wanting to learn at a gentler pace. For the veteran Dungeons & Dragons player or Dungeon Master, the extras like the miniatures in this issue and exclusivity of the encounter may well appeal to the collector.
Overall, Dungeons & Dragons Adventurer Issue 3 is better than you might think. It still feels expensive for what get, but for learning the world’s most popular roleplaying game at a stately pace with a gift thrown in, it is worth looking at.
Where Dungeons & Dragons Adventurer Issue 1 was undoubtedly great value for money, Dungeons & Dragons Adventurer Issue 2 does not represent as good value as that first issue did. Which is to be expected. This is how a partwork works. For the prospective Dungeon Master, the encounter, ‘Adventure 1 – 2 The Forgotten Vault’ is a decent enough continuation of ‘Adventure 1 – 1 King of the Hill’ from Dungeons & Dragons Adventurer Issue 1, especially if added to the Phandelver and Below – The Shattered Obelisk campaign. However it is used, the encounter at least offers a couple of hours’ worth of play. In fact, an experienced Dungeon Master could run both encounters in the space of an evening or afternoon. Overall, Dungeons & Dragons Adventurer Issue 2 is a good continuation of Dungeons & Dragons Adventurer Issue 1, but not as good as Dungeons & Dragons Adventurer Issue 1.

Impossible Landscapes is a campaign like no other. It is a campaign of cosmic horror investigative roleplaying rather than Lovecraftian horror investigative roleplaying that forgoes much of what we expect to see in other campaigns for Call of Cthulhu or other Lovecraftian horror investigative roleplaying games. It does involve an uncaring threat to humanity, but this is not a threat whose presence on Earth can be merely forestalled until such times as the Stars are Right. This is a threat that seeps into our world, spreading like a meme before the concept was defined, infecting and altering reality over and over, changing our perceptions, making us vectors, its influence spiralling and twisting until everything we see is connected by it. Mankind cannot stop it. At best we can curtail it—temporarily, for it always finds other vectors. At the very least, we can survive it, but we will not be the same as before, for we will have seen the Yellow Sign. The threat is the Yellow King, whose influence spreads via The King in the Yellow, the story collection by Robert Chambers, from the ur-city that is Carcosa, standing on Lake Hali, out through the surrealist region that lies between Carcosa and our world and into our minds. It is in this surrealist region, this ‘Carcosa Country’ where much of the events of Impossible Landscapes take place.

Impossible Landscapes – A Pursuit of the Terrors of Carcosa and the King in Yellow is a campaign for Delta Green: The Role-Playing Game, published by Arc Dream Publishing. Its origins lie not just in Robert W. Chambers’ King in Yellow Mythos, but also in the writings of two Delta Green stalwarts. First in John Scott Tynes’ own attempts to write a campaign focused on the King in Yellow that would lead to both short stories and his lengthy exploration of ‘The Hastur Mythos’ in Delta Green: Countdown. Second, in Dennis Detwiller’s ‘Night Floors’, a highly regarded scenario for Call of Cthulhu, also found in Delta Green: Countdown in which the Agents investigate the disappearance of a tenant from the Macallistar Building in New York and discover how easy it is to get lost in the building and its new floors at night. It is ‘Night Floors’ that forms the basis of the opening part of Impossible Landscapes, greatly expanded and connected to the rest of the campaign. In terms of scope, Impossible Landscapes is both a small campaign, encompassing just New York and Boston as its key locations, and a huge campaign, taking in as it does, the whole of unreality.

The campaign opens in 1995 with the reiteration of ‘The Night Floors’. Abigail Wright has gone missing from her New York apartment in the Macallister Building. As part of Operation ALICE, the Agents are to assist the FBI in collecting evidence from her apartment connected to her disappearance and determine whether or not there is something unnatural behind it. Almost from the start, the collection of evidence will appear strange, a random assortment of oddities glued to the wall in layers, but the building itself is stranger still. The other residents are initially recalcitrant and self-absorbed, but they seem to change at night, as does the building itself. There are new floors to the building, which seems to go up and up, yet never changes from the outside. ‘The Night Floors’ lays the foundations for the campaign, showcasing a duality between night and day, between reality and unreality, between rationality and irrationality, all of which runs throughout the initial parts of the campaign until they all begin to blur into one another. ‘The Night Floors’ is creepy and weird—and whilst the rest of the campaign is also creepy and weird, here it seems constrained and containable. Of course, it is far from that, but it does not seem to sprawl as it does in the rest of the campaign. The scenario also shows the Agents for the first time, that survival is their best and only hope.

‘The Night Floors’ is likely to end without a sense of any real achievement. It is not intended to, but this is not helped by the radical shift as the campaign jumps forward two decades for the second part, ‘A Volume of Secret Faces’. The options here are the Agents to have been deactivated during the intervening twenty years or the Handler to run some cases set during that period. The jump in timeframe has another effect though. It enforces the sense of unreality as connections begin to be spotted between the encounters in the here and now of 2015 and the past investigation of 1995,and that the Agents are being called back to that sense of unreality, and for them, that it truly never went away. In the second part of the campaign, the Agents are asked to investigate Dorchester House, a Boston psychiatric facility dealing in trauma where other Delta Green agents have been committed and disappeared. What the Agents will discover is a similar, but worse duality to that of the Macallister Building that will draw them deeper into the Impossible Landscapes. Here the campaign seems to pulsate with its unreality, expanding out to some utterly bizarre and frightening encounters, before contracting again to focus solely on the corridors and rooms—and beyond—of Dorchester House. Ultimately, the Agents will find themselves trapped in Dorchester House and its duality, but they will be able to escape.

