As well as contributing to Free RPG Day every year Goodman Games also has its own ‘Dungeon Crawl Classics Day’, which sadly, is a very North American event. The day is notable not only for the events and the range of adventures being played for Goodman Games’ roleplaying games, but also for the scenarios it releases specifically to be played on the day. For ‘Dungeon Crawl Classics Day 2022’, which took place on Saturday, July 16th, 2022, the publisher released not one, not two, but three booklets. Two of these were specifically for the Dungeon Crawl Classics Role Playing Game—the supplement, Dungeon Crawl Classics Day: The Book of Fallen Gods, and the scenario, Dungeon Crawl Classics Day #3: Chanters in the Dark. The third, DCC Day 2022 Adventure Pack, is a duology of scenarios for both the Dungeon Crawl Classics Role Playing Game and Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic. Both scenarios are designed for Player Characters of Second Level, both are nicely detailed, and both can be played in a single session, but neither should take no longer than two sessions to complete.

DCC Day 2022 Adventure Pack opens with ‘Incident at Toad Fork’, a scenario for the Dungeon Crawl Classics Role Playing Game written by Brendan Lasalle. This returns to the Appalachian-style fantasy setting of The Shudder Mountains, first seen Dungeon Crawl Classics #83: The Chained Coffin and more recently compiled in Dungeon Crawl Classics #83: The Chained Coffin anthology. Consequently, the scenario has a strong sense of the rural versus the urban, the backwoods culture versus the sophisticated manners of the city, the distrust of the latter by the former, and the feeling that them there city folk are invariably out to bamboozle the good folk of The Shudder Mountains.
The scenario opens with the Player Characters invited to the Harvest Moon Dance, an important annual event when all of the Shudfolk from the communities across The Shudder Mountains come together. It is normally a joyous affair, with plenty of dancing and music, but this year is different. A strange shadow is cast over the activities as several of the young men suddenly bolt, running pell-mell into the surrounding woods, oblivious to all entreaties. The Elders entreat the Player Characters to go after them and they quickly encounter strange glamours and a representative of one the devil which competes for Shudfolk souls. This is a fun roleplaying encounter for the Judge to portray, the NPC being akin to the charming and seductive Mister Dark from the film, Something Wicked This Way Comes, as portrayed by Jonathan Pryce (or in this case, Vincent Price). Overall, reminiscent perhaps of Halloween, but set way in the mountains with a Hillbilly sensibility, if the Judge has not yet run Dungeon Crawl Classics #83: The Chained Coffin, then this is an entertaining and engaging adventure to add to the campaign setting.
Marzio Muscedere’s ‘The Last Life Guardian’ is the second scenario. In this adventure for Mutant Crawl Classics Roleplaying Game, members of the Player Characters’ village have learned a terrifying tale of horror and hope from a dying outland trader. He told them that a Pure Strain Human wizard with the ability to heal and even bring the dead back to life is being held prisoner by savage mutants within a time-ravaged superstructure of the Ancient Ones. The village Rememberers—the wisest of the villagers—have said that the trapped wizard must be none other than a fabled Life Guardian, a surviving member of an ancient pre-disaster order sworn to heal and protect mankind. Consequently, he must be rescued. Which of course, as village’s Seekers, those that go out and search for technology and knowledge of the Ancients and protect the villagers from outside threats, is a task for the Player Characters.
Once at the site of the time-ravaged superstructure, both Seekers and their players will quickly realise one fact each. The Seekers that even the lake is artificial and their players, what with the ruins of café alongside the lake and the tubes curling all over the place, that it is actually a former waterpark! Part of the fun of the scenario is in recognising this fact, as is discovering that it is home to a tribe of fishmen! So what you have is not-Deep Ones at the deep end of the pool and they are not happy with the presence of the Seekers. As well as dealing with the not-Deep Ones, there is still a decent bit of exploration and investigation to conduct, with only a relatively small bit of roleplaying at the scenario’s end. The various locations are nicely detailed, and a lot of thought has gone into twisting a simple waterpark into an aquatic den of danger in Terra A.D. Especially the zombie which appears if the Seekers are just that too curious! Primarily an exploration and combat scenario, the isolated location for ‘The Last Life Guardian’ makes it easy to drop into a campaign, with success granting the Player Characters a potentially useful campaign reward rather than personal ones. 
Physically, DCC Day 2022 Adventure Pack is decently done. The artwork is fun and the maps clear. The map for ‘The Last Life Guardian’ though will need careful examination by the Judge as it is a little busy. Both scenarios are well written and easy to read.

DCC Day 2022 Adventure Pack contains two entertaining scenarios. ‘The Last Life Guardian’ makes a great deal from the one location for the Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic, but ‘Incident at Toad Fork’ for the Dungeon Crawl Classics Role Playing Game and specifically, The Shudder Mountains, is a fun, fast-paced Hillbilly horror scenario which will want to make the Judge take a closer look at the Appalachian-style fantasy of Dungeon Crawl Classics #83: The Chained Coffin—if he has not already.

Maps form such a fundamental part of our gaming experience. We explore them. We journey across them. We delve into them. We defend them. We attack them. We draw them. We create stories using them. We have been gaming maps for centuries, whether it is to conduct wargames like Kriegsspiel or H.G. Wells’ Little Wars, or more recently explore great dungeons such as B2 Keep on the Borderlands or sprawling sandboxes such as X1 Isle of Dread, or even create a community and its history with a game like The Quiet Year. There is also something else that we can do with maps and that is contemplate, and it is something that Paths does. Designed and drawn by the British Children’s Laureate, children’s book illustrator and author, and political cartoonist, Chris Riddell, Paths is the first game to be published by Betonmond. Or rather it is the first game published by Betonmond that is not a game, although it could be if you wanted.

Paths consists of fifty-two, large one-hundred-and-twenty-five by eighty-five-millimetre cards. Each depicts a landscape crisscrossed by one or more paths. A steep path leads up a hill to a round tower with a single door. A statue of a mermaid sits in the middle of a plaza around which stand a pyramid, a column, and other features. Paths cut through tunnels in the hills. A narrow path joins a junction surrounded by tall, narrow houses. A village sits atop a cliff overlooking a tower below. A field is divided by several routes, but leaves a single tent isolated. An abyss is encircled by the paths. A great viaduct crosses over a valley path. Paths connect to steps that descend to a single platform over a chasm or seemingly connect at random underneath a house that hangs from a wall. Who lives in the tower? Who was the mermaid? What lies in the tunnels? Who lives in the village and where does the narrow path lead? Why is the village higher than the tower? Who lurks in the abyss? What is the platform over the chasm used for? Who lives in the home hanging from the wall? These are just some of the questions that the cards in Paths provoke.

All of the cards are beautifully bucolic and are designed to form a grid, depicting an ever-greater area and range of terrain. As a deck they can be shuffled, cards drawn and laid out to form a whole map, and then done again and again to create new maps each time. Paths suggests that two cards be selected to mark the beginning and the end of a route, and then cards be drawn to map out the route between them, whether direct or meandering. The participant is encouraged to examine each card, asking what it makes him think of or how he feels? The process is intended to be contemplative, even meditative, the participant almost taking a walking holiday across his loving room table.

Lastly, Paths turns the participant into a player and the map cards into a game. It is suggested the map is built collaboratively with perhaps one player as the map-maker who knows the secrets behind each card and location to be revealed as the other players and their heroes add each card to the map. It is suggested that tokens be used and notes taken and dice be used for dice-battles—if needed. These are the limits of the suggestions in Paths, but it would be incredibly easy to import a set of simple rules or even create some. For example…

Paths: The RPG

1. Each player creates an adventurer, for example, a wizard or a warrior. Then name the character.
2. Players take turns as the Map-Maker. When it is your turn, draw a card and add it to the map. Describe it and answer any questions the other players have about it as their adventurers explore it. Portray any characters who live there. Perhaps they want to help the adventurers? Have something to tell them or sell to them (or both)? Perhaps they are hiding secrets? Is there an obstacle or some monsters? Are there secrets to be found?
3. As a player, describe what your adventurer does. Who does he talk to? Where does he look? Let the other players do the same.
4. If there is an obstacle or monster, the Map-Maker rolls a six-sided die. Each player rolls a six-sided die for his adventurer (another player rolls for the current Map-Maker’s adventurer). The highest result defeats or stops the other. If an adventurer would have an advantage because of the situation, a good idea, or he just would (perhaps through force of arms as a warrior or a spell cast by a wizard), he rolls two dice instead on one.
5. The next player becomes the Map-Maker.

Physically, the cards in Paths are large, glossy, and feel good in the hand. The leaflet runs to four pages and is a quick and simple read.

However the participant, player, or Map-Maker uses Paths, there is ultimately a simple truth to Paths. Which is that this set of cards is a beautiful and lovely artifact. A beautiful and lovely artifact which works as inspiration, contemplation, or a game.

Now in its fourteenth year, Free RPG Day in 2021, after a little delay due to the global COVID-19 pandemic, took place on Saturday, 16th October. As per usual, it came with an array of new and interesting little releases, which traditionally would have been tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Of course, in 2021, Free RPG Day took place after GenCon despite it also taking place later than its traditional start of August dates, but Reviews from R’lyeh was able to gain access to the titles released on the day due to a friendly local gaming shop and both Keith Mageau and David Salisbury of Fan Boy 3 in together sourcing and providing copies of the Free RPG Day 2020 titles. Reviews from R’lyeh would like to thank all three for their help.

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In 2020, the most radical release for Free RPG Day was LEVEL 1 – volume 1 2020. Published by 9th Level Games, Level 1 is an annual RPG anthology series of ‘Independent Roleplaying Games’ specifically released for Free RPG Day. LEVEL 1 – volume 1 2020 consisted of fifteen featuring role-playing games, standalone adventures, two-hundred-word Roleplaying Games, One Page Dungeons, and more! Where the other offerings for Free RPG Day 2020—or any other Free RPG Day—provide one-shots, one use quick-starts, or adventures, LEVEL 1 is something that can be dipped into multiple times, in some cases its contents can played once, twice, or more—even in the space of a single evening! The subject matters for these entries ranges from the adult to the weird and back again, but what they have in common is that they are non-commercial in nature and they often tell stories in non-commercial fashion compared to the other offerings for Free RPG Day 2020. The other differences are that Level 1 includes notes on audience—from Kid Friendly to Mature Adults, and tone—from Action and Cozy to Serious and Strange. Many of the games ask questions of the players and possess an internalised nature—more ‘How do I feel?’ than ‘I stride forth and do *this*’, and for some players, this may be uncomfortable or simply too different from traditional roleplaying games. So the anthology includes ‘Be Safe, Have fun’, a set of tools and terms for ensuring that everyone can play within their comfort zone. It is a good essay and useful not just for the games presented in the pages of LEVEL 1 – volume 1 2020 and its sequel, LEVEL 1 – volume 2 2021, which was published for Free RPG Day 2021, but for any roleplaying game,
LEVEL 1 – volume 3 2022—‘The Free RPG Day Anthology of Indie Roleplaying Games’—was made available on Free RPG Day in 2022 and once again provides some fifteen different roleplaying games of varying sizes, subject matters, and maturity in terms of tone. Once again, the volume opens with the same guidelines on safe play, consent, lines and veils, and so on, all useful reminders, especially given the subject matter for the issue, which is ‘myths and legends’. The issue is thus about forging great tales that will live through the ages and remembered long—or not—after the the protagonists have died.
LEVEL 1 – volume 3 2022 opens with Gabrielle Rabinowitz’s ‘The Victor’s Tale’. In this roleplaying game, great heroes face off against mythical monsters, like Beowulf versus Grendel or Hercules versus Lernaean Hydra. Their tales are well known, but what if the monsters had won? What form would their tale take? Designed for two to eight players, but really working best with two, since the game works around confrontations between the ‘Monstrous Hero’ and the ‘Heroic Monster’. It is a simple dice game in which it is possible to steal dice from each other, gain divine favour or even great luck, the aim being to reduce either the might or the will of the opponent. Both winner and loser narrate the result of each bout, but ultimately, the winner of the whole confrontation narrates the final outcome, and the loser’s narration is lost. This is a effective twist upon who is the hero and who is the monster, exploring the concept of the victor writing the history.
If ‘The Victor’s Tale’ gets the anthology off to a good start, it stutters with ‘Battle of the Bards’ by Dustin Winter. The problem with this song-writing game is that the mechanic for determining who wins the actual Battle of the Bands is a simple die roll to see who rolls the highest. It undermines all of the effort made by the players to each create a bard, decide on their bard’s look and musical style, and then randomly determine the length and theme of their entry song. If instead the game is about creating and performing songs, then why have the ‘battle’ aspect to it all? Consequently, ‘Battle of the Bands’ feels half-finished and unpolished.
‘sunlight… a feverdream for an unwilling god and a devoted saint’ by quinn b. rodriguez is an exercise in dialogue about the relationship between a reluctant god and a fervent devotee. Thus, it is more a series of prompts rather than mechanics, but they are effective and the format could easily be adapted to other genres. For example, between Doctor Who and one of Companions. ‘Judas, a dinner party’ is a dinner parlor inspired by the Last Supper and is intended to be played by a large group at a dinner party with multiple courses, with one player as the Host and the other as guests. Designed by Loretta Brady, Skylar Bottcher, Gianna Cormier, Glenn Given, and Samantha Sinacori, the aim is for the Host and another player, known as the Queen of Hearts, to be sat together at the end of the meal, whilst everyone wants to prevent this. Of course, everyone knows who the Host is, but only the Host and the Queen of Hearts know who holds that role. Then between each course, the Host asks two guests to exchange places and the guests altogether agree upon two guests to exchange places. The result is a hidden identity, semi-hidden movement game. Although there are notes on hosting and suggested courses, the game neither matches the anthology’s theme nor is necessarily all that interesting, and what marks this as being different to other hidden identity is the dinner party. The question is, do you need a parlor game with your multi-course meal or a multi-course meal with your parlor game? Especially when the hobby is saturated with hidden identity games?
In comparison, Steffie de Vaan’s ‘Wights’ is focused and sees Wights, descendants of the ancient Wight Wives, who are the downtrodden and the demonised of today’s society, who form a coven to protect themselves and others against the worst of society and its injustices, as well as the supernatural. It is a game of protecting minorities of all kinds, whether through Race, gender, or sexuality, and whether they are facing a band of transphobic thugs or their leader who turns out to be a minor demon, the Wights have the advantage in that they can perform supernatural feats by night. Although more a traditional design, this is a light, but engagingly driven roleplaying game about both activism and protecting communities even by those who would normally be persecuted.
Graham Gentz’s ‘Old Gods of Media’ picks up the anthology’s theme to greater effect, in the players take the roles of gods whose lifespans may last ages or just an age. They are gods of ideas that reach to every man and woman and child, perhaps to find a place, perhaps not. They may be a ‘Cartoon Caregiver Who Wants to be Real’ or a ‘Terrifying Ruler Who Teaches’, whose Brand Awareness will fluctuate over the span of time and it is this that they will track as they attempt to gain cult status. Over time, they will adapt to the prevailing media forms, and this itself is where the roleplaying game becomes interesting in this storytelling game.

‘One Night at Bain House’ by Monica Valentinelli is another one-night affair, but a more interesting and playable game than the earlier ‘Judas, a dinner party’. The Player Characters are guests at a surprise costume ball, which turns out to be the revenge of monsters tired of being hunted. They turn the Player Characters into monsters, but which? Their aim is to determine which monster they are, exploring the house to reveal further secrets, expose invisible threats which plague all of them, and eventually find the cure. The game is diceless, so can be played anywhere with the losers of any actions temporarily taking over the role of Game Master to handle threats. It is also intended to be flexible, so it could be a co-operative game or an adversarial one, and so on. Overall, one of the more detailed and explained designs in the anthology. 
‘Maenads: A Savage Sisters Sheathe’ by Adriel Lee Wilson is an option for the Savage Sisters roleplaying game. The Maenads are actors, acrobats, singers, and performers of daring feats who travel the land performing and entertaining, whilst also ferreting out secret injustices which they put right. This puts a colourful spin upon ‘Savage Sisters: Heroic Women Against a Barbaric World’, which can be found in the pages of LEVEL 1 - volume 1 2020. ‘Vessel’ is another two-player game. Designed by Kyle Ott and Desks and Dorks, one player takes the role of the Vessel, perhaps a family figure or a reformed criminal, whilst the other is the occupying Entity, an Alien Implant or Eldritch Parasite. They take turns being the Game Master as the other attempts to achieve a goal, so the game swings from the ordinary to the outré and back again. Throughout, both will be forced to evaluate the other and the relationship they have with each other. The result is that they create two entwined stories in an odd, almost sitcom-like buddy movie. 

