Unless the Keeper wants a scenario set in the United Kingdom early in World War II for Call of Cthulhu, Seventh Edition, there is simply no other reason for her to purchase or even want to run The Foulness Island Vanishings: A Corrupting Infiltration in a Time of War. The scenario has the potential to be adequate and provide an evening or two’s worth of reasonable horror roleplaying, nothing more, nothing less. However, such pretensions to adequacy are completely betrayed by the complete lack of editing, wayward development, and fixation upon high production values. High production values which are not always achieved. Yet if the Keeper is running a campaign set during World War II and is willing to overlook the scenario’s annoyingly silly failings and do the development necessary to get its to fit her campaign, then there is potential in The Foulness Island Vanishings: A Corrupting Infiltration in a Time of War. Until then, she should go and find a better scenario. There are plenty of those to find.

The Foulness Island Vanishings: A Corrupting Infiltration ina Time of War does not start well. Published by Stygian Fox, it cannot decide where Foulness Island actually is—is it on the northeast, east, or southeast coast of England? Its set-up is a relative gone missing, so beloved of Call of Cthulhuscenarios—and that is fine, but it adds another missing person’s case, as well as other set-up options, but never really develops these other options. It adds map after map to the point where you really can say that there are too many maps. Whilst the floorplans are all fine, there is not a single good map of the island itself. There are maps of one village, but not the other, and the map of the one village does not quite match the description given in the text, and arguably neither the numbered map for the Keeper or the unnumbered one for the players need to be as large. Then again, does the scenario really warrant a global map of the territories held by the Axis and Allied powers in 1941, let alone two copies of it? There are period photographs included of one the missing persons, but arguably they do nothing to add to the scenario. Then almost immediately as the scenario starts, it refers to an NPC that the Keeper is not told about and does not appear until a fifth of the way into the scenario. The writing all too often descends into travelogue as if describing where the Investigators are going, rather than providing simple descriptions of places that they can explore, and the Keeper can easily relate to her players. Further, for a scenario set in England in World War II, there are elements missing which would have added to its verisimilitude, in particular rationing and the presence of the army or the Home Guard. The scenario is set on an island and there is an image of a pill box included in the scenario, even if only one a mile away on the mainland. So why no army or Home Guard? Surely, they would have been stationed on the island in case of invasion. Lastly, there is a swastika used on the inside front cover, but the Nazis play absolutely no role in the scenario, so why is it there?

The Foulness Island Vanishings: A Corrupting Infiltration in a Time of War is set on Foulness Island, off the coast of Essex during 1941. Conscription has been imposed for the first time and it is suggested that the Investigators be above the age limit. One of the Investigators receives a letter from his aunt Lidia, who is staying on Foulness Island, but then hears no more. So he makes the journey out to the island to find out if she is okay. Other options include a private detective hired to locate one Harold Frazier-Snipe, who is also missing, or a holidaymaker or an ornithologist or an archaeologist. These options are relatively undeveloped, but potentially could be developed into pre-generated Investigators complete with motivations to be visiting the island. Foulness Island itself is flat, exposed to the sea, with marsh along the coast. It is notable for the Broomway, a low-lying path that connects the island to the mainland, but parallels the island for much of its length and is submerged at high tide. The inhabitants are in the main friendly and helpful where possible, and there is plenty of scope for the Investigators to explore the island. Perhaps following up on other disappearances, a dark legend, or visiting the standing stones at Foulness Point on the north end of the island. An appearance by a strange pig—along with other clues—points to the other end of the island and here the Investigators will encounter even stranger things going on. Ultimately, the Investigators will have a showdown with the antagonists behind it all, which can lead to their being captured, dealing with another very helpful if alien fellow prisoner, or an out and out free-for-all.

Physically, The Foulness Island Vanishings is very much hit and miss. The hits are some good handouts and reasonable artwork, as well as some decent floor plans. The misses include some poorly handled artwork and the plethora of unnecessary maps. Then of course, there is the writing and the layout… The former shows no indication of having seen sign of an editor, whilst the latter suffers from a lack of attention.

The Foulness Island Vanishings is a relatively short scenario, one which can be played in one or two sessions. There is pleasing sense of bucolic isolation and fear of invasion during time of war, and the scenario does add a local legend into the mix fairly easily. With the base plot in hand, once she has taken the time to understand what is going on—it is simple, but the book does not make that easy—the Keeper can easily do the development to turn into something more interesting. As a one-shot, develop the possible set-ups for the Investigators from those suggested, add some details about life under wartime, draw a better map of the island, and so on. Then again, why should she? Surely, this should have been done for her.