The third part, ‘Like a Map Made of Skin’ turns the Agents’ paranoia back on themselves and sees them hunted, any trust issues they have fully justified now. The Agents will find themselves pushed and pulled, and though there are chances to revisit previous locations, ultimately, they have one choice and one destination, from where they can push on through to the other side—perhaps in pursuit of answers or even Abigail Wright still. This location, the Hotel Broadalbin, is one of many places in the campaign where it possible to transition between times and places in the campaign itself. Many of these are optional, and may or may not be discovered by the Agents. Hotel Broadalbin is not. Transitioning here will enable the Agents to make the final crossing into the Impossible Landscapes in the campaign’s last part, ‘The End of the World of the End’, and onwards towards Carcosa itself. Here the Agents will find war and despair as they search for a way to attend the court of the King in Yellow.

In terms of what the players and their Agents will confront—or is it what will confront the players and their Agents?—it is primarily a sense of the ineffable, of uncertainty, of never knowing quite what is going on and who to trust. That lack of trust has always been present in Delta Green and in Delta Green, but here the author winds this up so that it is not just a case of the Agents barely being able to trust who they work for as operatives of Delta Green, but they can no longer trust reality. Once exposed to the influence of the Yellow King, the surrealism never lets up, the motifs of Carcosa and The King in Yellow seeping in everywhere. Nowhere does this show more than in the clues the Agents will discover and the cascade of connections between persons and places in the campaign that never once seems to let up. There is moment at the beginning of Masks of Nyarlathotep in which having confronted the killers of Jackson Elias, the Investigators are presented with a thick wodge of clues that connect from New York to the rest of the campaign and in its opening moments threatens to overwhelm the Investigators with too much information. Impossible Landscapes is like that moment, but it never seems to end.

As a consequence, Impossible Landscapes all too often actually feels impossible in terms of an investigation. Although the campaign is quite linear in structure, determining where and what to investigate, what clues to follow up, can be daunting for the players. At other times, the campaign funnels down to one choice, and whilst the Keeper is provided with suggestions and tools with which to push the players and their Agents forward, this does undermine the agency of the players. To an extent this fits the campaign and its intentional uncertainty, but at the same time, it feels as if the author is writing the Agents and their players into a labyrinth, thus getting them lost, and then having to force them out again via a deus ex machina and into the next…

The campaign is also deadly. There are scenes and moments where it is physically deadly, but these seem almost inconsequential to the way in which the various encounters, discoveries, and more importantly, the realisations about the connectivity of one clue or fact or encounter to another constantly threatens to scour away at each Agent’s Sanity. Actual Sanity losses are individually low throughout the bulk of the campaign, but they are ever present and they mount up over the course of the Agents’ investigation. In addition, the influence of the Yellow King and each Agent’s susceptibility is measured by a separate track—Corruption. As this increases, invariably through actions and decisions upon the part of the player and his Agent, each Agent has the chance to learn more and access other locations, thus encountering ever greater moments of surrealist uncertainty. There are moments—few and far between—when an Agent can regain Sanity and lose Corruption, but once gained, Corruption can never be truly lost. Any Agent who actually survives Impossible Landscapes will be both scarred and corrupted by his experiences in the Impossible Landscapes, but to be clear, when the Handler decides to run this campaign, there is no play beyond it.

Physically, it is clear that Impossible Landscapes is not just a roleplaying campaign or a roleplaying book. It is a tome in and of itself, subtly recursive as if trying to infect the Handler as she reads and prepares the campaign. Images are not placed in the book, they taped in place haphazardly with masking tape, as if some unknown Delta Green agent is attempting to put together a file on the investigation for the archives. The influence of the Yellow King seeps into the pages with every mention of him marked and appended with the question, “Have you seen it?” There are subtle changes throughout the volume that startle both Handler and reader, just further adding to its atmosphere and tone of uncertainty. Throughout, the book is annotated by different voices whose identities can only be guessed at, throwing in weird anagrams and comments that suggest further connections, and suggesting that somehow, these annotations have been made post publication to the copy in the Handler’s hands. And then there are the handouts. There have never been handouts like this before. They are used to enforce the campaign’s surrealist uncertainty for much like the campaign itself, they are layered, they cannot be taken at face value, and they hide their ‘true’ information. In essence, the handouts have to be investigated in themselves in order to become useful clues to the investigation. For all this, as well as the fantastically accessible, but layered graphic design and the excellent artwork, it is no wonder that Impossible Landscapes won the 2022 Gold ENnie Award for Best Graphic Design and Layout. (It is also a travesty that Impossible Landscapes only won the 2022 Gold ENnie Award for Best Graphic Design and Layout. It deserved more.)

As to the writing, Impossible Landscapes is well written and easy to grasp. This does not mean that the campaign is far from challenging to prepare and run, given the complexity of the connections that snake back and forth across its length—though there is good advice given to both ends. What it does mean is that the writing does not complicate the process of either preparing to run or actually running the campaign.