Naturally, ‘Gods of Rock’ by Patrick Watson & Nat Mesnard of Oat & Noodle Studios turns up the sound to eleven in a post-apocalyptic confrontation between two classic rock (music) gods who have been friends and enemies forever. The confrontation switches between duel and performance and back again, in far more effective fashion then the earlier ‘Battle of the Bands’. Dare Hickman’s ‘The Slate: A Game of Creation and Destruction’ is a storytelling game of creation of a world, populating it, filling it with life, destroying it, and so on. It is a short, one session game which progresses to a Final Judgement, an enjoyably sweet exercise in creation and destruction. It is difficult to describe ‘The Stars Were Many’ as a game exactly. V. R. Collins’ design is a solo game in which the player races to save the falling stars from their constellation. It is all done to a time limit in which the player draws cards to plot the movement of his stars to get them into alignment once again. It can be best described as more timed puzzle than a game.
Alexi Sargeant’s ‘To Wield the Blade of Ages’ has an enjoyably mythic quality. The players take the roles of Claimants to the Blade of Ages, come before the Swordkeeper to state their case as to why they should wield it next, as well working to undermine the claims of their rivals. Each Claimant will extoll his virtues and his glories, whilst also having to explaining the other claimants’ reports of your poor conduct and actions. The Swordkeeper will interview the claimants in turn, handing out Merit and Dishonour dice as he sees fit. These will eventually rolled, with the results from the Dishonour dice cancelling out those from the Merit dice, and the Claimant with the highest result not only being awarded the Blade of Ages, but also allowed to influence narration of how the other Claimants are remembered. This is an engaging game of competitive storytelling with the Swordkeeper also pushing back at the Claimants’ tales of their heroics and should prove entertaining to play.
Lastly, Jim Dagg’s ‘Insubordinate’ bills itself as “An antifascist science fantasy RPG inspired by Final Fantasy VII, VIII, and XIII.” Consequently, it pretty much wears that influence on its sleeve (or is that in its spikey hair and extraordinarily large blade?), so it is very easy to buy into the set-up and genre if you know the inspiration. The players take the roles of resistance fighters standing up against the all-powerful Dominion, which has decided to subvert, control, and leverage an Ancient Power to gain its power over the world. The players get to design characters using different battle styles, black elemental or sabotage spells, white protective spells, and techniques which include practical skills and tricks. The game is played as a series of missions, broken down in acts representing different hurdles the Player Characters have to overcome or defeat or avoid. ‘Insubordinate’ lends itself to campaign play and really should have the players humming the victory music at the end of every battle.

LEVEL 1 – volume 3 2022 is a slim, digest-sized book. Although it needs an edit in places, the book is well presented, and reasonably illustrated. In general, it is an easy read, and most of it is easy to grasp. It should be noted that the issue carries advertising, so it does have the feel of a magazine.

As with previous issues, LEVEL 1 – volume 3 2022 is the richest and deepest of the releases for Free RPG Day 2022. Not every one of the fifteen games in the anthology explores its theme of ‘myths and legends’, but for the most part, the fifteen are interesting, even challenging, and will provide good sessions of roleplaying. Some though are not interesting or even playable as a game, but the good outweighs the bad—or the uninteresting. Once again, despite the variable quality of its content, of all the releases for Free RPG Day 2022, LEVEL 1 - volume 3 2023 is the title that playing groups will come back to again and again to try something new each time.

Now in its fifteenth year, Free RPG Day in 2022, was celebrated not once, but twice. First on Saturday, 25th June in the USA, and then on Saturday, 23rd July internationally. This was to prevent problem with past events when certain books did not arrive in time to be shipped internationally and so were not available outside of the USA. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Thanks to the generosity of David Salisbury of Fan Boy 3, Reviews from R’lyeh was get hold of many of the titles released for Free RPG Day, both in the USA and elsewhere.

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Goodman Games provided two titles to support Free RPG 2022. The first was The Three-Wizard Conundrum, an entertaining scenario for Dungeons & Dragons, Fifth Edition, much in the mode of The Dying Earth stories by Jack Vance. The other was an adventure for the Dungeon Crawl Classics Role Playing Game, as you would expect, highly anticipated. Free RPG Day 2022 – Dungeon Crawl Classics: Danger in the Air is a Character Funnel, one of the features of both the Mutant Crawl Classics Roleplaying Game and the Dungeon Crawl Classics Role Playing Game—in which initially, a player is expected to roll up three or four Level Zero characters and have them play through a generally nasty, deadly adventure, which surviving will prove a challenge. If one or more of the Player Characters survive—and the players may need to share some of their surviving characters if one or more players get theirs killed—then they will have each acquired the sufficient Experience Points necessary to rise to the heady heights of First Level. In the process, they will gain a Class and all of its benefits.
Free RPG Day 2022 – Dungeon Crawl Classics: Danger in the Air begins with a strange occurrence. As the villagers look up, they see a strange alien creature drifting in the air above their homes, its translucent body rent with weeping wounds. Within its body can be seen a structure and from one damaged corner gold and other treasure glints, even as the occasional trickle of alien, though doubtless gold, coins rains from the sky. Already, other villagers have scavenged treasures beyond their imagination from the blobs of alien flesh which have fallen from the sky, but there is surely more—much more—to be found inside the odd combination of jellyfish with butterfly-like wings? Fortunately, there is an easy way up. Numerous tentacles and tendrils dangle from its underside, and if some brave souls can climb their length, there has to be a way inside. After all, how else did the treasure get there otherwise? There are certain to be dangers too, but any man, woman, elf, dwarf, or halfling, armed only with a stick or a pig or a piece of overly fragrant cheese, brave enough to make the climb and explore the strange structure is destined for better things.
Getting into the strange floating object is relatively easy and what the Player Characters discover is not one, but two weird combinations. The first is that of Science Fiction and fantasy, though actually, more the former than the latter. The second is strange biology with technology. This will be apparent to the players of course, but not their characters, for whom Clarke’s Third Law—“Any sufficiently advanced technology is indistinguishable from magic.”—definitely applies. This is because the object turns out to be an advanced interdimensional spacecraft which suffered a catastrophic encounter and with its occupants dead, drifted into the Player Characters’ world. It also means that there are a lot of strange devices and objects which the Player Characters can interact with to various effects. The adventure consists of just eleven locations across three floors, and it should no surprise that each includes lots of detail that the Judge can use to bring the adventure location to life.
A playing group should be able to play through Free RPG Day 2022 – Dungeon Crawl Classics: Danger in the Air in just about a single session. If any of the Player Characters survive long enough to discover and return with the treasure its vault holds, then they will be surprisingly wealthy as well having sufficient Experience Points to each First Level. The Judge also has a hook or two which she can develop into a possible sequel. Hopefully, Goodman Games will return to the story in a sequel to Free RPG Day 2022 – Dungeon Crawl Classics: Danger in the Air.
Physically, Free RPG Day 2022 – Dungeon Crawl Classics: Danger in the Air is slightly disappointing as it is not quite up to the standards usually set by the publisher. In places the writing is rushed and the map, whilst clearer than in other releases for the Dungeon Crawl Classics Roleplaying Game, is mislabelled. The artwork is excellent and entertaining though.
Free RPG Day 2022 – Dungeon Crawl Classics: Danger in the Air is a thoroughly entertaining scenario. It definitely offers a fun session of roleplaying mind-boggled villagers just trying to work what they have themselves into and wondering if they are going to be able to get out again. 

Now in its fifteenth year, Free RPG Day in 2022, was celebrated not once, but twice. First on Saturday, 25th June in the USA, and then on Saturday, 23rd July internationally. This was to prevent problem with past events when certain books did not arrive in time to be shipped internationally and so were not available outside of the USA. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Thanks to the generosity of David Salisbury of Fan Boy 3, Reviews from R’lyeh was get hold of many of the titles released for Free RPG Day, both in the USA and elsewhere.

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Cyberpunk Red: Easy Mode – An Introduction to the Dark Future is the new quick-start and introduction to Cyberpunk Red, the fourth edition of the Cyberpunk roleplaying game originally published by R. Talsorian Games Inc. in 1988. Inspired by the Cyberpunk literary subgenre—of which William Gibson’s Neuromancer was a leading example—Cyberpunk Red is set in a dark future ravaged by disease, ecological collapse, corporate rapaciousness, and political unrest. The massive growth of corporations as extraterritorial entities, which radically dividing the future into one of extreme haves and havenots, was shattered in 2023 when a ‘pocket nuke’ was detonated in the Arasaka headquarters in the west coast metroplex of Night City. This ended the Fourth Corporate War between Arasaka and Militech, devastated Night City, and brought economic and environmental devastation to the world, causing a depression which continues two decades on... It ended corporate domination, reducing corporations to being local and international; turned much of the USA into a new Wild West where safe travel could often be promised by the Nomad tribes. For years after the nuclear detonation, the sky was red and still is at dawn dusk, leading the new age to be known as the Time of the Red.

The world of Cyberpunk Red is violent, neon cast, and dominated by technology to the point where it has been subsumed into the body. Cyberware enables humanity to be faster, stronger, have better senses, and more. Some have reacted to this mechanical invasion of the body with technoshock, but other have embraced it, living on the edge, taking advantage of their enhancements to be able to rip doors off with their cyberarms, drive their car or aerodyne with inhuman reflexes via interface plugs, tune into the infrared with cybereyes, or even cast their consciousness into local NET architectures at the speed of data. All to survive, make money, and build their rep. They are known as Edgerunners.
The setting for Cyberpunk Red and Cyberpunk Red: Easy Mode – An Introduction to the Dark Future is Night City, the independent west coast city state where the ‘pocket nuke’ was detonated in 2023 and is still rebuilding after the effects of the bomb. Services, supplies, and law enforcement are what you pay for. The reduced corporations still supply and provide almost everything, from power to food to medical services to media, often brought in by Nomad tribes that run transport in the new North America, independents do grow real food though, and whilst the corporations have their own security, freelancers and bodyguards are available for hire, though the city maintains a Maximum Force Tactical Division or ‘Psycho Squad’ or ‘MAX–TAC’ which handles cybernetic criminals or anyone suffering from Cyberpsychosis. As inhabitants of Night City, you get your information from city wide freestanding dataterms and news from screamsheets downloaded to a personal agent helps you with your daily life from phone calls to shopping; you wear clothing able to emit sounds and video, even monitor your condition; you do your shopping at self-contained, armed and armoured Vendits; you eat kibble or good prepack food if you can; and you go armed. Either a Polymer One-shot easily bought or printed, or something bigger purchased from a Fixer after it has been scavenged from the Fourth Corporate War or smuggled into the city. The same goes for Cyberware...
Cyberpunk Red: Easy Mode – An Introduction to the Dark Future devotes the first quarter of its forty-eight pages to introducing the genre of Cyberpunk and Cyberpunk Red as a setting. The former covers the attitudes of the genre—‘Style Over Substance’, ‘Attitude is Everything’, and ‘Live on the Edge’—before the latter provides a surprisingly detailed overview of Cyberpunk Red’s dark future. This overview is of course, much shortened from the Cyberpunk Red core rulebook, but there is a lot of information here, including a timeline running from 1990 to 2045 and a description of Night City, as well as its notable megacorporations, gangs, and street slang.
The middle part of Cyberpunk Red: Easy Mode – An Introduction to the Dark Future is devoted to explaining the rules. Mechanically, both it and Cyberpunk Red uses the Interlock system. In general, for his Edgerunner to do anything, a player will roll a ten-sided die and add the Edgerunner’s Stat and Skill (or Role Ability) to the result in order to beat a Difficulty Value. This Difficult Value is thirteen for an Everyday task, fifteen for Difficult, seventeen for Professional, twenty-one for Heroic, and so on. Critical successes—rolls of ten—enable a player to keep rolling and adding to his total as long as he keeps rolling ten, whereas Critical failures—rolls of one—forces him to roll again and subtract from the total, but just the once. In combat, chases, and so on, the rolls tend to be opposed, both sides rolling and adding their character’s Stat and appropriate Skill.
Combat covers gun combat, melee combat, and brawling, including various manoeuvres such as grab, choke, hold action, and more. Weapon damage is rolled on six-sided dice, such as five six-sided dice for a shotgun and three for a heavy pistol. Whenever a damage roll includes two or more rolls of six, a critical injury is inflicted and a roll on the Critical Injuries table is required. This can result in the character having a limb dismembered, a collapsed lung, crushed fingers, or worse… Also included in the rules is another kind of combat—the facedown. This enables a character to gain a psychological advantage over an opponent.
The scenario in Cyberpunk Red: Easy Mode – An Introduction to the Dark Future is ‘Getting Paid: A First Job for Cyberpunk Red’. It is short, consisting of really only two scenes, focusing on conflict and confrontation, and it should only take a single session to play through. Designed as an introduction to Night City and Cyberpunk Red, as the scenario opens, the Player Characters or Edge Runners have made a score, having stolen some money from the South Night City Docks. However, a gang of corrupt cops have learned about the theft and sets the Edge Runners up to take the money from them after beating up their fixer. After surviving an ambush, the Edge Runners are free to take whatever approach they want in getting the money back, including diplomacy, violence, and stealth.
‘Getting Paid: A First Job for Cyberpunk Red’ is designed to be played by five players and five pre-generated Edge Runners are provided in Cyberpunk Red: Easy Mode – An Introduction to the Dark Future. They are a Rockerboy, a Solo, a Tech, a Medtech, and a Media. Rockerboys are rock and roll rebels who use performance and rhetoric to fight authority; Solos are assassins, bodyguards, killers, and soldiers for hire in a lawless new world; Techs are renegade mechanics; Medtech are doctors who patch up meat and metal alike; and Medias are reporters and journalists looking to break the big story. Each pre-generated Edgerunner is given a two-page character sheet. On the front is an illustration of the Edgerunner as well as his full stats, skills, armour, weapons, cyberware, and gear. On the back is some background, plus spaces for the Edgerunner’s Lifepath to be filled in. Once a player has selected the Edgerunner he wants to play, he rolls on the Lifepath table—a feature of Cyberpunk going all the way back to Cyberpunk 2013 and replicated in a stripped back version in the Cyberpunk Red: Easy Mode – An Introduction to the Dark Future—to determine his Background, Motivation, Goals, Friends (other than the player characters), Enemies, Romance, and Personality. This nicely adds a degree of variation between the player characters and gets them rolling dice even before play, and in addition, the Game Master is encouraged to tie the results of some of these dice rolls into the scenario.
Physically, everything in the Cyberpunk Red: Easy Mode – An Introduction to the Dark Future is presented in full colour. The layout is clean and tidy, the illustrations are fully painted pieces and excellent. The two maps provided for the encounters in ‘Getting Paid: A First Job for Cyberpunk Red’ are also nicely done. Overall, Cyberpunk Red: Easy Mode – An Introduction to the Dark Future is an enjoyably readable product.
There are two issues with Cyberpunk Red: Easy Mode – An Introduction to the Dark Future, both of which it shares with the earlier Cyberpunk Red Jumpstart Kit. One is that does not name its weapons or cyberware, so that all of the gear feels flat and generic, rather than giving flavour as it should. The second is that it does not include the Netrunner Role, the cybernetic master hackers of the post-NET world and brain burning secret stealers. This is understandable, as the Role is mechanically and conceptually far more complex than any of the Roles used in ‘Getting Paid: A First Job for Cyberpunk Red’, and its inclusion would potentially slow down game play in what is designed to be a fast-paced, action orientated scenario. That said, the Netrunner is one of Cyberpunk Red’s signature Roles and its absence is felt in Cyberpunk Red: Easy Mode – An Introduction to the Dark Future.
With its combination of background, rules, Edge Runners, and straightforward scenario, Cyberpunk Red: Easy Mode – An Introduction to the Dark Future does feel like a mini or stripped back version of the Cyberpunk Red core rule book. Essentially, as the title suggests, Cyberpunk Red on ‘Easy Mode’. Cyberpunk Red: Easy Mode – An Introduction to the Dark Future is a solid, serviceable, and succinct introduction to Cyberpunk Red that delivers a one-session taster of the Time of the Red.

Now in its fifteenth year, Free RPG Day in 2022, was celebrated not once, but twice. First on Saturday, 25th June in the USA, and then on Saturday, 23rd July internationally. This was to prevent problem with past events when certain books did not arrive in time to be shipped internationally and so were not available outside of the USA. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Thanks to the generosity of David Salisbury of Fan Boy 3, Reviews from R’lyeh was get hold of many of the titles released for Free RPG Day, both in the USA and elsewhere.

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Published by Magpie Games, Root: The Tabletop Roleplaying Game is a roleplaying game based on the award-winning Root: A Game of Woodland Might & Right board game, about conflict and power, featuring struggles between cats, birds, mice, and more. The Woodland consists of dense forest interspersed by ‘Clearings’ where its many inhabitants—dominated by foxes, mice, rabbits, and birds live, work, and trade from their villages. Birds can also be found spread out in the canopy throughout the forest. Recently, the Woodland was thrown into chaos when the ruling Eyrie Dynasties tore themselves apart in a civil war and left power vacuums throughout the Woodland. With no single governing power, the many Clearings of the Woodland have coped as best they can—or not at all, but many fell under the sway or the occupation of the forces of the Marquise de Cat, leader of an industrious empire from far away. More recently, the civil war between the Eyrie Dynasties has ended and is regroupings its forces to retake its ancestral domains, whilst other denizens of the Woodland, wanting to be free of both the Marquisate and the Eyrie Dynasties, have formed the Woodland Alliance and secretly foment for independence.