A recent review of a scenario from the Miskatonic Repository was criticised because it used the word ‘bamboozled’ to describe how the reviewer felt in discovering what was under its very fine cover. It is hard not to feel exactly the same way with The Foulness Island Vanishings: A Corrupting Infiltration in a Time of War. The outwardly high production values of the scenario will bamboozle the potential purchaser and Keeper, only for her to find it befouled by its lack of editing and development. It would not have taken much effort to develop into a reasonable scenario, but as presented, The Foulness Island Vanishings: A Corrupting Infiltration in a Time of War is inexcusably inadequate.

The Earth Above is a scenario for the MOTHERSHIP Sci-Fi Horror Roleplaying Game, the roleplaying game of blue collar Science Fiction Horror inspired by films such as Outland, Dark Star, Silent Running, and Event Horizon, as well as Alien and Aliens. Published by Fey Light, it is a short, two or three at most session scenario for a crew of Player Characters who either have their own starship or are travelling aboard one. It comes with a set-up, a setting, a threat (and possibly more), half-a dozen NPCs, two location maps, and of course, several tables to help the Warden run the scenario. It also comes with numerous reasons why the Player Characters might get involved. The primary reason is the ship that they are aboard is low on fuel and the nearest source is the world of Cormeia-9 or ‘Cor-9’. However, the world is under lockdown and there are emergency procedures in effect, so getting to refuel their takes on an extra challenge. Other reasons for their getting involved might be that they are colonists under lockdown; a team sent by a corporation to extract samples of the reason for the lockdown, an invasive alien species known as the Pestilence; a team of troubleshooters sent by the colony’s operating corporation in order to get it up and running again; and others. The result is an easy scenario to set up and drop into a campaign or run as a one shot.

The Earth Above runs to sixteen pages and is very neatly organised. So one double spread covers the background and reasons for the Player Characters getting involved, whilst the next describes the world and gives an overview of the facilities on world. This includes a note pointing out that the planet’s rotation is so short it disrupts a sleeper’s circadian rhythms, so adding to his stress, which is nice environmental effect of increasing a Player Character’s Stress. The next two describe the facilities and the mine in detail, the latter accorded a fully three-dimensional map, which adds a lot of detail and feel, but is still quite simple. Between them, the scenario’s six principal NPCs are given, including where they might be found, what they want, and what they have. Since the scenario is mainly set-up, these six can play a role no matter how the Player Characters get involved, whether it is simply to get fuel, get the mines up and running, or survive as colonists themselves. The last couple of pages are devoted to stats for various NPCs and creatures. Of the creatures, there are four types given and together they all have a very Xenomorph-like feel, a la Alien, Aliens, or even Alien 3. However, they are not exactly that, and in a one-shot, it is perfectly fine to have a creature not dissimilar appear as the threat. And anyway, those films are part of the inspiration for the MOTHERSHIP Sci-Fi Horror Roleplaying Game anyway. Rounding out the scenario are tables of things to be found in the hablocks, supplies, mercenary loadoats, and so on. All useful, as is the advice, which is kept to the point given lack of space, for the Warden to help her run the scenario.

Physically, The Earth Above is well presented, the artwork good, and the layout clean and tidy. All of which is packaged into a slim, but sturdy little booklet.

The Earth Above is a small, but smartly packaged scenario. In truth, its plot and set-up are draw from familiar inspirations, but they are adroitly handled with multiple different set-ups that work with the scenario and the familiarity should lend itself to some classic Sci-Fi horror moments. Easy to prepare and easy to run, The Earth Above is there for when the MOTHERSHIP Sci-Fi Horror Roleplaying Game, the roleplaying game of blue collar Science Fiction Horror Warden wants to serve up some unfussy, unpretentious Sci-Fi horror that is easy to buy into because everyone knows the tropes.