Impossible Landscapes – A Pursuit of the Terrors of Carcosa and the King in Yellow begins with surrealism and uncertainty and never lets up on either, let alone the tension. This is superb creation, one which supplants the very way in which the King in Yellow is presented as a threat in other scenarios—typically as an attempt to stage a performance of The King in Yellow, with or without the Investigators’ involvement, to pull them or others into Carcosa. Impossible Landscapes does that to an extent, but always seems to be skirting the performance, instead focusing on the reality destabilising/unreality enforcing that takes place somewhere between our world and that of Carcosa. This is not an experience that any Agent can win nor does it involve a threat that any Agent can defeat. Rather it is an experience to understand and survive, a threat to be avoided, knowing that its infectious, reality warping surrealism is never going to be stopped. As a result, Impossible Landscapes elevates the Yellow King and his influence into an existential contamination that unbinds, rebinds, and connects reality and truly delivers a superlative cosmic horror campaign and playing experience.
Tell me, have you seen the Impossible Landscapes?

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: Debutantes & Dagon: Inspiration for Short, Improvised Scenarios Starring Badass Regency Pulp LadiesPublisher: Chaosium, Inc.
Author: Evan Perlman

Setting: Regency-eraProduct: Supplement for Regency Cthulhu: Dark Designs in Jane Austen’s England and Pulp Cthulhu: Two-fisted Action and Adventure Against the MythosWhat You Get: Twenty-seven page, 963.27 KB Full Colour PDF
Elevator Pitch: Demure, but secretly ACTION!!! debutantes!Plot Hook: Create dangerous, clever, and capable young ladies of eliminating all kinds of horrifying mythos threats.Plot Support: Three tables and guidance for Investigator creation and four tables and guidance for villain and scenario creation, plus eleven Mythos and non-Mythos monsters and scenario hooks.Production Values: Okay
Pros# Combines Regency Cthulhu: Dark Designs in Jane Austen’s England and Pulp Cthulhu: Two-fisted Action and Adventure Against the Mythos# Intended for low-preparation games for Investigators and scenarios# Plenty of scenario hooks# Definitely Pride and Prejudice and ZombiesMythos# Gynophobia
Cons# Combines Regency Cthulhu: Dark Designs in Jane Austen’s England and Pulp Cthulhu: Two-fisted Action and Adventure Against the Mythos# Definitely Pride and Prejudice and ZombiesMythos# Just a bit silly
Conclusion# Definitely more Pride and Prejudice and ZombiesMythos than Pride and Prejudice# Not entirely serious, but go with it for crinoline kick-ass fun

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: Trouble in PinewoodPublisher: Chaosium, Inc.
Author: Tineke Bolleman

Setting: Jazz Age Massachusetts Product: Scenario
What You Get: Fourteen page, 14.42 MB Full Colour PDF
Elevator Pitch: What hunts the night on Cape Cod? Bigfoot?Plot Hook: When two men are abducted in bloody circumstances, someone has to investigate.
Plot Support: Staging advice, two NPCs, one map, and one Mythos creature.Production Values: Adequate
Pros# Short, introductory scenario# Easy to adapt to other time periods and places# Suitable for a small number of Investigators# Solid discussion of the possible outcomes and their ramifications# Leaves room for development in places# Speluncaphobia# Teraphobia# Carnaphobia
Cons# Needs a stronger hook to get the Investigators there and involved# No map of Pinewood given# No map of the caves given# Leaves room for development in places# More physical than investigative
Conclusion# Involves combat and physical investigation rather than traditional newspapers and wills # Very straightforward, likeable, easy-to-prepare introductory scenario

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: Beyond the Veil of Dreams: SusuptiPublisher: Chaosium, Inc.
Author: Byron the Bard

Setting: 1980s ArkhamProduct: Scenario
What You Get: Fifty-nine page, 1.79 MB Full Colour PDF
Elevator Pitch: Sometimes the missing disappear for a reasonPlot Hook: A missing persons case leads into strange research and encounters with desperate people
Plot Support: Eighteen handouts, eight maps, ten NPCs, one Mythos artefact, and one Mythos creature.Production Values: Plain
Pros# Modern Lovecraft Country scenario# Very detailed investigation# Very detailed backstory# Would work as a ‘Night at the Opera’# Oneirophobia# Somniphobia# Antlophobia
Cons# Never actually defines the nature of the threat# Needs an edit# Very detailed backstory
Conclusion# Highly detailed investigation that threatens to overwhelm the Keeper with information whilst leaving the real threat undefined# Potentially interesting combination of Indian mysticism and the Mythos

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: Lucie’s DispensationPublisher: Chaosium, Inc.
Author: John Dyer