Between the Clearings and the Paths which connect them, creatures, individuals, and bands live in the dense, often dangerous forest. Amongst these are the Vagabonds—exiles, outcasts, strangers, oddities, idealists, rebels, criminals, freethinkers. They are hardened to the toughness of life in the forest, but whilst some turn to crime and banditry, others come to Clearings to trade, work, and sometimes take jobs that no other upstanding citizens of any Clearing would do—or have the skill to undertake. Of course, in Root: The Tabletop Roleplaying Game, Vagabonds are the Player Characters.

Root: The Tabletop Roleplaying Game is ‘Powered by the Apocalypse’, the mechanics based on the award-winning post-apocalyptic roleplaying game, Apocalypse World, published by Lumpley Games in 2010. At the heart of these mechanics are Playbooks and their sets of Moves. Now, Playbooks are really Player Characters and their character sheets, and Moves are actions, skills, and knowledges, and every Playbook is a collection of Moves. Some of these Moves are generic in nature, such as ‘Persuade an NPC’ or ‘Attempt a Roguish Feat’, and every Player Character or Vagabond can attempt them. Others are particular to a Playbook, for example, ‘Silent Paws’ for a Ranger Vagabond or ‘Arsonist’ for the Scoundrel Vagabond.

To undertake an action or Move in a ‘Powered by the Apocalypse’ roleplaying game—or Root: The Tabletop Roleplaying Game, a character’s player rolls two six-sided dice and adds the value of an attribute such as Charm, Cunning, Finesse, Luck, or Might, or Reputation, to the result. A full success is achieved on a result of ten or more; a partial success is achieved with a cost, complication, or consequence on a result of seven, eight, or nine; and a failure is scored on a result of six or less. Essentially, this generates results of ‘yes’, ‘yes, but…’ with consequences, and ‘no’. Notably though, the Game Master does not roll in ‘Powered by the Apocalypse’ roleplaying game—or Root: The Tabletop Roleplaying Game. 

So for example, if a Player Character wants to ‘Read a Tense Situation’, his player is rolling to have his character learn the answers to questions such as ‘What’s my best way out/in/through?’, ‘Who or what is the biggest threat?’, ‘Who or what is most vulnerable to me?’, ‘What should I be on the lookout for?’, or ‘Who is in control here?’. To make the Move, the player rolls the dice and his character’s Cunning to the result. On a result of ten or more, the player can ask three of these questions, whilst on a result of seven, eight, or nine, he only gets to ask one.

Moves particular to a Playbook can add to an attribute, such as ‘Master Thief’, which adds one to a character’s Finesse or allow another attribute to be substituted for a particular Move, for example, ‘Threatening Visage’, which enables a Player Character to use his Might instead of Charm when using open threats or naked steel on attempts to ‘Persuade an NPC’. Others are fully detailed Moves, such as ‘Guardian’. When a Player Character wants to defend someone or something from an immediate NPC or environmental threat, his player rolls the character’s Might in a test. The Move gives three possible benefits—‘ Draw the attention of the threat; they focus on you now’, ‘Put the threat in a vulnerable spot; take +1 forward to counterstrike’, and ‘Push the threat back; you and your protected have a chance to manoeuvre or flee’. On a successful roll of ten or more, the character keeps them safe and his player cans elect one of the three benefits’; on a result of seven, eight, or nine, the Player Character is either exposed to the danger or the situation is escalated; and on a roll of six or less, the Player Character suffers the full brunt of the blow intended for his protected, and the threat has the Player Character where it wants him.

Root: Talon Hill Quickstart is the Free RPG Day 2022 from Magpie Games for Root: The Tabletop Roleplaying Game. It includes an explanation of the core rules, six pregenerated Player Characters or Vagabonds and their Playbooks, and a complete setting or Clearing for them to explore. From the overview of the game and an explanation of the characters to playing the game and its many Moves, the introduction to the Root: The Tabletop Roleplaying Game in Root: Talon Hill Quickstart is well-written. It is notable that all of the Vagabonds are essentially roguish in nature, so in addition to the Basic Moves, such as ‘Figure Someone Out’, ‘Persuade an NPC’, ‘Trick an NPC’, ‘Trust Fate’, and ‘Wreck Something’, they can ‘Attempt a Roguish Feat’. This covers Acrobatics, Blindside, Counterfeit, Disable Device, Hide, Pick Lock, Pick Pocket, Sleight of Hand, and Sneak. Each of these requires an associated Feat to attempt, and each of the six pregenerated Vagabonds has one, two, or more of the Feats depending just how roguish they are. Otherwise, a Vagabond’s player rolls the ‘Trust to Fate’ Move.

The six pre-generated Vagabonds include Fineas the Champion, a Pug would-be hero who has become tired of war; Saga the Chronicler, a Possum fearless scholar whose curiosity drives them to uncover the secret of the past (and Talon Hill in particular); Shariyen the Envoy, a Bat diplomat who wants to end conflicts; Jeurgin the Heretic, a Rabbit healer and preacher wanting to found and build a faith in the Great Tree; Dona the Seeker, a Mole explorer who wants to dig into the ruins of Augustine Castle in Talon Hill; and Aurélien the Exile, a Lizard former knight who seeks revenge for being betrayed many years before. Most of these Vagabonds have links to the given Clearing in Root: Talon Hill Quickstart and all are complete with Natures and Drives, stats, backgrounds, Moves, Feats, and equipment. All a player has to do is decide on a couple of connections and each Playbook is ready to play.
As its title suggests, the given Clearing in Root: Talon Hill Quickstart is Talon Hill. Its description comes with an overarching issue and conflicts within the Clearing, important NPCs, places to go, and more. The situation in Talon Hill is different to that of most Clearings. A sprawl of modern buildings below the crumbling Augustine Castle atop a great tree, its core Conflict concerns a dynastic feud which has the potential to affect all of the Woodland. Although foxes dominate the Clearing, it is ruled by the Kingfishers, an old Eyrie family which once sat on the throne of the Eyrie Dynasties. The current possessor of the silver laurel crown is Lord Thurgud II of Talon Hill. His claim though, is disputed by his sister, Theodora, a successful general, and Gaius, an ambitious merchant who believes has a stronger claim via a more traditional means of determining the succession. All three believe Augustine Castle to hold several Eyrie symbols of power, possession of which would strengthen a claim to both wear the silver laurel crown of Talon Hill and potentially, the Eyrie Dynasties. This has led to standoff between the three factions and their forces over access to Augustine Castle, but if a way could be found into the crumbling ruins, perhaps they could found and one faction or another favoured…? Elsewhere in Talon Hill, the local band of smugglers, thieves, and cutthroats known as the Moonlight Syndicate is looking to expand beyond its agreement with the local Knight Sergeant of the Guard which keeps it in balance, and a rash of murdered birds have appeared on the streets of the clearing who appear to have been killed in a manner previously used by a Lizard Cult as part of its sacrifices. Has the Lizard Cult returned or is there another faction operating in Talon Hill? There is advice on how these Conflicts might play out if the Vagabonds do not get involved and there are no set solutions to any of the situations. For example, the Moonlight Syndicate will ultimately expand its operation and come to run law enforcement in Talon Hill. If there is an issue with any one of the four Conflicts, it is perhaps that the one involving the Moonlight Syndicate and the local Knight Sergeant of the Guard is a bit too similar to Conflicts found in other Clearings. However, the Conflict involving the disputed claim to the silver laurel crown and the Eyrie Dynasties pulls Root: The Tabletop Roleplaying Game and the Vagabonds into the backstory to the current situation of the Woodland, and potentially, pushes its story forward.

Physically, Root: Talon Hill Quickstart is a fantastic looking booklet, done in full colour and printed on heavy paper stock. It is well written and the artwork, taken from or inspired by the Root: A Game of Woodland Might & Right board game, is bright and breezy, and really attractive. Even cute. Simply, just as Root: The Pellenicky Glade Quickstart was for Free RPG Day 2020 and Root: The Bertram’s Cove Quickstart was for Free RPG Day 2020, so too Root: Talon Hill Quickstart is physically the most impressive of all the releases for Free RPG Day 2022.

If there is an issue with Root: Talon Hill Quickstart it is that it looks busy and it looks complex—something that often besets ‘Powered by the Apocalypse’ roleplaying games. Not only do players need their Vagabond’s Playbooks, but also reference sheets for all of the game’s Basic Moves and Weapon Moves—and that is a lot of information. However, it means that a player has all of the information he needs to play his Vagabond to hand, he does not need to refer to the rules for explanations of the rules or his Vagabond’s Moves. That also means that there is some preparation required to make sure that each player has the lists of Moves his Vagabond needs. Another issue is that the relative complexity and the density of the information in Root: Talon Hill Quickstart means that it is not a beginner’s game and the Game Master will need a bit of experience to run Talon Hill and its conflicts.

Ultimately, the Root: Talon Hill Quickstart comes with everything necessary to play and keep the attention of a playing group for probably three or four sessions, possibly more. Although it needs a careful read through and preparation by the Game Master, Root: Talon Hill Quickstart is a very good introduction to the rules, the setting, and conflicts in Root: The Tabletop Roleplaying Game—and it looks damned good too. For the Game Master who is already running a Root: The Tabletop Roleplaying Game campaign, the Root: Talon Hill Quickstart provides another Clearing that she can add to her campaign with the others available in the proper quick-start for the roleplaying game as well as releases for previous Free RPG Days.

Now in its fifteenth year, Free RPG Day in 2022, was celebrated not once, but twice. First on Saturday, 25th June in the USA, and then on Saturday, 23rd July internationally. This was to prevent problem with past events when certain books did not arrive in time to be shipped internationally and so were not available outside of the USA. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Thanks to the generosity of David Salisbury of Fan Boy 3, Reviews from R’lyeh was get hold of many of the titles released for Free RPG Day, both in the USA and elsewhere.

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Epic Encounters: Bridge of the Duergar Cult is a scenario part of the Epic Encounters series. Published by Steamforged Games for use with Dungeons & Dragons, Fifth Edition, the Epic Encounters line is a series of boxed adventure sets which include a scenario and both floor plans and miniatures for use with the scenario. Steamforged Games divides its Epic Encounters series in three Tiers of Play—Lower, Middle, and Higher—which determine the standard Difficulty Check value that a Player Characters has to roll and Damage Level (or die type) suffered by a Player Character throughout the scenario. For Bridge of the Duergar Cult, there is no set Tier of Play, which means the scenario can be easily adjusted to suit the Level of the Player Characters. However, the high Challenge Rating of the end of level boss makes the scenario unsuitable for the lower Tier of Play. In addition, the scenario includes numerous motivations for the Duergar to explain their actions and hooks for the Player Characters to get involved. This immediately gives Epic Encounters: Bridge of the Duergar Cult a pleasing flexibility when it comes to the Dungeon Master adding it to her campaign.
Epic Encounters: Bridge of the Duergar Cult reveals that the stone-willed and brutally logical and darkly cruel Duergar have plan to extend their domination of the Underways and give their hatred of the surface world a physical reality. Under the leadership of the Duergar king, Roarie mac Nessa, they want to raise an ancient and terrible demon from the Abyss and then have it lead them into war across the Underworld and beyond… The ritual will be performed in the Temple of Medb, dedicated to the first ruler of the Duergar. Yet before anyone can enter the temple and prevent the ritual before it can be completed, they must cross the great Bridge of Cathbad, the formidable piece of engineering that is the last bastion of defence before the temple doors. Epic Encounters: Bridge of the Duergar Cult focuses upon these two locations—the Bridge of Cathbad and the Temple of Medb—and their defenders and their defences. Both are suspended over the abyss and require full on assaults by the Player Characters.
The Duergar are stalwart defenders. First, the Player Characters will need to overcome a phalanx of Duergar soldiers supported by archers; make their way across a bridge which shifts under their feet, its iron tiles trapping their ankles and impeding their progress; and the while being sniped at by Duergar Mages. The Player Characters will find that the environment favours the Duergar—stone giving them strength, knowledge of the defences an Armour Class bonus, and the magic that has seeped into the stone granting the Deep Dwarves Mages a definitive advantage. That is the least of the defences—at least on the bridge. Once in the Temple of Medb, the Player Characters are beset by a great gale which threatens to gust them over the edge and into the Abyss; by fire, blood, bile, and even gold, which jets out of the broken network of pipes which just from the temple walls; and by Duergar berserkers willing to throw themselves at the Player Characters, and then both themselves and the Player Characters into the Abyss to defend the temple to their great mistress. Throughout all of this chaos and battle sits Roarie mac Nessa, waiting, watching, and preparing to face those who would stop his plans. He himself has a Challenge Rating of eight, and is likely too tough an opponent for the lower Tier of Play.
Physically, Epic Encounters: Bridge of the Duergar Cult is cleanly and tidily presented. The artwork is excellent and the layout of the various NPCs and monsters easy to use. The two maps—one each for the Bridge of Cathbad and the Temple of Medb—are dark, if clear. These are slightly small for use with miniatures, but do look great. One problem with both maps is that neither is numbered. So, it is not obvious where particular locations are, which makes them a little difficult to use for the Dungeon Master.
Epic Encounters: Bridge of the Duergar Cult lives up to its title of being a genuinely ‘epic’ encounter. Its two great battles will challenge any group of Player Characters, though perhaps the rewards for all of that effort may be disappointing for some playing groups. Epic Encounters: Bridge of the Duergar Cult is a really good addition to any Dungeons & Dragons campaign set in the Underworld. If the Player Characters have been actively campaigning against the Duergar, then it can work as the culmination of the campaign, otherwise it can be slipped into the campaign as an epic sidequest. 

Now in its fifteenth year, Free RPG Day in 2022, was celebrated not once, but twice. First on Saturday, 25th June in the USA, and then on Saturday, 23rd July internationally. This was to prevent problem with past events when certain books did not arrive in time to be shipped internationally and so were not available outside of the USA. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Thanks to the generosity of David Salisbury of Fan Boy 3, Reviews from R’lyeh was get hold of many of the titles released for Free RPG Day, both in the USA and elsewhere.

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Goodman Games provided two titles to support Free RPG 2022, one of which was more highly anticipated than the other. As you would expect, the highly anticipated titles was Danger in the Air, an adventure for the Dungeon Crawl Classics Role Playing Game. Yet as highly anticipated as Danger in the Air was, the other release should not be dismissed out of hand. The other release asks the question, “What do adventurers do between adventures?” Well, in the case of The Three-Wizard Conundrum, they get themselves involved in more adventures, of course! As the scenario opens, the party of brave adventurers is unwinding in a tavern, when they receive word that not one, not two, but three mighty wizards are in town, each looking for a band of capable adventurers to retrieve a fabled Ring of Wizardry. In return, they will pay a decent reward and let the Player Characters take whatever other treasure they recover. However, the task must involve great peril, for otherwise the wizards would have already found and obtained the ring for themselves.
The Three-Wizard Conundrum is an adventure for Dungeons & Dragons, Fifth Edition designed to be played by a party of Third and Fourth Level Player Characters. It is delightfully simple affair, really divided between the nicely detailed descriptions of the three scenario’s antagonists—Humboldt of Hightower, Dunbar the Arcane, and Rialto the Resplendent—and the three area dungeon that they send the protagonists to. All three wizards will approach the Player Characters and make them an offer if they will climb Cleft Mountain and once near its summit, descend into the depths of a deep gorge, the result of a great divine battle in ages past which has left magic reliable in the area. Hence their reluctance to descend into their depths themselves. This is reflected by the ‘Wild Magic Effects’ table which is rolled upon any time that a Player Character attempts to cast a spell and fails.
The Player Characters have the chance to check up on the three wizards and may learn a secret or two about the wizards before they climb the mountain and descend into its depths. There is more going on than meets the eye—though not much more given the length of the scenario—and ultimately, if the Player Characters survive they will have made an enemy or two, or three, or more. However, they are unlikely to have grabbed much in the way of treasure and extremely unlikely to have been paid, and for a very good reason. The whole situation is a scam, a fairly dark scam, which will keep both Dungeon Master and her players and their characters on their toes. The other reason that the lack of treasure is unlikely to be a bother is that The Three-Wizard Conundrum is an in-between adventure, a side trek affair, which slots very easily into any campaign.
Physically, The Three-Wizard Conundrum is superbly presented. The cover is excellent and internal artwork good. It does a careful read through to quite grasp what is going on, but the scenario is well written.
The Three-Wizard Conundrum is a really fun little adventure which should provide one or two sessions’ worth of play when the Dungeon Master slots it into her campaign. Although not specifically written for it, the scenario has all of the knavery and insouciance of Jack Vance’s The Dying Earth series of stories, which of course, Goodman Games is publishing as an adaptation of for the Dungeon Crawl Classics Role Playing Game. Overall, The Three-Wizard Problem is a delightful in-between adventure which would slots into any Dungeons & Dragons, Fifth Edition campaign or can be adapted to The Dying Earth Sourcebook for the Dungeon Crawl Classics Role Playing Game. In the meantime, can we have more scams from Humboldt of Hightower, Dunbar the Arcane, and Rialto the Resplendent please?