Lâminas & Feitiços or Blades & Spells is a minimalist fantasy roleplaying game from South America. In fact, Blades & Spells is another Bronze Age, Swords & Sorcery minimalist fantasy roleplaying game done in pamphlet form from Brazil. In actuality, Blades & Spells is a series of pamphlets, building from the core rules pamphlet to add optional rules, character archetypes, spells, a setting and its gods, and more, giving it the feel of a ‘plug and play’ toolkit. The Storyteller and her players can play using just the core rules, but beyond that, they are free to choose the pamphlets they want to use and just game with those, ignoring the others. So what is Blades & Spells? It describes itself as “…[A] simple, objective and dynamic minimalist RPG game where the Storyteller challenges the Player and not the character sheet.” It is written to pay homage to the classic Sword & Sorcery literature, uses the Basic Universal System—or ‘B.U.S.’—a simple set of mechanics using two six-sided dice, and in play is intended to challenge the player and his decisions rather than have the player rely upon what is written upon his character sheet. Which, being a minimalist roleplaying game, is not much. So although it eschews what the designer describes as the ‘classic restrictions’ of Class, Race, and Level, and it is very much not a Retroclone, there is no denying that Blades & Spells leans into the Old School Renaissance sensibilities.

Blades & Spells: An agile, objective and dynamic minimalist RPG provides the core rules to the roleplaying game. They are a simple, straightforward set of mechanics, emphasising a deadly world of adventure in which the heroes wield both weapons and magic. Beyond the core rules, Blades & Spells is fully supported with a series of optional pamphlets which expand upon its basics and turn it into a fully rounded roleplaying game. All together these might be seen as  the equivalent of a ‘Blades & Spells Companion’, although they just as easily could be combined into the one publication.

Blades & Spells: Beasts & Monsters follows the pamphlet format of the core rules and presents a set of twenty-one potential threats and hazards that the Player Characters might face. All have a name, a Challenge Rating, some Hit Points, details of its main characteristics, the latter amounting to no more than a sentence of two, thus giving no more than a thumbnail description of the monster. They include Shedu and Lamassu; the Akhazu, an evil creature which spreads plagues and can only be destroyed when whomever summoned it is killed; the Nommos, the humanoid amphibious ‘fishmen’, complete with tails, scales, and gills who hate the light and who indirectly built and rule the city-state of Nippur; and the Aqrabu, fiercely territorial, cave-dwelling humanoid scorpions created to fight a war between two gods in the distant past. Non-monsters are not ignored and Bandits, Cultists, Pirates, and Sorcerers are included as well. As with Blades & Spells itself, the entries in this pamphlet are inspired by Mesopotamian myths and other Bronze Age mythologies.
Blades & Spells: Characters Archetypes/Compendium of Magic does two things. First, it expands upon each Player Character’s Focus. This is his occupation or something that he is good at, either Fighter, Mystic, Intellectual, Support, or Specialist. The supplement divides some twenty-nine archetypes into these five categories with a simple thumbnail description. So for the Fighter, there is the Brute, the Exotic, and the Spearman; for the Mystic, the Warlock and the Beastmaster; for the Intellectual, the Actor and the Merchant; for the Support, the Artisan and the Musician; and the Specialist, the Deceived and the Pirate. These are again kept short and simple, but suggest some ideas as to what a Player Character is and what he can do, each one, just like the Focus, providing Advantage or Disadvantage, depending on the situation.
The second thing that Blades & Spells: Characters Archetypes/Compendium of Magic does is provide spells for the roleplaying game. Although every Player Character in Blades & Spells is capable of casting spells, the mechanics are objective orientated, but kept freeform. This supplement details some twenty-nine new spells which the Player Characters or NPCs can cast, whether they are doing so as arcane magic or divine magic. Some of these are nicely inventive, such as ‘Viper Venom’, which fills the caster’s mouth with water and after concentrating for a few moments, he can spit it out as a corrosive liquid or a toxic gas; ‘Dead Memory’ allows the caster to see through the eyes of the dead and so learn their secrets they kept in life and the fate that befell them; and ‘Thirty Coins’, an area spell which forces anyone who lies within its effects to vomit thirty pieces of silver that then disappear…

Blades & Spells: Optional Rules expands upon the rules presented in the core Blades & Spells: An agile, objective and dynamic minimalist RPG. They are all optional. They add in turn, rules to create non-Human characters, perhaps pushing Blades & Spells away from its Swords & Sorcery roots, but they give the species two positive physical traits and one negative physical trait. In addition, a Player Character of that species must still have a defect as per usual in addition to the species’ negative physical trait. Tables for ‘Wild Terrain’ cover the weather and ground types, plus random events, whilst the rules for poison are brutally nasty (options are given for less lethal effects as alternatives.) These are followed by rules for drunkenness too, and then insanity. Here a Player Character has ten Sanity Points, which are lost in moments of stress and terror. Once they are reduced to zero, a roll is made on the Insanity table. These rules and their effects are underwritten as not all of the results have a time length and there is no guidance as to what happens afterwards, such as how Sanity Points might be recovered. For the main part, the new rules in Blades & Spells: Optional Rules do what they suggest and cover aspects of play without adding too much in the way of extra complications. The disappointing element here are the rules for insanity, but the Storyteller can adjust as necessary to make them work and fit her setting.