Setting: Post-World War I FranceProduct: Scenario
What You Get: Fifty page, 13.94 MB Full Colour PDF
Elevator Pitch: Which is worse? The trauma or the covering up of the trauma?Plot Hook: Why would the Germans attack a village they already occupied so late in the war?
Plot Support: Staging advice, seven handouts, four maps, five NPCs, one Mythos tome, eight Mythos spells, and two (and more) Mythos creatures.Production Values: Reasonable
Pros# Interesting period for a Lovecraftian investigative horror scenario# Detailed scenario and investigation# Teutophobia# Rhabdophobia# Traumatophobia
Cons# No, the Keeper doesn’t know or why else would she be reading the scenario background?# Who are the Investigators meant to be given the recent Armistice?# Why refuse to give the villain a motivation?# No historical background for the period# Frustratingly overwritten in places# No Sanity rewards
Conclusion# Sometimes oddly written, often overwritten scenario hides a solid plot and investigation into collective trauma and delusion# Interesting period left unexplored

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: The Stench of an Open GravePublisher: Chaosium, Inc.
Author: Marcus D. Bone

Setting: Dark Ages WessexProduct: Scenario
What You Get: Forty-seven page, 2.86 MB Full Colour PDF
Elevator Pitch: An introductory Cthulhu Dark Ages investigationPlot Hook: A hunt for a missing monk reveals dark doings in the hills.
Plot Support: Staging advice, three pre-generated investigators, no handouts, one map, eleven NPCs, and one Mythos creature.Production Values: Decent
Pros# Scenario for Cthulhu Dark Ages# Classic isolated village horror Straightforward investigation suitable as an introduction to the setting# Suitable for two to three Investigators# Plenty of historical and regional background# Dysmorphobia# Hemophobia# Traumatophobia
Cons# Needs a slight edit# Sanity losses light in places# Classic isolated village horror
Conclusion# Solid, straightforward introductory investigative scenario for Cthulhu Dark Ages# Combines a missing monk, an isolated village, and strange beliefs in well done classic isolated village horror scenario

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: Trutz Blanke HansPublisher: Chaosium, Inc.
Author: Florian Krates

Setting: German North Sea CoastProduct: Scenario
What You Get: Sixteen page, 1.87 MB Full Colour PDF
Elevator Pitch: Dunwich-am MeerPlot Hook: An invitation to a séance turns decidedly strange
Plot Support: One handout, four maps, one NPC, one Mythos artefact, and two Mythos creatures.Production Values: Adequate
Pros# Unexpected time travel trip against the clock# Nice sense of growing urgency# Plenty of historical and regional background# Chronophobia# Thalassophobia# Antlophobia
Cons# German equivalent of ‘An Amaranthine Desire’ from Nameless Horrors: Six Reasons to Fear the Unknown# Easy to adapt to other time periods# Needs a hook to get the Investigators involved# No map of Rungholt# What if the Investigators act against the instigator of the scenario’s plot?
Conclusion# Decent enough race against the environment with undeveloped set-up and conclusion # Needs work to provide a motivation for the Investigators

A rash of strange businesses broken into and odd thefts leads the monstrous investigators in the city of Spireholm to a startling revelation. Under the very streets of the city, indeed under the very cellars and sewer tunnels of the city under those streets, there are tunnels that lead deep into the unknown. Is the rattish nature of the miscreants discovered in the initial investigation a sign that some villain dwells far below like a subterranean Doctor Moreau, sending his rodent servants to the surface for reasons that only he can divulge? Or is there something else in the tunnels and caverns to be found far below the city? This is the set-up for SHIVER Gothic: Disciples of Dregstone, a companion campaign to SHIVER Gothic: Secrets of Spireholm, which itself is a campaign and setting a supplement for Shiver – Role-playing Tales in the Strange & the Unknown. Published by Parable Games, Shiver is a generic horror roleplaying game, designed to do a variety of subgenres, from modern slasher and cosmic horror to zombie outbreaks and Hammer Horror melodramas, using easy to build Player Characters archetypes and the Doom Clock as a device to ratchet up tension and push the story to a horrifying climax combined with its own dice mechanics. It is great for one-shots, especially ones inspired by horror films. If SHIVER Gothic: Secrets of Spireholm showcased how it was possible to run and play SHIVER as a proper campaign, then SHIVER Gothic: Disciples of Dregstone expands and continues that.
SHIVER Gothic: Disciples of Dregstone does two things. First it introduces the new world below the city of Spireholm and its inhabitants and second it presents a campaign that involves both. It can be used in a number of different ways. One is a straight sequel to the campaign given in SHIVER Gothic: Secrets of Spireholm. Another is as a secondary plot, essentially a ‘B plot’, that can be run alongside or interwoven with the campaign in SHIVER Gothic: Secrets of Spireholm. And lastly, it can be used as an alternate plot that can be run whenever a player is unable to play the main campaign. This gives it some flexibility, although the ideal means of use is as the ‘B plot’ so that all of the players and their characters can participate. Another option is for the players to take the roles of members of the rattish race at the heart of SHIVER Gothic: Disciples of Dregstone, although that does mean that many of the mysteries at the heart of the setting and the campaign will have to be revealed to them.