Now in its fifteenth year, Free RPG Day in 2022, was celebrated not once, but twice. First on Saturday, 25th June in the USA, and then on Saturday, 23rd July internationally. This was to prevent problem with past events when certain books did not arrive in time to be shipped internationally and so were not available outside of the USA. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Thanks to the generosity of David Salisbury of Fan Boy 3, Reviews from R’lyeh was get hold of many of the titles released for Free RPG Day, both in the USA and elsewhere.

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One of the perennial contributors to Free RPG Day is Paizo, Inc., a publisher whose titles for both the Pathfinder Roleplaying Game and the Starfinder Roleplaying Game have proved popular and often in demand long after the event. For Free RPG Day 2022, the publisher again provides a title for each of these two roleplaying games, A Fistful of Flowers for the Pathfinder Roleplaying Game, Second Edition, the other being Skitter Warp for the Starfinder Roleplaying Game. As in past years, this is an adventure involving four of the cheerfully manic, gleefully helpful, vibrantly coloured, six-armed and furry creatures known as Skittermanders—Dakoyo, Gazigaz, Nako, and Quonx. They were introduced in the Free RPG Day adventure for 2018, Starfinder: Skitter Shot, in which as the crew of the starship Clutch performed salvage tasks in the Vast beyond the Pact Worlds and then came across a derelict luxury liner, before being boarded by pirates and forced to crash land on a nearby world and survive as detailed in the Free RPG Day adventure for 2019, Starfinder: Skitter Crash. The foursome returned for Free RPG Day 2020 in Starfinder: Skitter Home—not to have adventures, but to have fun!
Starfinder: Skitter Warp is designed to be played by four Player Characters of Fifth Level. In addition to the core rules, the supplements Starfinder Alien Archive 2 and Starfinder Drift Crisis will be useful in running the adventure, but neither are required. The scenario returns to the planet Varkulon 4, the setting for Starfinder: Skitter Crash. In that scenario, a confrontation with a pirate ship combined with a strange natural phenomenon—now identified as the annual cosmic event known as a Drift cyclone—forced both ships to crash. The Player Characters must fight off the surviving pirates, repair their own ship, and make friends with the members of a scientific outpost, the Helix Lyceum, staffed by the slug-like Osharus. As a result of their efforts, the Player Characters acquired the salvage rights to the interesting debris which the Drift cyclone deposits on Varkulon 4. As Starfinder: Skitter Warp opens, the quartet of Skittermanders have returned to the world to collect more salvage—and once again, they are affected by a Drift cyclone.
The Drift cyclone is an annual cosmic event which occurs where the barrier between the Material Plane and Drift is thin. Varkulon 4 regularly passes through this region and so the crew of the Clutch is used to navigating its way around the phenomenon, but this year the ship is caught up in a miasma of planar energy which wreaks damage on the ship and as desperate message from the scientific outpost warns, on the planet below. Starfinder: Skitter Crash is primarily set up as a series of tasks built around events. So first, the Player Characters must repair their ship—which involves multiple tasks, such as using the Computer skill to plot the fastest route out of the miasma or the Athletics to rush to the engineering deck to heft power cables through access ports to reach power junctions—and then fending off an undead spaceship! Once the Player Characters reach the Helix Lyceum, they discover what is going on Varkulon 4—the planar energy unleashed by the Drift cyclone has transformed both planet and its inhabitants. The latter have transformed into either the best or the worst versions of themselves, so the majority of the scientists and inhabitants of the Helix Lyceum have become angelic and good, but those outside the scientific outpost have become demonic and evil, which includes friends of the Player Characters. Not only that, but the demonically transformed are now hellbent on smashing the Helix Lyceum and its inhabitants!
In the second half of the scenario, the Player Characters must defend the Helix Lyceum, including guiding civilians to safety, constructing defences, and holding off an attack by planar energy-transformed demons. These tasks can be done in any order, but get increasing difficult no matter which order they are dealt with. In addition, they are designed so that they have to be done with all four Player Characters rather than them splitting up and dealing with the tasks separately. This feels forced and some advice to handle what happens if the players decide their characters split up to deal with these tasks, would have been useful. Perhaps having the Player Characters realise that they cannot face a situation alone and they come to the rescue of each other? Once the Helix Lyceum is safe, the Player Characters can go out and track down their friends and hopefully save them and deal with the cause of the demonic outbreak which is attacking the Helix Lyceum.
Starfinder Skitter Warp is short and linear, no surprise given the format for Free RPG Day and the fact that it is intended as a demonstration adventure. Ideally, it should provide a session or two’s worth of entertaining play. Where the scenario differs from the previous scenarios involving the Skittermanders, is in the quartet of pre-generated characters provided for the players to roleplay. In the previous entries in the series, the four Player Characters are the Skittermanders—Dakoyo, Gazigaz, Nako, and Quonx. In Starfinder Skitter Warp, three of the Player Characters are Skittermanders. These are Dakoyo, Gazigaz, and Quonx. They are joined by Nakonechkin Ginnady, the male Vesk who is the others’ boss. It is great to see him play, his presence having been felt in the previous scenarios. However, this leaves the problem of what has happened to the fourth Skittermander, Nako. In the previous titles in the serious, he has always been a Player Character, but in Starfinder: Skitter Warp, he is shifted from being a Player Characters to NPC and discovering what happened to him is part of the scenario’s plot. Yet what if a player has roleplayed through the previous scenarios as Nako and wants to play him again? The obvious choice is to make Nakonechkin Ginnady the NPC, but Starfinder: Skitter Warp does not explore this option.
Physically, as with previous entries in the series, Starfinder: Skitter Warp is very nicely laid out and presented. The artwork is excellent, the writing clear, and the maps—placed inside the front cover—easy to use, if a little small. All exactly as you would expect for a scenario from Paizo, Inc.
If a group has played Starfinder: Skitter Shot, Starfinder: Skitter Crash, and Starfinder: Skitter Home before it, then doubtless they will be pleased to return to playing the humorous, if not silly, Skittermanders with Starfinder: Skitter Warp. Players new to Starfinder and the Skitterfinders may find the rules of the Starfinder Roleplaying Game slightly more complex than they expect and they certainly will not have the same sense of attachment to the Skittermander quartet as someone who has played the previous entries in the series. Even someone who played the previous scenarios may feel a sense of disconnect with the normally Player Character Nako being made an NPC.
Starfinder: Skitter Warp is a simple, straightforward scenario with a sense of both energy and urgency. Engagingly presented as you would expect for a title from Paizo, Inc. Starfinder: Skitter Warp is too deep into the story of the Skittermanders to quite work as an introduction to the Starfinder Roleplaying Game and ultimately, it is fans of both that will enjoy this scenario the most.

Now in its fifteenth year, Free RPG Day in 2022, was celebrated not once, but twice. First on Saturday, 25th June in the USA, and then on Saturday, 23rd July internationally. This was to prevent problem with past events when certain books did not arrive in time to be shipped internationally and so were not available outside of the USA. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Thanks to the generosity of David Salisbury of Fan Boy 3, Reviews from R’lyeh was get hold of many of the titles released for Free RPG Day, both in the USA and elsewhere.

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Curse of the Dread Marsh Crew is an adventure for Dungeons & Dragons, Fifth Edition. Published by Loke BattleMats, a publisher best known for its maps for roleplaying games, such as The Towns & Taverns Books of Battle Mats, The Wilderness Books of Battle Mats, and The Dungeon Books of Battle Mats, the scenario takes place in the same setting as the Box of Adventure 2: Coast of Dread. It involves pirates, a cemetery, a curse, and undead in short encounter which easily be played in a session. It comes with four pre-generated Player Characters of Second Level as well as a doubled-sided map and a sheet of counters, both on heavy cardboard. The adventure involves a good mix of combat, interaction, and a big puzzle, and is highly thematic, but in terms of its plotting, it needs a bit work.

In Curse of the Dread Marsh Crew the Player Characters are members of the privateer, Dread Marsh, who have been sent on a mission by the ship’s quartermaster, Axell. They were to acquire the Emerald Eye, a great gem, said to be held in the tomb of the legendary pirate, Foxbeard, which is in the Windward Cemetery. As the scenario opens, with Axell’s advice, they have successfully entered the tomb and exited with the Emerald Eye in hand. Yet as soon as they make their exit, the tomb entry slams shut, a mist surrounds the cemetery, and their very flesh begins to rot. It appears that they have been afflicted by the ‘Curse of the Black Mark!’

So the Player Characters begin the scenario being dead! Which brings with it a host of problems—terrible speech, looking and smelling like a zombie, a vulnerability to Radiant damage, and being unable to benefit from any type of Rest, as well as being unable to leave the cemetery. Their first problem though, is that the cemetery watchman along with his dog, Snuffles, arrives to keep an eye on the place overnight. Fortunately, he is short-sighted and so will not spot that they undead so easily. This is not the only difficulty the Player Characters will face as a torch and pitchfork-wielding mob will turn up from the nearest village, but for either encounter, there are plenty of options detailed, so the players can approach them in numerous ways, not necessarily via combat. Similarly, the two locations of the scenario—Windward Cemetery and Foxbeard’s crypt—are both nicely detailed.

In the second part of the scenario, arcane symbols light up around the entrance to Foxbeard’s Crypt. These are part of puzzle which must be solved before the Player Characters can get back into the crypt, but surely, they would have solved that when they broke into the tomb the first time? Inside, they face Foxbeard himself, wanting revenge for their having stolen the Emerald Eye, as well as members of his undead crew. Also, why did Foxbeard not rise and take his revenge when they were they broke into the tomb the first time? The obvious solution would be for the Player Characters to have been brilliant when they originally plundered the tomb and not disturbed the dread pirate in his final resting place  and then forgotten the solution to the puzzle as a result of their suffering from the ‘Curse of the Black Mark!’ The Dungeon Master may instead come up with a solution of her own, but either way, it is a problem in terms of the narrative.
All the while this is going on, the Player Characters are under the effects of the ‘Curse of the Black Mark!’. If they kill anyone in the cemetery—and there is a warning to found if they search the cemetery—the Black Mark on their hand will grow. Kill too many persons and the Black Mark will grow and grow until they are permanently transformed into one of the undead. There is a means to lift the curse to be found, but that means entering the tomb of course.

The four Player Characters include a Fighter, a Rogue, a Warlock, and a Wizard, all Second Level. All come with a back story, a thumbnail portrait, and a tracker for the ‘Curse of the Black Mark!’. The latter s nicely done as a hand, but there are no other mechanical effects as the Black Mark grows. It might have been fun if there had been to help enforce a sense of impending doom if there had been.

Physically, Curse of the Dread Marsh Crew is decently presented. The scenario booklet is general, well written and laid out. It lacks a card cover and so is flimsy. The double-sided map is done on sturdy card and in full colour. One side depicts the cemetery and the entry to the tomb, whilst the other shows the tomb proper. Both maps are easy to use with either the included counters, or with miniatures if the Dungeon Master and her players have them. The counters are decently done, but do need to be cut out carefully.

Curse of the Dread Marsh Crew is potentially a lot of fun and it takes the classic combination of pirates and the undead and does something different with it. The scenario also contains some nicely scenes as a consequence, such as making friends with a dog when you appear to be undead and persuading a baying mob that you are actually alive. Whilst the scenario can be played straight as written, it does have some plot holes which the Dungeon Master will have to fix to really bring out the fun to be had in Curse of the Dread Marsh Crew.

Now in its fifteenth year, Free RPG Day in 2022, was celebrated not once, but twice. First on Saturday, 25th June in the USA, and then on Saturday, 23rd July internationally. This was to prevent problem with past events when certain books did not arrive in time to be shipped internationally and so were not available outside of the USA. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Thanks to the generosity of David Salisbury of Fan Boy 3, Reviews from R’lyeh was get hold of many of the titles released for Free RPG Day, both in the USA and elsewhere.

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Iron Kingdoms: A Strange Light Breaks is a scenario fo Iron Kingdoms: Requiem, the version of the Steampunk and high fantasy setting best known for its miniatures combat game, Warmachine: Prime, for use with Dungeons & Dragons, Fifth Edition. Published by Privateer Press, Iron Kingdoms: Requiem and thus Iron Kingdoms: A Strange Light Breaks—and Iron Kingdoms: An Echo in the Darkness before it for Free RPG Day 2021 bring the setting and intellectual property full circle, both having been first seen in The Longest Night, Shadow of the Exile, and The Legion of the Lost, the trilogy of scenarios published for use with the d20 System in 2001. The three would later be collected as The Witchfire Trilogy.
The Iron Kingdoms is noted for three things. First, its interesting mix of races—Gobbers, Ogrun, and Trollkin alongside the traditional Humans, Elves, and Dwarves. There are no Halflings or Gnomes, and even the Elves are different to those of more traditional Dungeons & Dragons-style fantasy. Second, the prevalence of technology, in particular, the use of firearms and Steamjacks and Warjacks, steam-driven robots with magical brains, used in heavy industry and on the field of battle. Third, the tone of the setting is fairly grim, there being an island to the west, Cryx, where the sorcerers have long experimented with combing the undead with Steamjacks and Warjacks, and have long planned to invade the Iron Kingdoms.
Iron Kingdoms: A Strange Light Breaks is not a quick-start for Iron Kingdoms: Requiem, but a scenario, so the Game Master will need access to a copy of Iron Kingdoms: Requiem as well as Dungeons & Dragons, Fifth Edition, to run the scenario. It is designed to be played by between three and seven Player Characters of First to Fourth Level, but is optimised for five First Level Player Characters. As the scenario opens, a new branch of the Strangelight Workshop, the premier organisation in the Iron Kingdoms dedicated to investigating the supernatural, which has opened up a new branch in the city of Merin in the nation of Ord. It is looking for candidates and the Player Characters have decided to apply for whatever reason. Several motivations are provided to that end. A large sign above the door to the new branch reads ‘Post Delivery Outpost #113’ and the scenario feels reminiscent of Terry Pratchett’s Going Postal as well as possessing an enormous dollop of Ghostbusters.

The Ghostbusters feel starts with the equipment that the Player Characters are assigned. This includes antispectral ammunition for targeting ghosts, charged gauntlets to deal lightning damage to or grapple with ghosts, a Handheld Lumitype to take ‘spectragraphs’ of ghosts, and Strangelight Goggles and Strangelight Projectors, which gives the scenario a very technological feel.

The scenario is built around a job board on which are pinned three little jobs, each with a little commentary by the branch clerk, Emil Todmann, a constantly scowling if friendly ex-postman. These are quite colourful and should influence the order in which the Player Characters tackle them. They are free to do them in any order, but ideally should be run in the order that they are presented. In the first gig, ‘Branston Gunwerks’, the Player Characters, now newly-minted ‘spectral investigators’, are directed to a manufactory which is beset by gremlins doing all sorts of damage. They need to get into the building and in and amongst the machinery to ferret out the Gremlins who are having way too much fun in the Gunwerks. It is an action orientated opener which should be fun.

The second gig is ‘210 Aurora Street’ which takes place a few streets away from the branch office. There the occupants of a house have been beset by a spirit known as ‘Headless John’. The Player Characters have a chance to do a little research before he makes an appearance. When he does, they are free to approach however they want, so they can fight ‘Headless John’ or persuade him to move on. The latter is a less bruising option as ‘Headless John’ is quite a tough opponent, but again, this is another decent little encounter.

The third and final gig is ‘The Red Mare of Lime Gate’. A burning figure astride a red horse has been setting warehouses in the dock alight and Emil Todmann warns the Player Characters that this is an unknown entity and needs to be careful of what it might be. This is a slightly more complex scenario and there is plenty of opportunity for the Player Characters to conduct some investigation—interacting with the locals, examining some of the warehouses, and so on, before the spectre strikes! Ideally before then the player Characters will have picked up some clues that something is not right here and so it proves in a rousing finale to the scenario. Its secret is not the only one to be revealed in the scenario, as there is another in the scenario’s epilogue, which is entitled ‘End of Watch’ and has a double meaning. Both the finale and the epilogue can be played out in a few different ways, all of which are covered in the scenario.Physically, Iron Kingdoms: A Strange Light Breaks also comes with plain and simple, decent maps of each location for the scenario’s three gigs, as well as ‘Post Delivery Outpost #113’, full stats for all of its monsters and NPCs—from Gremlins to Emil Todmann, and full descriptions and stats for all of the equipment that the Player Characters are assigned as newly hired members of the Strangelight Workshop. Many of these are illustrated, as appropriate.
Iron Kingdoms: A Strange Light Breaks contains three very different ‘gigs’ or encounters and offers players a very different style of play to that of traditional Dungeons & Dragons in Iron Kingdoms. It involves a more investigative and technological mode of play and thus has a more modern feel. Iron Kingdoms: A Strange Light Breaks is an entertaining Ghostbusters-style scenario which is not fun to play, but definitely deserves a sequel.