Blades & Spells: An agile, objective and dynamic minimalist RPG is a simple, straightforward set of mechanics, but whilst that means that it is easy to play, it also means that it is easy to expand and add optional rules and extras to. Which is what these three supplements do. Not always effectively in places, but others, such as the Blades & Spells: Characters Archetypes/Compendium of Magic and Blades & Spells: Beasts & Monsters add a lot in terms of flavour and feel, but without without adding a lot of complications. Consequently, they are worth adding to have the options for both play and whatever setting the Storyteller wants to create.
So that really is it to . Or at least the core rules. It fits on two sides of a single sheet of paper. It is cleanly laid out, although it does need an edit in places to account for the translation from Portuguese to English. It has a decent piece of artwork on the front. It is also perfectly playable barring a couple of issues. One is that it does leave the Storyteller to wonder what sort of complications a failure of a dice roll might add to the plot and it does not state what the difficulty number is for hitting a Player Character in combat.

Blades & Spells but there are numerous optional pamphlets which expand upon its core rules and turn Blades & Spells into a fully rounded roleplaying game rather than just a core set of mechanics. Nevertheless, Blades & Spells: An agile, objective and dynamic minimalist RPG is a solid, serviceable, easy to learn and play, minimalist roleplaying game.

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

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

—oOo—
Name: Dream HousePublisher: Chaosium, Inc.
Author: Evan Perlman

Setting: Jazz Age BostonProduct: Scenario
What You Get: Thirty-one page, 4.30 MB Full Colour PDF
Elevator Pitch: A spiritual successor to The HauntingPlot Hook: Helping an old friend reveals horrible secrets
Plot Support: Staging advice, two floor plans, three handouts, six pre-generated Investigators, eight NPCs, one Mythos monster, and one Mythos tome. Production Values: Decent.
Pros# One night one-shot# Enclosed space, focused scenario# Creepy sense of déjà vu# Fun for the Keeper to run# Literally a spiritual sequel to The Haunting# Potential sequel down another trouser leg of time# Potential to play around with multiple protagonists# Can be run with player-created or pre-generated Investigators# Good with two Investigators as its is with five
# Failure is not the end...
Cons# Another sequel to The Haunting?# Failure is not the end...# The déjà vu requires careful handling
Conclusion# Literally a spiritual sequel to The Haunting with a creepy and claustrophobic sense of déjà vu that is cleverly designed and thought out.

Several hundred years from now, mankind has spread far out into the Solar System. Tensions between the Martian Congressional Republic, based on the greatly terraformed planet of Mars, and the United Nations of an Earth restored through the use of the same terraforming technology, have almost driven the Solar System to war. Ultimately what prevented conflict was the Martian government sharing details of the Epstein Drive, a new technology which would open up the frontier in the asteroid belt and the outer planets beyond. Like every frontier before it, prospectors raced out in search of new resources—metals to support industries across the Solar System and water to support the new and growing habitats and settlements—with colonists behind them. A growing sense of resentment at their exploitation would see the Belters set up the Outer Planets Alliance protect their interests, though the Earth-Mars Coalition would brand them terrorists. The discovery of a strange molecular technology on Phoebe, a moon of Saturn, would lead to radical changes across the Solar System. The Protogen Corporation, the corporation assigned by the Martian Congressional Republic to study it, branded it the Protomolecule and conducted experiments which would kill millions and ultimately threaten the Earth. Fortunately, there were some who could direct the threat away from the Earth and towards Venus, where it would radically transform the planet beyond all understanding.