Inspired by works of fiction such as Neverwhere by Nail Gaiman and Weaveworld by Clive Barker, as well as a whole festival of films, SHIVER Gothic: Secrets of Spireholm takes the players and their characters into the Dregs, home to Scoriath, the kingdom of the Scorians. They are rat folk, twisted into intelligence by the alchemical wastes poured into the sewers and finding a home in the ruins of an ancient sunken settlement. Ruled over by the authoritarian Rat King, Rongeur Halftail, the Scorians are large, but still smaller than Humans, and have tough tails and a strong sense of smell. There is resistance to the Rat King’s rule, and the Delvers, who search for resources far below Scoriath, are divided as to whether they should explore Topside, even though the king has forbidden it. Meanwhile, the Church of the 7 Tails worships the rats’ time as four-leggers, whilst it should be no surprise that Scorians hold alchemy in high regard given their origins. Several Scorian Backgrounds are given for Scorian Player Characters, including Gutters who guard the city; Sneakers are spies and thieves; Alchemists specialises in poisons, concoctions, and bombs; Tail-Tellers are itinerant storytellers; Pale Seers are all but blind, yet have the gift of the foresight; Swarm Wardens can psionically control rat swarms; and Scurriers do all of the physical work in Scoriath. Besides possibly playing Scorians, the options for Player Characters include watch officers, urchins, concerned citizens, private citizens, reporters, monster hunters, and more. The inclusion of the Scorian Backgrounds also facilitates the easy replacement of Player Characters should one somehow die in the course of events of the campaign.
As a campaign, SHIVER Gothic: Disciples of Dregstone is shorter than SHIVER Gothic: Secrets of Spireholm, consisting of seven parts rather than ten. Its chapters follow the same format though. Each is bookended by ‘What the Director Knows’ at the beginning and at the finish, ‘Doom Events’ which are triggered on the Doom Chapter for the chapter. In addition, the campaign supplement adds ‘Doom Tolls’ alongside ‘Doom Events’. These interact with the ‘Doom Calendar’, essentially events that affect the wider world around the Player Characters. Then, between the start and the end is the meat of each scenario, which varies from one chapter to the next, but will always include key clues and story text, the the key clues given as floating clues that the Game Master can place in the particular chapter where appropriate. In between the chapters are a series of interludes. These expand upon the overview of the Dregs as a setting, such as the background history of Rongeur Halftail, more information about the Church of the 7 Tails, Scorian terminology, and so on. These are not necessarily gameable content, but add detail to the setting.
SHIVER Gothic: Disciples of Dregstone begins with the investigation. This leads the Player Characters into the foulness of the city sewers before descending into the tunnels below. Here the Scorians have set up a ‘Mantrap Maze’ to prevent anyone from Topside from trying to get into Rongeur Halftail’s realm. The maze though, is a bit of a problem. It consists of fifteen encounters, not quite linear, but playing through it will definitely feel like it. Although these encounters are inventive and some of them are fun, such as having a giant trashball chase the Player Characters a la Raiders of the Lost Ark and a trap that fills with water as they try to find a way to solve a rat-themed puzzle. Of course, the Game Master need not use all of the encounters here and she could easily save some for a later visit to Scoriath, suggesting perhaps that the Scorians are shifting rooms and traps around their ‘Mantrap Maze’ each time that there is an incursion from Topside?
By the time the Player Characters reach Dregstone, they will have gained the first of many allies they will be able to befriend and recruit in the course of the campaign. She is a human who has long been trapped in the Dregs and long been searching for her sister, and she will be able to put the Player Characters in touch with the Resistance. This sets off the main plot of the campaign, as first the Player Characters have to sneak around the city, poorly disguised as Scorians, undertake a task for the Resistance to gain the trust of its members. This is the first of the campaign’s big set pieces, the disruption of a public execution, the Player Characters having to set up a rescue of several Resistance members being sent to the gallows. This will lead to their arrest, being brought before Rongeur Halftail himself and sentenced to life incarceration in Pipehold Prison. Here the authors get to play with all of the clichés of prison life—as seen on the big and small screen—as the Player Characters are forced to other prisoners for the amusement of the guards, deal with a variety of different prison personalities, and of course, make preparations for, and then carry out a grand escape! All with the strangeness of dealing with anthropomorphic rats rather than human prisoners.
The last part of the campaign sends the Player Characters scurrying below the Dregs, into dark tunnels and into regions where the delvers fear to tread. Here, the Player Characters will discover that the Scorians are not the only anthropomorphic species to have been affected by the alchemical runoff from Topside—and that species has an even worse reputation for being dirty vermin! One minor scene here feels like a cross between Beetlejuice and Dune, set on a great alchemical salt flat, but ultimately the Player Characters will discover the source of the mutations in the subterranean world, a secret that will upend the society of Dregstone, and a very knowing nod to The Fellowship of the Ring. Surprisingly, the interlude ending this discovery does actually have some gameable content, all in readiness with the final showdown with Rongeur Halftail. This is a big battle which brings the campaign to a conclusion, although there are a few options given to help the Game Master play various concluding scenes to the campaign.
Physically, SHIVER Gothic: Disciples of Dregstone is presented in a rich array of colours and with plenty of cartoonishly rattish artwork. The campaign does need an edit here and there, and one or two more maps, such as of Dregstone would have been useful too.
SHIVER Gothic: Disciples of Dregstone is a better campaign than sourcebook. In fact, as a sourcebook for the Dregs, it presents enough information for the Game Master to run the campaign, but not really quite enough to develop her own content beyond that and in mostly confining it to the interludes, not in a fashion that makes it easy to use. That said, as a campaign, SHIVER Gothic: Disciples of Dregstone is fun, especially if you have a penchant for puns—especially rattish puns—and want a grand cinematic delve into an anthropomorphic world of adventure and mystery for your SHIVER Gothic: Secrets of Spireholm campaign.