Since 2013, Goodman Games, the publisher of the Dungeon Crawl Classics Role Playing Game and Mutant Crawl Classics Roleplaying Game – Triumph & Technology Won by Mutants & Magic has released a book especially for Gen Con, the largest tabletop hobby gaming event in the world. That book is the Goodman Games Gen Con Program Book, a look back at the previous year, a preview of the year to come, staff biographies, and a whole lot more, including adventures and lots tidbits and silliness. The first was the Goodman Games Gen Con 2013 Program Book, but not being able to pick up a copy from Goodman Games when they first attended UK Games Expo in 2019, the first to be reviewed was the Goodman Games Gen Con 2014 Program Book. Fortunately, a little patience and a copy of the Goodman Games Gen Con 2013 Program Book was located and reviewed, so now in 2021, normal order is resumed with the Goodman Games Gen Con 2016 Program Book.
The Goodman Games Gen Con 2017 Program Book is a slimmer, more focused edition than in previous years, with a double combination of source material and scenarios, not once, but twice, another scenario, as well as the usual mix of Goodman Games community content. The first of the source material/scenario combinations is ‘Dinosaur Crawl Classics’ and ‘The Return of Scravis’ both by Marc Bruner, adapts an earlier setting published by Goodman Games to the Dungeon Crawl Classics Role Playing Game. This is Dinosaur Planet: Broncosaurus Rex, the setting which Goodman Games published for the d20 System back in 2991. This is a Science Fiction setting in which mankind went to the stars in a timeline where the American Civil War ended in stalemate and two factions—the Federal Union of Planets and the Confederate States of America—are the leading powers. When dinosaurs are discovered on the Earth-like world of Cretasus, they rush to exploit it. Adventurers come for the wealth and glory; industrialists for the mineral wealth; colonists for the new world; and hunters for the biggest game of all—dinosaurs! Putting aside the fact that the setting draws from the American Civil War for some of its background, the obvious problem with ‘Dinosaur Crawl Classics’ is that it is a Science Fiction setting and Dungeon Crawl Classics is not. ‘Dinosaur Crawl Classics’ does not wholly address this as it is only a partial adaptation. What it suggests instead is using Cretasus and ‘Dinosaur Crawl Classics’ as a ‘Lost World’ a made mage’s experiment that perhaps the adventurers from a Dungeon Crawl Classics campaign end up on. However, that is not the default set-up in ‘Dinosaur Crawl Classics’.
In ‘Dinosaur Crawl Classics’, the players take the role of Velociraptor tribesmen! Options are given for playing at Zero Level, perhaps in Character Funnel, but the primary focus is on the five new Classes. These are Velociraptor Warrior, Velociraptor Tactician, Velociraptor Shaman, Velociraptor Exile, and the Wild One. These are mini Classes, just five Levels each. The Velociraptor Warrior is like the Warrior Class of the Dungeon Crawl Classics Role Playing Game; the Velociraptor Tactician lays traps, uses stealth, and can co-ordinate others in battle with tactics; the Velociraptor Shaman knows alchemy, casts Clerical spells, and can often predict the actions of a creature with natural premonitions; the Velociraptor Exile live apart from any tribe and have a greater understanding of the wider world and human technology—both of which the Velociraptor Shaman does value them for; and the Wild One is a human who feels a tighter bond with nature than with technology, has a greater understanding of nature, and is uncomfortable around other humans. The Velociraptor Shaman also has ‘Ways’, reflecting how they bond with one particular type of dinosaur, like the ‘Way of the Tyrannosaur’, ‘Way of the Triceratops’, and ‘Way of the Pteranodon’, which grants them spells and other abilities. There are notes too on human technology and writeups of various dinosaurs.

‘The Return of Scravis’ is the accompanying scenario, written for use with Second Level Velociraptor Player Characters. The Player Characters are members of the L’dena tribe whose hunters have reported that their traditional hunting herds in the East Valley have been disrupted from their traditional hunting grounds. The scenario is quite short, a mini-sandbox, which shows off the potential of the ‘Dinosaur Crawl Classics’ setting. Hopefully Goodman Games will find the time to revisit this entertaining update of a title deep out of its back catalogue.
The second of the source material/scenario combinations in the Goodman Games Gen Con 2017 Program Book is ‘Lovecraftian Monsters for Dungeon Crawl Classics’ and the scenario ‘The Thing That Should Not Be’ both by Jon Hook. The author of course has history with Call of Cthulhu, in particular, the Age of Cthulhu line. With ‘Lovecraftian Monsters for Dungeon Crawl Classics’ provides stats and descriptions for twenty-two of the classic Lovecraftian creatures, from Byakhee and Colour Out of Space to Star Vampire and Yithian. In terms of fantasy, this is a good treatment of them, though of course it does lose some of the horror elements traditionally seen in their gaming versions. Nevertheless, this opens up options for the Dungeon Crawl Classics Roleplaying Game and the Judge who wants to take her game into Cosmic Horror.
The scenario, ‘The Thing That Should Not Be’, is for Third Level Player Characters and sees them entering the Black Moss Woods and heading for a landmark known as the Screaming Ash to find out why local farmers were slaughtered and kidnapped. In the caverns below the Screaming Ash they discover the lair of a dread cult dedicated to the Great old One, Nyogtha. The cavern complex is relatively short and firmly steps into a territory that would normally be eschewed by roleplaying games of Lovecraftian investigative horror—the Cthuloid dungeon—because the result is invariably a Mythos mishmash. Here though, it works because of the format and the fact that the Player Characters are better equipped to handle monsters, whether of the Mythos variety or not. ‘The Thing That Should Not Be’ though, is a nasty and weird slice of pulp, fantasy horror.
The third and final scenario in the Goodman Games Gen Con 2017 Program Book is ‘Sisters of the Moon Furnace’ by Marc Bishop. This is a classic Character Funnel, one of the features of both the Mutant Crawl Classics Roleplaying Game and the Dungeon Crawl Classics Role Playing Game—in which initially, a player is expected to roll up three or four Level Zero characters and have them play through a generally nasty, deadly adventure, which surviving will prove a challenge. Those that do survive receive enough Experience Points to advance to First Level and gain all of the advantages of their Class. Here the Player Characters awake to find themselves atop a strange complex amidst the clouds, from which they must descend to find out where they are and what they are doing there. There is the sense that they are being gently manipulated and then rewarded and penalised for their choices, suggesting perhaps that the Player Characters have a special destiny. The Player Characters need not fulfil the destiny in the scenario, and the likelihood is that it will be interesting if they do not, especially if the scenario is being used as a campaign starter. ‘Sisters of the Moon Furnace’ is an excellent example of the Character Funnel.
Also included in the Goodman Games Gen Con 2017 Program Book is more of ‘The Dungeon Alphabet’ by Michael Curtis, exploring particular aspects of dungeon delving and encounters and providing a table for each of ideas and encounter possibilities. Thus, we have ‘Q for Quests’ and ‘U for Underwater’ and simple tables for each that the Judge can pick and choose from. As expected, Goodman Games Gen Con 2017 Program Book very much focuses on the community aspect of being part of the Goodman Games family. ‘2016-2017 Mailing Labels’ by Stefan Poag and Brad McDevitt highlight the artwork which appeared on the mailing labels for anyone who ordered from Goodman Games; Doug Kovacs’ ‘A Visual History of the Band’ continues the history of the characters who continue to appear in Dungeon Crawl Classics scenarios, this time running from Dungeon Crawl Classics #68: People of the Pit to Dungeon Crawl Classics #93: Moon Slaves of the Cannibal Kingdom; and ‘Goodman Games Poster Contest’ by the Goodman Games Community collects all of the entries from the Road Crew Flyer Design Contest 2016.
Three entries in the Goodman Games Gen Con 2017 Program Book capture the energy Judges Crew and the Goodman Games community. ‘Real Life Adventures: The Alamo’ by Marc Bruner takes some inspiration from history and backs that up with several suggestions on using the Alamo—or situation like it—for the Judge, whilst Company owner Joseph Goodman recalls the ‘Real Life Adventures: The Goodman Games 2017 Creative Retreat’ and the ‘Con and Event Recap’ by the Goodman Games Community provide a fantastic range of photographs of both events. These bring the Goodman Games Gen Con 2017 Program Book to a colourful close, with the ‘Con and Event Recap’ giving a great feel for what just a little bit of Gen Con can be like.
Physically, the Goodman Games Gen Con 2017 Program Book is a slim softback book. It is decently laid out, easy to read, lavishly illustrated throughout, and a good-looking book both in black and white, and in colour.
On one level, the Goodman Games Gen Con 2017 Program Book, as with other entries in the annual series, is an anthology of magazine articles, but in this day and age of course—as well as 2016—there is no such thing as the roleplaying magazine. So what you have instead is the equivalent of a comic book’s Christmas annual—but published in the summer rather than in the winter—for fans of Goodman Games’ roleplaying games. The Goodman Games Gen Con 2017 Program Book differs from previous entries in the series, there being no gaming history or previews, instead focusing on solid gaming content, whether revisiting an old setting or taking fantasy in the direction of cosmic horror. The Goodman Games Gen Con 2017 Program Book is leaner and cleaner and all the better for it with some entertaining gaming content.

Now in its fifteenth year, Free RPG Day in 2022, was celebrated not once, but twice. First on Saturday, 25th June in the USA, and then on Saturday, 23rd July internationally. This was to prevent problem with past events when certain books did not arrive in time to be shipped internationally and so were not available outside of the USA. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Thanks to the generosity of David Salisbury of Fan Boy 3, Reviews from R’lyeh was get hold of many of the titles released for Free RPG Day, both in the USA and elsewhere.

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Homeworld: Revelations – A Tabletop Roleplaying Odyssey Quick-Start is the release from Modiphius Entertainment for Free RPG Day 2022. It is the quick-start for Homeworld: Revelations, the roleplaying based on the real-time strategy video game series Homeworld, which includes Homeworld, Homeworld: Cataclysm, Homeworld 2, and Homeworld: Deserts of Kharak, as well as the forthcoming Homeworld 3. The series tells the story of the  Kushan, a people lost in space after the destruction of their home planet, Kharak, and their attempt to find Hiigara, a new homeworld, journeying in fleet lead by a massive mothership. In Homeworld: Revelations – A Tabletop Roleplaying Odyssey Quick-Start, the players take the roles of members of The Dreamlands team, archaeologists brought together to gather historical records and artefacts from the wreckage of the great ship, the Khar-Toba, on the planet Kharak. Unfortunately, they are not the only ones interested the Khar-Toba. Others want to stop anyone from discovering the knowledge and technology which lies within the bowels of the great ship, and will do anything to prevent that from happening.
Homeworld: Revelations – A Tabletop Roleplaying Odyssey Quick-Start is designed for play by five players and come with five pre-generated Player Characters, printed separately. It contains all the rules necessary to play, including skills, action, combat, and interaction, all the way up to ship-to-ship combat. The five pre-generated characters include a security officer, a researcher, a medical officer, a technological operations manager, and pilot. All five are simply and clearly laid out and easy to read and use. Each also comes with a good illustration as well as a little background.

A Player Character in Homeworld: Revelations – A Tabletop Roleplaying Odyssey Quick-Start and thus Homeworld: Revelations is defined by Attributes, Disciplines, Focuses, Values, Traits, Talents, and Truths. The six Attributes—Agility, Brawn, Coordination, Insight, Reason, and Will—represent ways of or approaches to doing things as well as intrinsic capabilities. They are rated between seven and twelve. There are six skills—Combat, Command, Engineering, Exploration, Flight, and Medical—which are fairly broad and rated between one and five, whilst Focuses represent narrow areas of study or skill specialities, for example, Expert Pilot, Jury Rigging, Field Surgery, Unfamiliar Technology, and Chain of Command. Truths are single words or short phrases, which describe a significant fact or aspect about its subject, whether that is a scene, person, place, environment, or object. A Truth can make an action easier or more difficult, or even simply make it possible or impossible.To undertake an action in the 2d20 System in Homeworld: Revelations, a character’s player rolls two twenty-sided dice, aiming to have both roll under the total of an Attribute and a Skill. Each roll under this total counts as a success, an average task requiring two successes. Rolls of one count as two successes and if a Player Character has an appropriate Focus, rolls under the value of the Skill also count as two successes. In the main, because a typical difficulty will only be a Target Number of one, players will find themselves rolling excess Successes which becomes Momentum. This is a resource shared between all of the players which can be spent to create an Opportunity and so add more dice to a roll—typically needed because more than two successes are required to succeed, to create an advantage in a situation or remove a complication, create a problem for the opposition, and to obtain information. It is a finite ever-decreasing resource, so the players need to roll well and keep generating it, especially if they want to save some for the big scene or climatic battle in an adventure.
Now where the players generate Momentum to spend on their characters, the Game Master has Threat which can be spent on similar things for the NPCs as well as to trigger their special abilities. She begins each session with a pool of Threat, but can gain more through various circumstances. These include a player purchasing extra dice to roll on a test, a player rolling a natural twenty and so adding two Threat (instead of the usual Complication), the situation itself being threatening, or NPCs rolling well and generating Momentum and so adding that to Threat pool. In return, the Game Master can spend it on minor inconveniences, complications, and serious complications to inflict upon the player characters, as well as triggering NPC special abilities, having NPCs seize the initiative, and bringing the environment dramatically into play.
Combat uses the same mechanics, but offers more options in terms of what Momentum can be spent on. This includes doing extra damage, disarming an opponent, keeping the initiative—initiative works by alternating between the player characters and the NPCs and keeping it allows two player characters to act before an NPC does, avoid an injury, and so on. Damage in combat is rolled on the Challenge dice, the number of ‘Homeworld: Revelations’ symbols rolled determining how much damage is inflicted. A similar roll is made to resist the damage, and any leftover is deducted from a character’s Stress. If a character’s Stress is reduced to zero or five or more damage is inflicted, then a character is injured. Any ‘Homeworld: Revelations’ symbols rolled indicate an effect as well as the damage. In keeping with the tone of the various series, weapon damage can be deadly (and nearly every character—Player Character or NPC, is armed with a firearm of some kind), melee or hand-to-hand, less so.

Lastly, the Player Characters all begin play with several points of Fortune, which can be used to pull off extraordinary actions, perform exciting stunts, make one-in-a-million shots, or provide an edge during life-or-death situations. These can be spent to gain a Critical Success on any roll, reroll any dice, gain an additional action in a round, to avoid imminent defeat, and to add new element to the current scene. More can be earned through play, such as accepting a Complication, changing a Defining Aspect about a character, or good roleplaying.

The rules themselves in the Homeworld: Revelations – A Tabletop Roleplaying Odyssey Quick-Start take up almost two thirds of its pages. The rest is taken up by the scenario. This starts in the outer desert region known as The Dreamlands where the wreck of the Khar-Toba can be found. The Player Characters are part of a team lead buy by the archaeologist Mevath Sagald, sent to investigate the wreck and glean what historical records and artefacts they can from it. However, the wreck is guarded by the Gaalsien, a kiith or clan religiously opposed to all thoughts of discovery and exploration, fearing that the Kushan took part in a great evil long ago and were punished by being exiled. The Player Characters will need to find a way into the wreck and avoid detection, exploring the ships and recover archaeological artefacts, and then escape both the ship and any attempts by the Gaalsien to stop them. Divided into five scenes, the scenario primarily involves stealth and exploration, although there is scope for combat and interaction depending upon what the players decide to do. There are moments throughout for each Player Character to shine and the scenario builds to an exciting climax chased by Gaalsien spacecraft. Overall, it is good adventure, and it should provide a good two sessions’ worth of play or so.
Physically, Homeworld: Revelations – A Tabletop Roleplaying Odyssey Quick-Start is a good looking affair with excellent artwork and decent layout. Unfortunately, the whole affair does feel rushed and needs another good edit. On the plus side though, it is well written, and there are lots and lots of examples of play and sections of advice for the Game Master. There is no cartography and thus no deckplans of the Khar-Toba. The scenario is not difficult to run without them, but their inclusion would have helped.
Ultimately, Homeworld: Revelations – A Tabletop Roleplaying Odyssey Quick-Start is let down by one factor and one factor alone. It has rules, it has pre-generated Player Characters, and it has a scenario. What it entirely lacks is background. There is no explanation of what Homeworld is or what the setting of Homeworld: Revelations is like, so leaves the Game Master to do her own research and prepare it for her players. This is disappointing as a quick-start is designed to both introduce a setting and a roleplaying game to players unaware of the setting and introduce a roleplaying game to those who know the setting. Homeworld: Revelations – A Tabletop Roleplaying Odyssey Quick-Start does a better job of doing the latter than the former and so does not fully succeed as a quick-start.

Now in its fifteenth year, Free RPG Day in 2022, was celebrated not once, but twice. First on Saturday, 25th June in the USA, and then on Saturday, 23rd July internationally. This was to prevent problem with past events when certain books did not arrive in time to be shipped internationally and so were not available outside of the USA. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Thanks to the generosity of David Salisbury of Fan Boy 3, Reviews from R’lyeh was get hold of many of the titles released for Free RPG Day, both in the USA and elsewhere.