This is the setting for The Expanse, the series of Science Fiction novels by James S.A. Corey, and the television series of the same name. It is also the setting for The Expanse Roleplaying Game, published by Green Ronin Publishing. The novels and the television series run to nine books and six seasons respectively, so The Expanse Roleplaying Game is set between the events of Leviathan Wakes and Caliban’s War, the first and second novels. The Player Characters can explore the setting of The Expanse, perhaps with their own spaceship, get involved with the conspiracies and politics of the setting between governments and corporations, and more.

The Expanse Roleplaying Game uses what has become known as the ‘AGE’ or ‘Adventure Game Engine’ was first seen 2010 in Dragon Age – Dark Fantasy Roleplaying Set 1: For Characters Level 1 to 5, the adaptation of Dragon Age: Origins, the computer game from Bioware. It has since been developed into the Dragon Age Roleplaying Game as well as the more generic Fantasy AGE Basic Rulebook and a more contemporary and futuristic setting with Modern AGE Basic Rulebook. This is the basis for The Expanse Roleplaying Game. It comes with rules for creating Player Characters, including enough focuses, talents, and specialisations to take the Player Characters from First to Twentieth Level, handling fast-paced action built around action, combat, exploration, and social stunts, spaceships and spaceship combat, background setting, advice for the Game Master, plus more... That more includes a new short story, ‘The Last Flight of the Cassandra’, by James S. A. Corey, stats for the cast of the novels, a beginning scenario, and advice when to set a campaign.

A Player Character in The Expanse Roleplaying Game is defined by his Abilities, Focuses, and Talents. There are nine Abilities—Accuracy, Communication, Constitution, Dexterity, Fighting, Intelligence, Perception, Strength, and Willpower. Each attribute is rated between -2 and 4, with 1 being the average, and each can have a Focus, an area of expertise such as Accuracy (Gunnery), Communication (Leadership), Intelligence (Technology), or Willpower (Courage). A Focus provides a bonus to associated skill rolls and, in some cases, access to a particular area of knowledge. A Talent represents an area of natural aptitude or special training, and is rated either Novice, Expert, or Master. For example, at Novice level, the Pilot Talent, the Player Character is quick to start a vehicle and make appropriate tests as minor actions; at Expert level, he gains a bonus to all rolls involving speed; and at Master level, the character’s player can reroll failed rolls, bit must keep the second roll, plus as long as the vehicle is moving, it receives a bonus to its defence. As a Player Character goes up in Level, he can acquire Specialisations, such as Ace or Executive, which grant further bonuses and benefits. A character also has a Background, Social Class, and Profession, plus a Drive, Resources and Equipment, Health, Defence, Toughness, and Speed, and Goals, Ties, and Relationships.

To create a character, a player rolls three six-sided dice for each Ability—assigning them in order, but can swap two. He then rolls his origins and native gravity, which is either a Belter, an Earther, or a Martian. After that, he rolls for Social Class and an associated Background and Profession. A Background provides an Ability bonus, a choice of a Focus, and a choice of a Talent, plus randomly determined Focus or Talent, whilst a Profession provides a pair of Focuses and a pair Talents to choose from, plus a resources score and starting Fortune. The player selects a Drive, such as Achiever or Networker, which grants another pair of Talents to choose from as well as an improvement to a Relationship, a Reputation, or Resources. The process itself is fairly quick and results in a reasonably detailed character. Alternatively, and with the permission of the Game Master, a player can pick these options rather than roll for them. This is a good choice if the players need to decide what their characters are and what they do as a team or a crew, for example, that of a spaceship as in the novels.
One stats missing from a Player Character is that of health or Hit Points. Instead he has Fortune Points. These serve two primary functions. First, they can be expended to alter the value of a die (which costs more for the Drama die), and second, they work as the equivalent of Hit Points. In effect, their use sort of reflects the Player Character’s luck being used up or running out.
Our sample Player Character is Jadamantha Holland, who grew up in a klade of indentured labourers and crafters out in the belt. Renowned for her outspoken attitude she was elected its negotiator after she complained at the poor deals being bargained for their labour with the corporation they were indentured to. She stuck to her guns and got a better deal, year on year, and then for other klades as she fomented a drive for them to unionise. She was successful, but the corporations would ultimately rig the elections and ensure she did not win. Consequently she hates the corporations and supports the Outer Planets Alliance, often moving from location to location, negotiating workers’ rights. When that does not work out she is an invertebrate gambler and often she can turn her hand to most things. Her often obstinate views on authority get her into trouble. 
Jadamantha Holland
Background: Belter
Social Class: Lower Class (Labourer)
Occupation: Negotiator
Level: 1