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: A Drop of Nelson’s BloodPublisher: Chaosium, Inc.
Author: SR Sellens

Setting: The Admiralty, 1815Product: Scenario for In Strange Seas: Horror in the Royal Navy for Regency Cthulhu and Regency Cthulhu: Dark Designs in Jane Austen’s England
What You Get: Fifty-two page, 24.42 MB Full Colour PDF
Elevator Pitch: Agatha Christie’s And Then There Were None, but with half the attendees and celebrating the life of Horatio Nelson, 1st Viscount Nelson, 1st Duke of Bronte. Plot Hook: A dinner at the Admiralty turns deadly in celebration of the life of Nelson
Plot Support: Staging advice, five pre-generated Investigators, eight NPCs, seven handouts, two floorplans, one Mythos tome, one Mythos spell, one unnatural creature, and a sea shanty.Production Values: Excellent
Pros# More a scenario for Regency Cthulhu than In Strange Seas# One-session, locked room dinner party murder mystery# Decent pre-generated Investigators# Very well presented NPCs# Could be run as a LARP# Good handouts# Phasmophobia# Hemophobia# Phonophobia
Cons# Sea shanties# Needs a slight edit# More a scenario for Regency Cthulhu than In Strange Seas

Conclusion# Well appointed scenario that can be run with just Regency Cthulhu rather than In Strange Seas# Classic murder mystery dinner party with manners, Mythos, and nautical theme that is absolutely perfect for Trafalgar Day (and other days)

There is a realm that lies between the land and the sea that is neither land nor sea. It is said that this is where the giants died, their blood spilling as a gift that turned the realm into something in between, a land of peat and oil and mud that languorously discharges into the Endless Sea. This is Fattvëlland, the Great Slick, beyond Targ-Dungel and the festering swamps of the Rotlands, and here no flame burns except that which cannot die and burns constant below the peat and the oil and the mud. The Great Wick drinks of the land and gives birth to shunned and raging Wickheads, trimming them before sending unwanted and unloved out into the lands on the other side of Targ-Dungel and the Rotlands. Their purpose unknown to themselves and the Great Wick, no Wickhead has ever returned—or seemed to want to. Until now. This is the set-up for A Waning Light, a scenario for use with Mörk Borg, the Swedish pre-apocalypse Old School Renaissance retroclone designed by Ockult Örtmästare Games and Stockholm Kartell and published by Free League Publishing.
A Waning Light is best described as a ‘swamp crawl’ in which the Player Characters are hired by a Wickhead called Lygan, whose wick is growing short and who wishes to return to his point of origin before the God Tree and pluck a new thread and thus wick from it. He promises them riches and a sight which no mortal man has seen before. Adding A Waning Light to an on-going campaign is relatively easy. Its location can be slid onto any coast and in addition, there are suggestions which tie various other scenarios for Mörk Borg to the Great Slick. These are Rotback Sludge, Treasures of the Troll King, and Putrescence Regnant and all three come with helpful notes on how to make the connections. A table of rumours serves as other means to spur the Player Characters to action.

Published by Loot the Room, it presents a sludge-ridden region where geysers of oil blot the sky, goblins scavenge on long stilts, baleful balls of light whisper secrets, and tar oozes blend below the oil slicked water ready to strike at the unwary. There are strange henges to be found, their stones cracked by black ivy, a colony of mournful goblins who have turned their backs on their wild and dangerous days, and an ancient dragon, Nithul, her brittle bones turned silver with age and her wings pinned to the mound of silver she sits on by foot-long iron spikes. Her only company is the calcified statue of the knight who was trying to kill her, his sword still held high, and she is half mad with loneliness. These encounters are fantastically forlorn, fitting the sombre, even woeful nature of the land. The heart of the adventure lies in its two dungeons—‘Inside Julud’ and ‘The Sink’.

The first and smaller of the two is ‘Inside Julud’. Located within the skull of a dead giant, this is a mini-dungeon consisting of fourteen locations across two levels, the lower level, either partially or wholly flooded. There is constant movement within the flooded and submerged rooms below, primarily of water and natural gas, and this is decidedly hazardous environment. Unfortunately, there is really very little reason to explore its rooms beyond greed and curiosity and given its nature it may be one that the Player Characters readily avoid all together. Perhaps a rumour or hook or too might have pushed the Player Characters to the location beyond mere chance—and perhaps the Game Master might want to develop one or two herself. Finally, despite being in the head of a giant, ‘Inside Julud’ does not feel like it is.

The second and much longer of the two dungeons is ‘The Sink’. Here the Player Characters may eventually discover the God Tree and Lygan find a way to replace his wick so that his memories need not be lost. A mixture of worked rooms and caverns, it is double the size of the ‘Inside Julud’, full of soot, oily vapours, ancient industrial machinery still covered in thick grease and dirty lubricant, and a dampness that pours in from the swamp above. Despite being a ruin, the cult operating here lends the place a sense of purpose, even if the main NPC here, the leader of the Moth cultists, is underwritten inn terms of motivations and reactions, especially in light of the attention given to the prophetic, Three Flames, the past, present, and future Voice of the Flame, the burning equivalent of the three witches from Macbeth or the Graeae from Greek Mythology. Again, this is something that the Game Master might like to develop herself.