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Without a doubt, the slimmest of offerings for Free RPG Day 2022 is A Familiar Problem. There is good reason for that. It consists of a single sheet of light card, done in black and white on the one side and in full colour on the other. The full colour side consists of adverts for other releases from the publisher, Darrington Press, most notably, Tal’Dorei Campaign Setting Reborn, the supplement for Dungeons & Dragons, Fifth Edition, based on the Critical Role YouTube campaign setting. Which is a bit strange. Strange because it is the adverts which get the colour and so take attention away from the roleplaying game on the other side. Strange because if Darrington Press had instead released a quick-start or a scenario for Tal’Dorei Campaign Setting Reborn for Free RPG Day 2022, then it might have got a whole lot more attention than A Familiar Problem is likely too. Putting that aside, what you get with A Familiar Problem is either a flyer with a mini-roleplaying game on the back or a mini-roleplaying game with a lot of advertising attached. Take your pick.
A Familiar Problem is a one-page roleplaying game in which the players take the roles of wizards’ familiars. Their masters and mistresses are away on an adventure and left them behind. Having been forgotten about them, they decide to have an adventure of their own and so prove to their owners that are useful and perhaps worth taking along on the next adventure. A Familiar might be a bat, a crab, an owl, a rat, a raven, and others. Each Familiar has four attributes—Clever, Fierce, Sly, and Quick, and a BREAK like Paranoia or Narcissism. The attributes range in value between zero and three, whilst the Break represents atypical behaviour if the Familiar acquires too much Stress. Each Familiar also knows three pieces of Pocket Magic, three spells such as Butterfingers, Door Magic, or Summon Horse. These are single use spells. To create a Familiar, a player rolls or chooses from the table of twelve and then does the same for his Familiar’s spells.
Lizzie the LizardClever +0, Fierce +1, Sly +2, Quick +2BREAK: CowardicePocket Magic: Limited Invisibility, Soak, Speak with Object
When a Familiar wants to undertake an action in A Familiar Problem, his player rolls a ten-sided die and adds the value of an appropriate Attribute to the result of the die roll. The aim is roll equal to or higher than a Difficulty Number, which ranges from five or Easy to Very Difficult or ten. If the roll is failed, the Familiar gains a point of Stress. Subsequently, each time a player rolls for a task and rolls under his Familiar’s Stress, his Familiar’s Break occurs. Then the player has to roleplay that behaviour until the other Familiars calm his Familiar down and rescue him from the situation which triggered it.
As to what the Familiars do, there is a set of three of tables, one for generating the mission and two the adventure location. For example, ‘Sabotage the villain’s scheme in the Opulent Castle’. And that is it… The rest of it is left up to the Game Master to make up, perhaps with some input from her players, for example, whatever the villain’s scheme might be, and then play out. Which should take no more than a single session—and probably a short session at that.
A Familiar Problem is plain and simple. Whether that is physically, conceptually, or playfully. One of the best features of the simplicity is that it is easy to teach, is suitable for some younger players (depending how far they can cope with the BREAK rules), and requires no preparation. The only thing that it really requires is the ten-sided die and a Game Master happy to make things up and help tell the story.

Now in its fifteenth year, Free RPG Day in 2022, was celebrated not once, but twice. First on Saturday, 25th June in the USA, and then on Saturday, 23rd July internationally. This was to prevent problem with past events when certain books did not arrive in time to be shipped internationally and so were not available outside of the USA. As per usual, Free RPG Day consisted of an array of new and interesting little releases, which are traditionally tasters for forthcoming games to be released at GenCon the following August, but others are support for existing RPGs or pieces of gaming ephemera or a quick-start. Thanks to the generosity of David Salisbury of Fan Boy 3, Reviews from R’lyeh was get hold of many of the titles released for Free RPG Day, both in the USA and elsewhere.

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One of the perennial contributors to Free RPG Day is Paizo, Inc., a publisher whose titles for both the Pathfinder Roleplaying Game and the Starfinder Roleplaying Game have proved popular and often in demand long after the event. For Free RPG Day 2022, the publisher again provides a title for each of these two roleplaying games, A Fistful of Flowers for the Pathfinder Roleplaying Game, Second Edition, the other being Skitter Warp for the Starfinder Roleplaying Game. In past years, the titles released for the Pathfinder Roleplaying Game have typically involved adventures with diminutive Player Characters, first Kobolds, then Goblins, and this year, Leshys, humanoid sapient plants of various species and Classes, typivally crafted by a druid as a minion or companion. Four pre-generated Player Characters are included, each of Third Level, each independent of their creator, and the scenario requires the Game Master have access to the Pathfinder Roleplaying Game, Second Edition, Pathfinder Bestiary, Pathfinder Advanced Player’s Guide, and the recently released Pathfinder Lost Omens Ancestry Guide. The scenario can be played in one good session or two and offers a good mix of skill challenges, stealth, interaction, and combat.

A Fistful of Flowers begins in Verduran Forest, a large woodland in Avistan. There is a Wildwood Treaty in place between the forest and the nearby settled lands, affording the forest certain legal protections. However, the Player Characters have become aware that some of their numbers are missing and as the more powerful Leshys in the woods, it is their duty to investigate. The trail begins down at a river crossing and leads across first to a campsite and then beyond the limits of the forest canopy to a nearby village. Here the Leshys will find themselves readily accepted by the villagers and able to gather clues as who might be responsible. This will lead to the first of the two main scenes in scenario which are fully detailed and mapped and serve as its two climaxes. This first takes place in the wax laboratory of Crystals and Candlewax, owned by the alchemist who has been stealing into the forest and kidnapping Leshys! He though is not the true villain of the piece, his ambitions having got the better of him and found him serving a snooty, venal aristocrat, Lady Constance Meliosa, who wants the Leshys as showpieces to display at parties to her friends. The climax of the scenario will see the Player Characters crashing her afternoon tea party.
A Fistful of Flowers packs a lot into its sixteen pages and gives plenty for the Player Characters to do. There are problems to overcome and NPCs to interact with, the scenario providing multiple means for approaching either, and whilst the confrontation with the brute of an alchemist is likely to end in combat, the confrontation at the tea party need not do so. The Player Characters can sneak in, crash the party, persuade the guests that Lady Constance’s misdemeanours break the Wildwood treaty, and so on. Whilst the encounter in the alchemist’s shop is a traditional sneak and combat affair, the aristocrat’s fancy tea party deserves to be played out as a riotous assembly of flying skirts, scattered cakes, and soured sensibilities.
To accompany the adventure, A Fistful of Flowers includes four pre-generated Player Characters. These consist of a Gourd Leshy Druid, Leaf Leshy Bard, a Vine Leshy Barbarian, and a Fungus Leshy Rogue. Each is neatly arranged on their own individual pages and complete with background and clear, easy to read stats. Of course, the players do not have to use these, but could instead substitute their own characters, created using the rules in Pathfinder Lost Omens Ancestry Guide. Otherwise though, these are a decently diverse range of characters. 
Physically, A Fistful of Flowers is as well presented as you would expect for a release from Paizo Inc. Everything is in full colour, the illustrations are excellent, and the maps attractive. The only issue is that the map of the alchemist’s laboratory is not numbered, though the locations are easy enough to work out. The Game Master might want to create stats for Lady Constance and her guests, but neither are absolutely necessary to run the adventure.
A Fistful of Flowers is an entertainingly likeable adventure. It provides a diverse range of Player Characters and has a pleasing different feel to its fantasy than that atypical of most roleplaying fantasy and packs a lot of adventure into what is just a handful of pages. Overall, A Fistful of Flowers is a fun showcase for the Pathfinder Roleplaying Game, Second Edition. 

Call of Cthulhu is a literary roleplaying game. Its play is predicated on the ability of the Player characters—or rather the Investigators—to be literate and so be able to read the array of clues to be found as part of the enquiries into the unknown. Newspaper reports, diary entries, letters, notes and marginalia, books and scrolls, and of course, the much-feared Mythos tomes such as the dread Necronomicon and Unaussprechlichen Kulten. Just as the Investigators—or at least some of them—are expected to be able to read them, then so are their players. Thus, we have clues and handouts, especially if the roleplaying game of our choice involves a mystery—mundane or Mythos related. There had been clues and handouts before, for example, U1 The Sinister Secret of Saltmarsh, the 1981 scenario for Advanced Dungeons & Dragons, First Edition from TSR (UK), included a clue showing the pattern of signals needed to contact a smuggling ship, but Call of Cthulhu took the role of the clue and the handout to new heights as they became more and more integral to game play. And since newspaper reports, diary entries, letters, notes and marginalia, books and scrolls, and more are all modern, the Keeper can create her own—such as soaking paper in tea and then drying it to age it—and easily copy those provided in particular scenarios or campaigns. Which is what the H.P. Lovecraft Historical Society has done, and not just for its own campaigns, but your campaigns.
The Masks of Nyarlathotep Gamer Prop Set is a big box of handouts and clues designed to be used with Masks of Nyarlathotep, the classic campaign for Call of Cthulhu, often regarded as one of the greatest ever produced by the hobby. This no mere set of tea-soaked, faux-aged handouts and whatnot, for just as Call of Cthulhu took the role of the clue and the handout to new heights, the Masks of Nyarlathotep Gamer Prop Set takes the clues and handouts for Call of Cthulhu to new heights. There are over one hundred props in the box—telegrams, letters, a match box—just like in the original boxed set for Masks of Nyarlathotep, maps, charts, diary and ledger entries, business cards, photographs, memos, and newspaper clippings, oh so many newspaper clippings. Then there are bonus props. 
Open up the Masks of Nyarlathotep Gamer Prop Set and the first thing that you see is a scroll, from the Shanghai chapter. It is not simply presented as a scroll on heavy paper, but done on cloth with actual wooden rollers so that it can be unfurled with ease. Of course, few of the players are going to be able to read the Chinese script, though some of their Investigators might (so there is a translation), but putting that down on the table gives it an immediacy that no mere sheet of paper would. And once given to the players it is going sit there, a constant reminder of both just how brilliant the Masks of Nyarlathotep Gamer Prop Set is and the fact that their Investigators really, really want to get it translated.
Alongside the scroll is an ‘Ediphone Wax Cylinder Case’ containing not a wax cylinder—as after all, who owns a device capable of playing one of those these days outside of a museum?—but a USB drive with eight MP3 audio recordings which can be played at the appropriate points in the campaign. And these are not done by anyone, but professional actors, so instead of having the Keeper portray Jack Brady telling the players and their Investigators what is going on once they eventually find him, the Keeper can play the recording and so pull them both into his story. Below that are a set of six Nansen Passports, issued by the League of Nations and recognised around the globe plus a set of passport stamps. What this means is as a group begins the campaign, each player can record the details of his Investigator in the Nansen Passport and as he travels around the world as the part of the campaign, from Peru to New York to England to Cairo to Kenya to Australia to Shanghai and back again, the Keeper can affix the right stamps—which come on sheets designed to be peeled off and stuck in the passports—to indicate the Investigator’s entry and exit from each country. It is a fantastic physical record of an imagined travel and achievement, one that does not actually directly relate to the campaign itself, but it is a lovely bit of verisimilitude. As is the fact that the stamps include options for ‘Cancelled’, ‘Expelled’, ‘Deported’, ‘Return Forbidden’, ‘Code 1644 Psych. Hold’, and more is just a delight. Of course, six passports are not going to be enough unless the players and their Investigators are very lucky because Masks of Nyarlathotep is a notoriously deadly campaign and Investigator deaths, and retirements are highly likely. So, replacements are probably going to be needed.
Below that there is a double-sided sheet of paper detailing everything in the Masks of Nyarlathotep Gamer Prop Set. This lists everything folder by folder, according to which chapter each handout appears in. Now unlike the props included in the Masks of Nyarlathotep campaign itself, none of the props are numbered. Thus, they are more realistic and both Keeper and her players will need to keep track of which props their Investigators have discovered so far and which ones they have. Open up the first folder, for the new Peru chapter in the most recent edition of Masks of Nyarlathotep. A clipping has been torn from a newspaper, but it is no single article, there are others surrounding it as well as on the reverse. None of them have any bearing on the campaign, but they impart a sense of the wider world in 1925 and they are simply fun to read. The clipping is also on the right paper, so it has a flimsiness just as it should. Below that, there is a letter in Spanish, clearly torn from a notebook, then copies of period maps and of the scenario maps. The Peru chapter is quite short, but it sets up expectations for the rest of the campaign. The players will be wanting to see what is next and find out just how good each handout feels.
After Peru, the chapter of Masks of Nyarlathotep get progressively more complex and so each corresponding folder in the Masks of Nyarlathotep Gamer Prop Set is thicker, the New York one notoriously so. The original start of the campaign in previous versions of Masks of Nyarlathotep, the discovery of Jackson Elias’ body in his Chelsea Hotel room is combined with a welter of clues and a corresponding torrent of handouts. So what the Investigators know about Jackson Elias, almost all of the front of a newspaper—with articles front and back, numerous other clippings, a business card or two, several slightly crumpled letters (one of which includes the letter it came in), a telegram, one photograph of Jackson Elias dead on his bed and another of the Dark Mistress in Shanghai (infamously poorly portrayed in previous versions of the campaign), a submission from Jackson Elias to his publisher, Prospero House, an excerpt torn from Nigel Blackwell’s Africa’s Dark Sects—complete with book stamp, maps of New York and Harlem, and even the book cover to Jackson Elias’ own work, ‘The Hungry Dead’. It all culminates in a folder containing the patient records for Roger Carlyle and the folder is sealed. That is just the one folder. There are seven folders, one for each chapter in the campaign, and they are all like that.
Physically, Masks of Nyarlathotep Gamer Prop Set is a superlative presentation of the clues and handouts to the campaign. The right paper, a letter slightly crumpled as if pulled from an envelope (plus the envelope torn open itself), papers ripped from a diary, but held together by a paper clip. Perhaps the plainest of handouts are the ones that provide written copies of the audio files and details of things that the Investigators already know. They are the simplest and they do break the in-game feeling of the campaign, but they are all necessary. 
The Masks of Nyarlathotep Gamer Prop Set is definitely not needed to run the Masks of Nyarlathotep campaign. It is entirely optional. Yet the Masks of Nyarlathotep Gamer Prop Set is a physical reflection of the effort which Chaosium, Inc. put into upgrading the previous version of the campaign to Masks of Nyarlathotep, Fifth Edition. It would seem almost like an oversight for the Keeper to keep the campaign’s improvements in terms of its presentation and support to herself and not share them with her players through the Masks of Nyarlathotep Gamer Prop Set. Then there is the fact that Masks of Nyarlathotep is likely to provide somewhere between sixty and seventy hours of gameplay, so why not match that investment in terms of time with the physical investment of the Masks of Nyarlathotep Gamer Prop Set?

There is, of course, precedent for all of this. When Masks of Nyarlathotep was first published in 1984, it was a box set which famously included a matchbook from the Sleeping Tiger bar in Shanghai as amongst its first set of clues. It was an oddly physical thing to include, but it showed how clues and handouts could be presented and from that matchbook, H.P. Lovecraft Historical Society has taken the idea and run and run with it… The resulting Masks of Nyarlathotep Gamer Prop Set is a magnificent presentation of the clues and handouts Masks of Nyarlathotep, bringing the investigation in the greatest roleplaying campaign ever published into a physical reality barely even imagined when it was first published in 1984.

The Realm of Legendlore and of Azoth lies at an unstable nexus of reality, and where that instability touches other planes, including the Earth, Visitors can make the Crossing from one world to another. Sometimes intentionally, often unintentionally, perhaps because they inherited a keepsake which enables a Crossing, simply opened a door, or found a portal, perhaps a wardrobe or even a suitcase. Crossings have happened many times in the past—and not just by people. Both the Library of Alexandria and the Statue of Zeus at Olympia have both appeared in Azoth, Boudica and the Ninth Legion continued to fight each other for decades in Azoth, and even Amelia Earhart and Fred Noonan landed there in 1937, and even though they were never able to replicate powered flight, but gliders launched from hot air balloons are common in certain parts of Azoth. The scientific knowledge brought from Earth continues to influence the world of Azoth where magic is common, leading to synergistic devices such as an Ensorcelled Typewriter and Food Wave Machine (microwave). Previous Visitors have left other Strange Things behind, more recently electronic devices which quickly run out of power. Whilst Visitors bring knowledge, certain attitudes, and perhaps a Strange Thing or two with them—typically no more than what they have in their pockets or a bag, what they find after the Crossing is even more amazing.