Physically, A Waning Light is not as terse as perhaps other scenarios and dungeons are for Mörk Borg and there is a lot more description than you would normally expect. All locations are marked easily—though not always accurately in some cases—on the map, which appears on each page of the dungeon for easy navigation by the Game Master. The writing is clear and in general, presented in a bolder fashion than other scenarios for Mörk Borg. In places, the Game Master is left to wonder who or what something is until the book explains it.

A Waning Light is in need of a few hooks to get the Player Characters to explore some of the locations in the swamp and the Game Master may also want to develop the motivations of the NPCs further, as well. Fix those and A Waning Light will provide the means to explore the origins of the Wickheads from Mörk Borg, memorably set across a festering, oily sludge of a swamp, full of of mournful and scarred locations and encounters.

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.

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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 6 was published in the winter of 2021. It has thus left behind the social limitations placed upon both it and us by the lockdowns due to the COVID-19 pandemic that Senet Issue 5 was only just beginning to escape. It marks a return to the normality of the first few issues and allows editor Dan Jolin to talk about the pleasures of issue’s content rather than dwelling on the strange world we had existed in throughout much of 2020 and 2021. Even the cover reflects, a pair of anthropomorphised hands, one jumping for joy, the other thrusting a gaming piece at us, rather than the lock and key on the front of Senet Issue 5, which suggested both imprisonment and possible escape. However, with new found freedom, Join does get to belabour a food-board game metaphor, it being one of the themes of the issue. Sadly, the reader has little choice but to indulge him.

As is usual, the issue opens with ‘Behold’, a preview of some of the then-forthcoming board game titles. As expected, ‘Behold’ showcases its previewed titles to intriguing effect, a combination of simple write-ups with artwork and depictions of the board games. The standouts here are Spire’s End: Hildegard, a solo adventure that is the sequel to Spire’s End which displays its brilliant artwork and Forests of Pangaia, which has a real table presence as the patterns of the forest change and grow over hundreds and hundreds of years, the trees depicted by meeples ranging in shape from single cubes for seeds to fully grown trees.

‘Points’, the regular column of readers’ letters, follows, but very much without the focus of Senet Issue 5, which was very much the immediate post-COVID-19 world. Nevertheless, the raise some interesting issues, such as the possible shift to games made available to the customer via ‘Print & Play’ rather than delivery in the normal fashion given the then difficulties faced in shipping and delivery. As yet, there is not a sense of community through the letters column and whether it be developed is another matter. In ‘For Love of the Game’, Tristian Hall continues his designer’s journey towards Gloom of Kilforth. In previous issues he explored how the game became a vehicle for roleplaying and storytelling, used the mechanics to bring the game and its background to life, and marketing options, but in this issue, he examines how to handle feedback and criticism about a game’s design. There is good advice here and ‘For Love of the Game’ nicely tracks the history of game and its development.

Senet follows a standard format of articles and article types. One explores a theme found in board games, its history, and the games that showcase it to best effect, whilst another looks at a particular mechanic. In between there are two interviews, one with a designer, the other with an artist. The mechanical article is on dexterity games with ‘Feats of Agility’ by Matt Thrower, written in almost nominal deterministic fashion. This looks at games such as Jenga and Crokinole, and seems to focus on these to the detriment of others, making the point that their physical nature makes them less like a (board) game and more like a sport. The result is that the article is not really that interesting and it is certainly not helped by the fact that not one of the games is actually illustrated. Instead, the article is illustrated by abstract pieces like that on the front cover, which whilst very nice, do nothing whatsoever to bring either the article or the board games themselves to life. Given that so many of the other articles are decently illustrated, ‘Feats of Agility’ is a disappointingly frustrating piece that fails to showcase the physicality of the games themselves or explore more than a very few titles.

The undoubted highlight of Senet Issue 6 is ‘Full Steam Ahead’. This is the first of two interviews in the issue and is with Alan R. Moon, the famous designer of Ticket to Ride. This covers his early interest in games, his time at Avalon Hill—focusing mainly on the publisher’s family titles, and the genesis of Ticket to Ride came about. The whole interview could have been just about that, but it ranges through a few other titles as well as ‘The gathering of Friends’, the informal industry event he now runs. Notably, it does mention Ticket to Ride Legacy, which is due to be released next week. It is followed by the second interview in the issue, which is with artist Miguel Coimbra, best known for illustrating the mini-civilisation-style 7 Wonders and the fantasy wargame of variable races and powers, Small World. Coimbra talks about he turned his love of other worlds and Magic: the Gathering into becoming a full-time artist before talking about each of the major titles he has provided art for. Not just the aforementioned, but also Sea of Clouds, Mountains of Madness, and Fuji Koro. As in previous interviews with artists, plenty of room is given to showcase his art, including not one, but two pullout spreads! Along with his commentary, this extends the article beyond its eighteen pages, already the longest article in the issue. All of the art is crisply produced, leaving the reader wanting to go look at the games for the art itself, let alone the play.

The issue’s theme article is food with Own Duffy’s ‘Playing with your Food’, which at the very least does not make the error of not actually depicting the games being played. It starts off with quick discussion of an American introductory board game, Candy Land (which actually came out in 1949!), before rushing up to date with an examination of more recent titles, beginning with Sushi Go! It points out the universality of the theme and also how the theme can be used in other ways. For example, Steam Up: A Feast of Dim Sum from Hot Banana Games shows how games can explore the cultural side of food, whilst Consumption: Food & Choices looks at the balance between what we eat and what we do. With the inclusion of both Sushi Go!—inspired by 7 Wonders’ card drafting mechanic and conveyor-belt sushi restaurants—and Steam Up: A Feast of Dim Sum, inspired by dim sum being served on a lazy Susan, the article covers a spectrum of both lighter and more involved titles, both mechanically and culturally, and it also suggests a number of other titles themed along different foods. This includes pizza, chili peppers, salads, cupcakes, and mushrooms. Overall, Duffy serves up an interesting article on a theme which is not as readily recognised as such in the hobby as opposed to typically more mechanical or obvious themes.

If the earlier ‘Feats of Agility’ failed to showcase agility games, then ‘Unboxed’, Senet’s reviews section leads the way with its first review, which is of Crash Octopus, a flicking game of salvage at sea versus a giant octopus which actually looks fun in the exact same way that Jenga isn’t. This is not the only other game reviewed in the issue—that is the co-operative adventure game, What Next?—with a dexterity element, but the other reviews are a more traditional mix of Euro style games, along with the addition of a review of the solo roleplaying game, Apothecaria. There is a fascinating range of titles being reviewed here, including of Mind MGMT, based on Matt Kindt comic book series about psychic espionage; Streets, a tile-laying game of building and populating modern urban streets which is Senet’s Top Choice for the issue; and Roll Camera!, a thematically packaged co-operative game of movie-making. All of the reviews are well-written, informative, and as expected, give space show off each game and its components.

Rounding out Senet Issue 6 are regular end columns, ‘How to Play’ and ‘Shelf of Shame’. For the former, Dan Thurot pens ‘Flipping the table (and how best to avoid it)’, a look at the phenomenon of getting so frustrated whilst playing a board game that you stand up and flip the board and all of its components over the table and floor. Thankfully I have never done this, but I have walked away from a game in sheer frustration. Working from the concept of the ‘Magic Circle’ where we as players agree to interact using different rules, the author explores how the issue might arise and how to avoid it, primarily checking to if everyone is in the mood to play a particular game or type of game, know your foibles, and if you can, avoid your nemesis. The result is engaging and thoughtful, bringing to the reader’s attention a negative aspect of play, how we can take that play too far, and how to not do so, all without any judgement upon the part of the author, except on himself. For the ‘Shelf of Shame’, Rodney Smith of Watch It Played, selects Andean Abyss, a COIN or ‘counter-insurgency’ wargame set in 1990s Columbia. This nicely tells of how he could not grasp the game’s play upon first exposure, but through a friend and play of another COIN game, Cuba Libre, he was able to understand the concepts and then go back and play Andean Abyss, having to reacquire it, having sold it after the first attempt to understand it.

Physically, Senet Issue 6 is very professionally presented. It looks and feels as good as previous issues of the magazine.

As with previous issues, Senet Issue 6 offers a good mix of articles, interviews, and reviews—almost. To be fair, this reviewer is not a fan of dexterity-based games and thus for the most part, the ‘Feats of Agility’ is not aimed at me. Yet as with the magazine’s similarly mechanically themed articles, I was hoping for other options and ideas which might entice me to look at these games again, and definitely more than just Jenga. Unfortunately, the article failed to do so. Consequently, Senet Issue 6 is the most disappointing issue to date, if only because the standard has been so high otherwise. Now of course, tastes will vary and some may enjoy dexterity games and an article about them, but not this reviewer. ‘Feats of Agility’ could have been better and consequently, Senet Issue 6 could have been as good as the magazine usually is.

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

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

—oOo—
Name: Archives of Terror – Call of Cthulhu paranoia horror in 1990 RomaniaPublisher: Chaosium, Inc.
Author: Christopher Dimitrios

Setting: 1990s RomaniaProduct: Scenario
What You Get: Twenty-one page, 24.76 MB Full Colour PDF
Elevator Pitch: Archives hide secrets... Secrets mean power and fear...Plot Hook: In the wake of the Christmas Revolution, there is a chance to get into the national archives of the Securitate. What secrets do they hide?Plot Support: Staging advice, five pre-generated Investigators, three NPCs, three handouts, one floorplan, five Mythos tomes (technically), and two Mythos monsters.Production Values: Decent
Pros# One-shot of heightened feeling of paranoia and post-surveillance# Set at an interesting point in history# Mythos and magic driven by secrets# Could be adjusted to other post-Communist states# Nicely detailed pre-generated Investigators# Scopophobia# Paranoia# Papyrophobia
Cons# Needs a close read to understand how the secrets and magic works# Shares Investigators with Baba Dochia. Could be a sequel? 
Conclusion# Investigators need to know will drive revelations and magic in this paranoia-fuelled delve in state/personal secrets # Supported by well done Investigators