Visitors find that the Realm is a world of magic, of elves and dwarves, goblins and troll, minotaurs and dragons. They find themselves changed, because however when Visitors make the Crossing, what they find on the other side is a stronger You, a greater reflection of each of their inner selves, an Other You. They find themselves capable of casting magic, working with alchemy, fighting with swords and bows, or handling guns. They find themselves changed into different Peoples—Bryzine Trolls, Dwarves, Elves, Hairfoots (Hairfeet?), Orcs, and Pixies, as well as Humans. They find themselves as Clerics, Rogues, Wizards, Rangers, Bards, Alchemists, Sorcerers, Gunslingers, and more. They may also find themselves unchanged, so if wearing glasses is part of their identity, then they wear glasses in the Realm. Visitors are also greater than themselves—they have a Legend attached to them, a Destiny that they are only partially aware of. Thus, they might be an Avatar of Peace or a Regent of Dragons. They will have great adventures in the Realm, but ultimately, they have a choice—to stay or return home.

This is the setting for Legendlore, a roleplaying adaptation based on The Realm, the comic book series first published by Arrow Comics and then Caliber Comics. In the comic book, four ordinary, modern-day teenagers are thrown into an alternate realm where magic is real, dragons roam the skies, orcs and hobgoblins terrorise travellers, where unicorns prance through the forest, and kingdoms wage war for dominance. Although a fantasy world, it differs from the atypical Dungeons & Dragons world. Not just in the mix of magic and science, but in Legendlore the roleplaying setting, there is a sense of self-awareness. There are roleplayers on the Earth of Legendlore and they can be Visitors too, so they make the Crossing fully aware of fantasy roleplaying such as Dungeons & Dragons and all that entails. There is no equivalent of the Legendlore Roleplaying Game though, so they are not totally forearmed with knowledge. Published by Onyx Path Publishing, the adaptation is written for use with Dungeons & Dragons, Fifth Edition. It includes new Backgrounds and Classes and sub-Classes, as well as rules for being Legends, sample beginning Player Characters, a starting adventure, and setting material for the Realm.

From the outset, it is clear that Legendlore is designed to be as gender and identity inclusive as possible and that if a player wants to and is happy to do so at the table, that player can bring as much of themselves into the game as they want. What this means is their real self, their Earth-self can be exactly what they are in real life, but their Realm-self can be their best-self, their best You—or a reflection of it. Alternatively, each player can simply play a fantasy version of themselves, whether on Earth or the Realm, or on both. All of which should be discussed and agreed upon as necessary in Session Zero, which is discussed in the chapter on running the game.

Although it is possible to play Realmborn Player Characters in Legendlore, which would perhaps be the closest that Legendlore gets to a traditional Dungeons & Dragons-style set-up, the emphasis is very much on playing Visitors. Their creation begins with selecting a Visitor Background, for example, Academic Education, Activist, Born into Wealth, High School Student, Writer, Working Poor, and of course, Roleplaying Aficionado. Several Realmborn Backgrounds are given too, which are all nation-based. The Realm Races—Bryzine Trolls, Dwarves, Elves, Hairfoots, Orcs, and Pixies—all provide certain traits and bonuses as you would expect, but these are cultural rather than innate. So a player has the flexibility to match and change as he wants. There are two new Classes in Legendlore. One is the Alchemist, which blends chemistry and magic, crafting potions which have spell-like effects, whether thrown, imbibed, or applied. The other is the Gunslinger, which specialises in the use and maintenance of firearms, including the Culverin, an actual cannon! The other options are all sub-Classes of the standard Classes in the Player’s Handbook. These include the Ocean Raider and the Woad Painted for the Barbarian, the Eye of Otharis for the Cleric, primarily sages and oracles, Paladins have Oath of Fealty, which they take to a nation, and Sorcerers are Sourceborn, who draw directly from the Pool of Magic for more powerful magic.

A Player Character, certainly a Visitor, also has a Legend. Each has a Reputation and a means of acquiring Legend Points. For example, the Avatar of Peace grants when a Player Character refuses to commit acts of violence, persuades others to lay down their weapons, and lead negotiations for peace. When acquired, they can either go into a communal pool or a player can keep them, but when expended they can either gain Advantage for a Player Character on an attack, saving throw, or ability check, or they can be used to add a new narrative element to play. The Legend system replaces that of the Inspiration from Dungeons & Dragons, adding a little more flexibility. Just five are provided—Avatar of Peace, Bane of Ardonia (who oppose the isolationist and walled scientifically-advanced nation of Ardonia), Caln of Stone (uncompromising stability and construction), Regent of Dragons (dispensing wisdom and justice), and Suzerain of Blossoms (encouraging others to follow their own path and cultivating strengths and talents). Alternatively, a player can create his own for his character, but the advice for doing so does feel underwritten and the five given in Legendlore are not really enough—certainly not if there are more than five players or the Realm is being visited a second time with new Player Characters.

All magic in the Realm draws from the Pool of Magic, but its casters—apart from Sorcerers who are Sourceborn—can suffer from ‘Menthruac’ or mind-lock if they attempt to cast too much magic, too quickly. When a Player Character casts an arcane spell, he can opt to gain a level of Menthruac, up to four levels. Each level provides several extra effects to choose from, such as ‘Careful Spell’ or Twinned Cantrip’, but comes with a downside such as Disadvantage on attack rolls or ability checks, all the way up to Hit Points being reduced to zero or even death! Menthruac is removed after a long rest, but gives a spellcaster the option to power up his magic should want to. Legendlore also includes some seventy or so new spells, as well as twelve new rituals. Rather than draw fleetingly upon the Pool of Magic, like most arcane spells, rituals draw deeply from it and require a greater understanding of magic, period of study, and time to cast. For example, Open Crossing is a nine-hour ritual which opens a Crossing from the Realm to another destination. These should all take extensive game play to really learn and cast as they do have potentially very powerful effects.

Legendlore includes a decently comprehensive guide to the Realm and East Azoth, starting with its history from the arrival of the first humans and the wars that would result from their settlement, through to the peace following the end of the Forever War and then the Plague War that led to isolationism amongst many nations. The gazetteer is comprehensive too, detailing all of the nations of the region, even the Night Land, which even if it can be found, can only be entered during the hours of darkness. In addition, the gazetteer is littered with numerous adventure seeds. The bestiary, covering allies, adversaries, and creatures is likewise nicely detailed. Some of the races, such as the Dwarves and Goblins, adhere to their usual depictions, although others, notably the Orcs are different. Orcs have a porcine look and a poor reputation as raiders and pillagers, though that was long in the past when they found themselves being pushed out of their lands. These days they seek the return of their original homelands by diplomatic means and building trust. The bestiary also details demons, some of whom, such as Shinde Imas, the Elven Slayer, and Terrorek, the Plague Bringer, are the major villains of the Realms. Not included in Legendlore are writeups of any of the characters who made the Crossing in the comics—Alex, Dom, Majorie, or Sandra—and this is intentional. The starting point for Legendlore in terms of time frame is the first issue of the comic, and it is up to the Game Master to decide whether or not they made the Crossing or not.

The advice for the Game Master on running Legendlore is a mix of the general and the specific. There is good advice on handling Session Zero and on specific elements of the Realm as a setting. In particular, on handling good and evil since as a setting for Dungeons & Dragons, Fifth Edition, there is no Alignment in the Realm, and also dealing with Player Character death. Resurrection is possible, but the resurrected often return changed in some way. The Game Master can make the process as simple or as complex as needed—but must be consistent. The other option is a new Player Character, but the Player Character need not be wholly new. It could be an earlier version of the player’s You before his lost character made the Crossing, or even a version from a slightly alternate Earth. The new version of the Player Character arrives bereft of knowledge of his predecessor’s adventures and could be of a wholly new Race or Class. There is advice too on getting home, and whether that is a Player Character objective, and also how much the campaign involves the Player Characters going back and forth between home and the Realm.

Rounding out Legendlore is ‘Voices from Afar’, an introductory adventure in the Realm for four to six First Level Player Characters. After they make the Crossing, they find themselves caught in a plot to use a strange artefact to spread the borders of the dread Night Lands. Accompanying the scenario which should take two or three sessions to complete, is not one, but two sets of pre-generated Player Characters. These are the same, but First Level and Third Level respectively, the latter for a group which wants to try out a more powerful set of characters. At the end of the scenario, the Player Characters have the option to stay in the Realm or go home.

Physically, Legendlore is well presented and laid out with a nice range of illustrations. What it does lack though is an index and that makes finding certain things challenging. A glossary would also have helped. The setting description is pleasingly balanced by some enjoyable pieces of colour fiction that follow the fortunes of several adventurers as they make the Crossing and discover the world of the Realm.

Legendlore is not a definitive guide to the Realm of Legendlore and of Azoth, and nor does it set out to be. It is a comprehensive and gameable guide, making the setting accessible and playable. If there is an issue with Legendlore, it is that it does not include much in the way of advice on handling the transition from Earth to the Realm, and in particular, from the ‘ordinary’ You of the Player Characters of Earth to the ‘best’ or ‘inner’ You of the Realm. After all, that change is going to be more significant to some players than others. Some advice and suggestions as to long term play and campaign objectives would also have been useful. Other than that, Legendlore is an engaging exploration of a familiar fantasy set-up, of ordinary folk transported to a fantastic world. Fans of The Realm who game will doubtless enjoy Legendlore, but for players wanting an identity positive and inclusive fantasy setting for Dungeons & Dragons, Fifth Edition, then Legendlore not only supports that, but welcomes You to it.

Welcome to the Edge is an anthology of scenarios for Over the Edge Third Edition: The Role-playing Game of Surreal Danger published by Atlas Games. It presents four lengthy, often complex scenarios designed to do six things. First, to show what a scenario looks like in Over the Edge, Third Edition. Second, to act as a campaign starters or slot into an ongoing campaign. Third, it is designed to present multiple story hooks and thus means to get the Player Characters involved in each of its scenarios, whether as agents of one faction or another, newcomers to Al Amarja, members of one or more of the conspiracies on the island, as street level gangsters or criminals, or as paranormals or mystics. Fourth, it is designed to showcase the island of Al Amarja and its people in all of their conspiratorial, counterintuitive, and corresponding weirdness. Fifth, it is designed to shake everything up by throwing a grenade into the room and upsetting the status quo. In other words, once the Game Master has run and players roleplayed any one of the four scenarios in the anthology, the situation on Al Amarja will not be the same as before. For example, by the end of the second scenario, ‘A Conclave of Chikutorpls, or the Winds of Change Are Blowing (Up), or How I Learned to Stop Worrying and Love the Multidimensional Convergence.’ Frank Germaine, owner of Sad Mary’s, the hottest bar on Al Marja, may have lost control of it, whilst at the end of ‘Battle of the Bands’, the biggest band on the island may or not have been reformed and even one of the Player Characters might be a member of it! The result, whatever the outcome, is to enforce the sixth thing and that is, make Al Amarja and thus Over the Edge Third Edition: The Role-playing Game of Surreal Danger the Game Master’s own and thus different from that of any other Game Master with an Over the Edge campaign.

Right from the start though, Welcome to the Edge is a challenging set of scenarios. There is always homework for the Game Master to do as part of her preparation. Thankfully, each scenario references the very sections of the core rulebook that she needs to read, though there are multiples of them. There are usually a lot of NPCs to handle as well, often quite detailed in terms of their background and motivations, if not their stats. The authors of the anthology do go out of their way though to give advice and further explanation, including tips and playtest notes, with much of this supplementary information organised into sidebars and sections of boxed text. These are categorised by colour, so for example, advice and Game Master tips are always in red sections, NPCs in black, suggestions as where one scenario intersects with another in violet, and so on. Thus, Welcome to the Edge is laid out in great blocks of colour that are easy on the eye.

Welcome to the Edge begins in relatively gentle fashion with ‘Battle of the Bands’. The Glorious Lords of the Edge are hosting the biggest battle of the bands on Al Marja, an event which anyone can participate in, but one in which Oblivion Function, an electronica trio, is tipped to win and win big, and so get to perform a victory concert. However, this will be a big win too for the backers of the Oblivion Function, the Movers, and there are plenty of other factions on the island who do not want that to happen. So, another band needs to be found to defeat Oblivion Function and there is only one band capable of doing that, Betwixt, one of the biggest and most critically acclaimed groups on the island. Only Betwixt split up over a decade ago and nobody knows exactly why. If somebody—by which we mean the Player Characters—is to get Betwixt back together, they are going to have to track down the four members, find out why they split, and get them to make up and put aside their differences enough to perform together once again. Which means a road trip back and forth across the island as the Player Characters track down one band member after another.

The four members of Betwixt are nicely detailed, each with their own views and revelations as to why the band broke up and reasons for getting back together (or not). Part of the scenario involves getting the old band tour bus back on the road too (although alternatives are suggested) as well as finding out what has become of the band members. There are some fun encounters to had on the road too, such as a big burrito-eating competition and an attack by a hit squad consisting of a Capella band whose singing has dangerously telekinetic heft to it, and the scenario will climax with the actual battle of the bands.

‘Battle of the Bands’ is the least weird and the least complex of the four scenarios in the anthology, in some ways more of a multi-character piece than the weird conspiracy shenanigans that you would normally expect with a scenario for Over the Edge. This makes it both a good introduction and a poor introduction to Al Amarja. A good introduction because the level of weirdness is relatively low, plus because the road trip format provides a really good reason for touring the island, but a poor one because the weirdness is low and because the introduction, at least for ordinary visitors to the island, as members of the Betwixt fan club, is underwhelming. As a scenario, ‘Battle of the Bands’ has an enjoyably languid, summertime, dust and tarmac feel to it, and as an interlude from the weirdness of Al Amarja, it is just perfect.
The second scenario, ‘A Conclave of Chikutorpls, or the Winds of Change Are Blowing (Up), or How I Learned to Stop Worrying and Love the Multidimensional Convergence.’ both turns up the weirdness and has an easier means of introduction. It opens with the car they are in—either they are driving or being driven—knocking someone down in the street and a woman known as Chikutorpl appearing almost immediately out of nowhere. Then they begin finding flyers announcing the reappearance of the Winds of Change, the high-stakes pop-up casino owned by Chikutorpl where it is possible to bet your youth, your beauty, your talent, a memory, even your life… When they attend, Winds of Change lives up to its reputation as a raucous, racy event filled with strange games like hyperbolic billiards and immortal combat. Throughout the host is in a highly mercurial mood and seems to change almost every time the Player Characters see her. Whatever the outcome of their attendance, the Player Characters receive invitations to the next opening and that is when it gets even weirder. It turns out that the host both sent and did not send the invitations, because there are multiple Chikutorpls, each pursuing agendas of their own and seeming to threaten reality in the process. Successive events get more chaotic, and this begins to ripple out as multiple Chikutorpls’ plans have a greater effect upon attendee after attendee. Ultimately, it comes down to a showdown when all of the Chikutorpls on the island host their events to outdoor each other. Throughout the Player Characters can pursue their own agendas or get caught up with those of every other attendee, but the end result is likely to change them in ways they did not anticipate at the start of the scenario.

ParaCon is the most important cutting edge scientific and technological event on Al Amarja, if not in the world, and it is hosted by the leading paranormal figure on the island, Doctor Chris Seversen. In ‘Seversen’s Mysterious Estate’ the Player Characters get to attend the most exclusive high-tech event of the year, whether as bodyguards, as inventors, or simply at random! The scenario is one big party with a lot of guests and a lot going on, including the event being gatecrashed by an astral vampire (note this is not a spoiler, the author advises to tell the players at the start of the scenario about it attending the party in order to ramp up the tension) and a Presidentials wet works strike team. This is not so much a big sandbox as a highly populated sandbox with twenty-three NPCs to weave in and out of the event and several sequences of events for the Game Master to handle and run. It comes with good advice to that end, and it also provides a great set of NPCs which can be used beyond the party (that is, if they survive).

The last scenario in Welcome to the Edge is ‘Sympathy for the D’Aubainnnes’, which brings the Player Characters into contact with members of Al Amarja’s ruling family in a completely bonkers fashion. Everyone on the island receives a parcel containing a lifelike rubber mask of one of the D’Aubainnes, including the Player Characters. However, when anyone puts the mask on, they cannot take it off. Slowly the mask wearers begin to act like the D’Aubainnne family member they wear the mask off, so Jean-Christophe mask wearers starting teleporting short distances at random, Sir Constance mask wearers accrue wealth, and Sister Cheryl mask wearers become naturally disposed each other and feel stronger and better. The mask wearers also begin to hate the wearers of the other masks to the point that they will kill each other. As a rash of murders ripple back and forth across the island, it also becomes clear that someone is keeping a tally… ‘Sympathy for the D’Aubainnnes’ best works if one of the Player Characters dons one of the masks and the scenario includes multiple suggestions as to why one or more of them would do so. Once they do, then the scenario becomes one of survival and investigation, closer to a more traditional type of scenario found in other role-playing games. The result is a disturbingly surreal end to the quartet.

Physically, Welcome to the Edge is a bright, colourful book with excellent artwork. It is also well written, and the cartography is decent.

Welcome to the Edge provides four good scenarios that are all different and all easy to slot into an ongoing campaign. In fact, they work better as part of an ongoing campaign because all four will have long term effects upon a campaign, as the various factions and conspiracies work out their agendas. The is exactly what the Over the Edge Third Edition: The Role-playing Game of Surreal Danger needs, a showcase of just what the island of Al Amarja can deliver—stupendously surrealistic situations and wonderful weirdness backed up with good advice for the Game Master on how to handle all of that and run the scenarios too.

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

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The Witchfire Trilogy Book One: The Longest Night was published in 2001 by Privateer Press and introduced the Iron Kingdoms, the Steampunk and high fantasy setting best known for its miniatures combat game, Warmachine: Prime. In 2001 though, the Iron Kingdoms was very much a roleplaying setting, The Witchfire Trilogy being written for the d20 System and thus compatible with Dungeons & Dragons, Third Edition. The trilogy would be completed by The Witchfire Trilogy Book Two: Shadow of the Exile and The Witchfire Trilogy Book Three: The Legion of the Lost, all before being collected as The Witchfire Trilogy in 2005. The Iron Kingdoms is notable for three things. First, its interesting mix of races—Gobbers, Ogrun, and Trollkin alongside the traditional Humans, Elves, and Dwarves. There are no Halflings or Gnomes, and even the Elves are different to those of more traditional Dungeons & Dragons-style fantasy. Second, the prevalence of technology, in particular, the use of firearms and Steamjacks and Warjacks, steam-driven robots with magical brains, used in heavy industry and on the field of battle. Third, the tone of the setting is fairly grim, there being an island to the west, Cryx, where the sorcerers have long experimented with combining the undead with Steamjacks and Warjacks, and have long planned to invade the Iron Kingdoms. Some, but all of this would be introduced in The Witchfire Trilogy Book One: The Longest Night.

What strikes you first about The Witchfire Trilogy Book One: The Longest Night is the cover. It is an incredible piece by Matt Wilson, depicting a young woman wielding a black two-handed sword crackling with energy whilst she is surrounded by the undead. The cover promised much, and whilst the scenario would deliver in terms of story and plot to match the cover, the cover also revealed the villainess of the piece. But then, so did the back cover blurb! What strikes you second about The Witchfire Trilogy Book One: The Longest Night are its internal illustrations, heavy pen and ink pieces by Matt Wilson and Brian Snoddy which brought the industrial gothic of the Iron Kingdoms to life. It gave The Witchfire Trilogy Book One: The Longest Night and the Iron Kingdoms a singularly recognisable look and that cover would win the ‘Best Cover Art Gold ENnie Award’ in 2001.

The Witchfire Trilogy Book One: The Longest Night though, has something of a split personality. This is because it has to do two things. One of which is to introduce the setting and the other is to give the first part of the scenario. Although it introduces the Iron Kingdoms, the bulk of the setting material is devoted to Corvis, the City of Ghosts, in and around where the scenario itself is set. Boxed sections cover elements of the setting as the scenario goes along, such as how firearms work and what skills are relevant to their use and manufacture in the d20 System; how steam power and steamjacks work, again with the appropriate skills; Human religion in the Iron Kingdoms; and more. Only a tenth or so of The Witchfire Trilogy Book One: The Longest Night is devoted to this setting’s background, and it is both enough and not enough. It is enough with which to run the scenario, but not enough to do more than that. Notably, there are no notes on what Player Characters are like in the Iron Kingdoms. In fact, that information would not be available until the Lock & Load: Iron Kingdoms Character Primer was published in 2002. This introduced all of the new Races and Classes particular to the setting, all of which were different to that of standard Dungeons & Dragons and contributed very much to the feel and flavour of playing in the Iron Kingdoms. Without them, The Witchfire Trilogy Book One: The Longest Night and the Iron Kingdoms feel like a very different setting for Dungeons & Dragons, but one still played using the standard Races and Classes of Dungeons & Dragons, even down to the Halfling, a Race actually mentioned in the scenario.

The Witchfire Trilogy Book One: The Longest Night is designed for Player Characters of First to third Level. As the scenario and the first act opens, the Player Characters are on their way to Corvis as guards on a merchant caravan, when the caravan is attacked by Swamp Gobbers raiders including one with a device capable of creating heavy mist! Unless the Swamp Gobbers manage to run off with one of the chests, the Player Characters will be able to progress into the city fairly quickly. There they will encounter Father Dumas, High Priest of Corvis, who will hire them to investigate a series of grave robberies that he has been unable to persuade the city Watch to look into. After visiting gravesites both in and out of the city, the Player Characters learn that the bodies stolen were all connected to a witchcraft trial which took place ten years ago. Further, one of the witches put on trial and executed was Father Dumas’ sister-in-law and he himself, is the guardian of her daughter and his niece, Alexia Ciannor. By this point, the Player Characters may also have suspicions that she is behind the grave robberies.

In the second act, Father Dumas suggests that the Player Characters investigate the site where the witches were interred after their execution. This is in a former army outpost, deep in Widower’s Wood, the first of the two mini-dungeons in the scenario. It consists of a mix of caves and worked rooms and passages, there are obvious signs that the complex has been broken into and that once the chain-bound coffins are found, that not all of the witches were entombed there… The tomb is also a chance to have the Player Characters encounter more of the Iron Kingdoms’ strange creatures. There is a chance too, for the Dungeon Master to roleplay one of these and there is good advice to that end. By this time, the Player Characters’ suspicions about Alexia Ciannor will have grown and grown, and nobody will believe them if they voice such concerns. Their best course of action is to keep tabs on her and that will lead the Player Characters via the sewers—in very Shadows of Bogenhafen fashion—into her lair where she captures them, explains her plans, and temporarily traps them before making her getaway. Getting out of her lair and its surrounding tunnels ends the second act.

The third act begins with the Player Characters climbing out of the sewers and into the arms of the law. Or rather, Captain Julian Helstrom of the Watch. He more or less press gangs the Player Characters into working for him, revealing his own concerns over Alexia Ciannor, and sends them out on her trail to an old, abandoned fortress beyond Widower’s Wood. It was here that a century ago the army slaughtered a bandit army and it is their hundred year old bones that will form the bulk of Alexia Ciannor’s undead army. With this news in hand, the Player Characters must race back to Corvis to inform Captain Helstrom of the attack, which is just in time for the ‘Longest Night’, the annual celebration which takes place during a lunar eclipse. This is the setting for the climax of the scenario, the celebrations disrupted by the attack of the undead army and a showdown between Alexia Ciannor and the actual villain of the piece. There are some fun moments to throw at the Player Characters and get them involved, including a runaway coach, costumed undead using the dead as a raft, a merchant ship under attack by undead, and more. Alexia Ciannor will appear and attempt to bring her plans to fruition, and ultimately although she will be thwarted, she will get away. Of course, she will return in The Witchfire Trilogy Book Two: Shadow of the Exile.

In addition to the setting content and the scenario, The Witchfire Trilogy Book One: The Longest Night provides stats for all of its monsters and NPCs. The monsters in particular are all interesting creatures with a different feel to those presented in the Monster Manual. These would also go on to appear in the bestiary for the Iron Kingdoms, the excellent Monsternomicon.

Physically, The Witchfire Trilogy Book One: The Longest Night is a great looking book with wonderfully atmospheric artwork. However, that artwork is not always best placed. For example, the illustration depicting an attack upon a boat by a swamp squid, is placed several pages away from where it is described. The map of Corvis could have been larger and had more locations marked on it, whilst the individual dungeon and fortress maps are just a little too dark to read with ease. The writing feels rushed in places, the rules are poorly utilised in others, and the combination of mini-sourcebook and scenario means that the author has a lot to pack into the scenario, making it feel cramped in places.

There is no denying that The Witchfire Trilogy Book One: The Longest Night has a great setting and a great story, but the way in which it implements that story is often heavy-handed. There are scenes where the Dungeon Master is advised to try and have her players and their characters avoid certain actions and then push them back onto the plot. There is a scene where the Player Characters are captured by Alexia Ciannor so that she can explain her plans to them and she uses multiple Hold Person spells to do it. Then at the climax of the scenario where she appears, Alexia Ciannor is confronted by another NPC rather than by the Player Characters, and although they do have some influence over the outcome of the scenario, they cannot stop her escaping. Now some of this is understandable, as the author wants to tell a good story and if the Player Characters capture her or even kill her, it derails the plot. Mechanically, this is unlikely though, as the Player Characters are going to be Third Level at most and Alexia Ciannor is a Tenth Level Sorcerer! The result is that there are moments where the players and their characters lack agency even as they are on the periphery of Alexia Ciannor’s story and plot. Doubtless, a Dungeon Master would be able to fix some of these issues, much as the author did in the later The Witchfire Trilogy Collected Edition.

Yet despite its flaws, The Witchfire Trilogy Book One: The Longest Night is still playable and far from being a bad scenario. It is though a scenario which comes its own with the addition of Lock & Load: Iron Kingdoms Character Primer or the Iron Kingdoms Character Guide: Full Metal Fantasy Volume 1 because it brings in Player Character options. Then of course, The Witchfire Trilogy Book Two: Shadow of the Exile and The Witchfire Trilogy Book Three: The Legion of the Lost build on it in epic fashion.

The Witchfire Trilogy Book One: The Longest Night is a hugely atmospheric scenario, full of flavour and detail that is worth experiencing even if the plot in places is heavy-handed. The full potential of The Witchfire Trilogy Book One: The Longest Night might not be realised until later books, but in 2001 it stood out as a well-received scenario offering something different from the growing array of d20 System third-party content which was then beginning to flood the market.

In Game Wizards: The Epic Battle for Dungeons & Dragons, Jon Peterson told three stories—one about a rise, one about a feud, and one about a fall and all of them about Dungeons & Dragons. The story of the rise was not one, but four, hand in hand with each other. The first rise would be of Dungeons & Dragons, the first roleplaying game. The second rise would be of roleplaying itself. The third rise would be of E. Gary Gygax, the co-creator of Dungeons & Dragons and the founder of the hobby. The fourth rise would be of TSR, Inc., the company he co-founded to publish Dungeons & Dragons. The feud would be between E. Gary Gygax and Dave Arneson, the other co-creator of Dungeons & Dragons, which would colour so many of his decisions. The fall would be his ousting from the company he co-founded, at the infamous ‘The Ambush at Sheridan Springs’ in 1985, following a debt crisis which would result in the company’s takeover by Lorraine Williams. Game Wizards though only explored the first twelve years of TSR, Inc. Another twelve years would follow with Lorraine Williams at the helm before history repeated itself and TSR, Inc. would be bought out by Wizards of the Coast following another debt crisis. How this history was repeated and how the reputation of Lorraine Williams was cemented as a villain are told in Slaying the Dragon: A Secret History of Dungeons & Dragons by Ben Riggs.

Like any other history of Dungeons & Dragons, laying the Dragon: A Secret History of Dungeons & Dragons begins with E. Gary Gygax. Its first fifth charts his rise and fall, mostly in familiar fashion before the Lorraine Williams era is ushered in with a sense of relief. This is important, because as Game Wizards highlighted, her intervention saved TSR, Inc. and with it Dungeons & Dragons. Yet again and again, her reputation is soured by poor management decisions combined with a dismissive attitude towards both the core product and the core market. This would see the company attempting to expand out of what management saw as the ghetto of the roleplaying hobby market into mass markets, whether that was the mass market for boardgames such as Monopoly or for books. This was despite being the biggest fish in the roleplaying hobby market and despite having number one bestsellers on the New York book list. Yet at the same time, the publisher put out introductory boxed set after introductory boxed throughout nineties, all in an attempt to widen the appeal of Dungeons & Dragons and attract new players. Then when the company did attempt to innovate, whether attempting to design a boardgame intended to introduce Dungeons & Dragons to a younger audience or developing a rival to Magic: The Gathering, it would always seem to be undone by management decisions.

Similarly, management’s treatment of its talent was poor. Time and again, the management would call upon the company’s creative talent to create brilliant product, and time and again it did. David ‘Zeb’ Cook created the Planescape setting, a combination of the earlier Manual of the Planes with factions inspired by Vampire: The Masquerade; Timothy B. Brown and Troy Denning designed Dark Sun, an anti-Dungeons & Dragons setting much of which was inspired by the artwork of then in-house artist, Brom; and Bruce Nesmith and Andria Hayday developed the Ravenloft: Realm of Terror boxed set, based on Tracy and Laura Hickman’s module, I6 Ravenloft. All of these were fantastic products with superb production values and gaming potential, but all at a cost that as the book reveals made the publisher nothing in the way of profit. Yet despite this, it never seemed as if TSR wanted to keep its creative talent, let alone keep them happy. Its management would change agreements that benefitted its employees and then ask them for more, driving the actual men and women who loved roleplaying and Dungeons & Dragons and what they did—being creative on a daily basis—away from the company, and often onto bigger and better things, whether as further fame as an author or artist, or in the computer games industry.

Much like the earlier Game Wizards, there are fascinating asides and missed opportunities throughout Slaying the Dragon. Notably, in Game Wizards it was the opportunity for TSR, Inc. to purchase Games Workshop. In Slaying the Dragon, the major missed opportunity was a failure to capitalise fully on its innovations, most notably in the development of comic books based on Dungeons & Dragons and TSR’s other properties, which would see the establishment of TSR West and the souring of the company’s relationship with DC Comics, and also the creation of Dragonstrike, a board game designed to introduce roleplaying and Dungeons & Dragons to eight-year-olds using a VHS recording, the company overinvested in and was unable to sell in the long term. Yet perhaps the most intriguing opportunity that TSR lost was designing and publishing a roleplaying game based on J.R.R. Tolkien’s Middle-earth. From being sued for the use of the term ‘Hobbit’ in Dungeons & Dragons in the seventies to being approached by the holder of the film rights to Tolkien’s works to being offered the chance to create a new Middle-earth roleplaying game in the early nineties is quite a turnaround. Unfortunately, when TSR was unable to obtain the rights to publish new fiction set in Middle-earth—because what the management of the company wanted to be was a legitimate publisher of fiction—Lorraine Williams passed on the opportunity. In hindsight it would have been fascinating to see a Middle-earth boxed set for Advanced Dungeons & Dragons, Second Edition and it would have been popular with the roleplaying game’s fans. It was not to be though, and it would not be until Cubicle Seven Entertainment published Adventures in Middle-earth in 2016 that the works of Tolkien and Dungeons & Dragons would be brought together.

Slaying the Dragon ends in 1997 with Peter Adkison manoeuvring to bring in the money that he and Wizards of the Coast had made with the huge success of Magic: The Gathering—as detailed in Generation Decks: The Unofficial History of Gaming Phenomenon Magic: The Gathering—and buy out TSR, Inc. and save Dungeons & Dragons. Which although necessary, was much to Lorraine Williams’ chagrin. By then, the terms of the company’s sales agreement with Random House, the inability to be profitable or innovate, or truly understand its market, had placed it deep in debt. The twenty-five years since are their own history, not yet written and probably not as tumultuous, but Slaying the Dragon ends on positive note, with the number one roleplaying game in safe hands awaiting the new millennium and a new edition.

Slaying the Dragon: A Secret History of Dungeons & Dragons is a not a comprehensive history of the second twelve years of TSR, Inc. and Dungeons & Dragons and nor can it be. The author was unable to secure interviews with two of the leading figures at the company. One was Brian Thomsen, managing fiction editor at TSR, Inc., whose decisions would drive bestselling R.A. Salvatore, the creator of Drizzt Do’Urden, to stop writing for the company. The other was the president of the company, Lorraine Williams. Sadly, Thomsen died in 2008, but Williams declined to give Riggs an interview. Consequently, their roles in the company’s downfall and the defence of their reputations are told via anecdote, and there are more anecdotes charting the former than defending the latter. Thus, Brian Thomsen comes across as hardnosed and unnecessarily aggressive, whilst Williams remains a cold and remote figure, dismissive of gamers and the hobby, unable to escape her reputation as the true villain of the piece and the supposed inspiration for Planescape’s Lady of Pain. Yet there are moments when Williams does come across as being human, notably her sadness at losing TSR, Inc., but they are far and few between. Ultimately, until Lorraine Williams tells the history of the company whilst she was at its helm from her perspective, even though she saved the company and thus Dungeons & Dragons in 1985 and under her tenure there were some great products published, her reputation is always going to be that of the woman who destroyed TSR, Inc.

Slaying the Dragon: A Secret History of Dungeons & Dragons is the counterpart that Game Wizards: The Epic Battle for Dungeons & Dragons needed. The two complement each other, one telling the rise of TSR, Inc., the other its fall, and it is impossible to read one without wanting to read the other. Slaying the Dragon is the lighter of the two histories, more anecdotal and less drawn from documentation—though they play an important role in Riggs’ telling of the story. Slaying the Dragon: A Secret History of Dungeons & Dragons lifts the lid on the failures of TSR, Inc. and the consequences of poor decision after poor decision. Yet it is also a tale of brilliant creativity in the face of mismanagement, writers and artists like David ‘Zeb’ Cook and Bruce Nesmith and Jeff Easley and Brom putting out acclaimed content despite the input of upper management. Slaying the Dragon: A Secret History of Dungeons & Dragons is a compelling catalogue of catastrophes and a miasma of missteps, which tell the story of TSR’s failure and talented creativity in spite of itself.