Accuracy 0
Communication 3 (Bargaining, Gambling)
Constitution 1
Dexterity 2 (Crafting, Free-fall)
Fighting 0
Intelligence 2
Perception 2
Strength 1
Willpower 3

Defence 12 Toughness 11 Speed 12 Fortune 15
Talents: Carousing (Novice) Improvisation (Novice), Oratory (Novice)Drive: Rebel
Resources: 2

Mechanically, the AGE System and thus The Expanse Roleplaying Game, is simple enough. If a Player Character wants to undertake an action, his player rolls three six-sided dice and totals the result to beat the difficulty of the test, ranging from eleven or Average to twenty-one or Nigh Impossible. To this total, the player can add an appropriate Ability, and if it applies, an appropriate Focus, which adds two to the roll. For example, a group of Outer Planets Alliance terrorists have been tracked to a belter station in the belt and the Earth-Mars Coalition is preparing a Marine Corps strike team. The Player Characters could sneak onto the station to find out what is happening there or they could negotiate with the Marine Corps strike team commander to wait before she sends her team in. The former would involve a player rolling the three six-sided dice, applying the Player Character’s Dexterity Ability, and if the Player Character has it, the Stealth Focus. The other option would be to roll the three six-sided dice, apply the Player Character’s Communication Ability, and if the Player Character has it, the Bargaining Focus.
However, where the AGE System gets fun and where the Player Characters have a chance to shine, is in the rolling of the Drama die and the generation of Stunt Points. When a player rolls the three six-sided dice for an action, one of the dice is of a different colour. This is the Drama die. Whenever doubles are rolled on any of the dice—including the Drama die—and the result of the test is successful, the roll generates Stunt Points. The number of Stunt Points is determined by the result of the Drama die. For example, if a player rolls five, six, and five on the Drama die, then five Stunt Points are generated on the Drama die. What a player gets to spend these Stunt Points on depends on the action being undertaken. In 2010, with the release of 2010 in Dragon Age – Dark Fantasy Roleplaying Set 1: For Characters Level 1 to 5, the only options were for combat actions and the casting of spells, but subsequent releases for Dragon Age – Dark Fantasy Roleplaying expanded the range of options on which Stunt Points can be spent to include movement, exploration, and social situations. This has been carried over into Modern AGE and The Expanse Roleplaying Game and expanded and expanded.
So, what can stunts do? For example, for one Stunt Point, a player might select ‘Whatever’s Handy’ and grab the nearest improvised weapon, which though clumsy and possibly fragile, it will do; for five Stunt Points, select ‘Spray and Pray’, which applies an attack to everyone in a five metre radius, though they all get a Defence bonus; and for each three Stunt Points spent, ‘Hull Breach’ reduces the target vehicle’s Hull rating by a point. In an Investigation, ‘Flashback’ costs a single Stunt Point and reminds the Player Character of something he forgot, whilst in a social situation, ‘From the Heart’ costs four Stunt Points and enables the Player Character to express wholeheartedly a belief such that it temporarily grants a Willpower Focus and a bonus to the roll to use it.For example, Jadamantha Holland gets herself captured by the Marine Corps strike team readying itself to attack the belter station where the commander suspects there are some Outer Planets Alliance terrorists. Her loud mouth easily persuades the sergeant to take her before the commander by claiming that she has information about what is on the station. Jadamantha wants to persuade the commander to wait and let her colleagues find out what is happening on the station before the marines go in all guns blazing. Brought before the commander, Jadmantha tells her that she should not go in yet and that if she does, she sill have another Fred Johnson situation on her hands and there’s her career gone. The Game Master sets the base Test Difficulty at Hard or fifteen because the marine commander is determined to send her team in. Jadamantha’s Reputation as an Outer Planets Alliance sympathiser counts against her and so increases the Test Difficulty to seventeen or Formidable. Her player will roll the dice, add Jadmantha’s Communication Ability and +2 for the Bargaining Focus. In addition, Jadamantha’s player gives an impassioned speech warning about the danger of another Fred Johnson affair. This grants another +2 bonus. So altogether, the player is adding a total of seven to the roll. Jadmantha’s player rolls five, three, and then five on the Drama die. This means that she has succeeded and her player has five Stunt points to spend. Her player first chooses ‘Let’s make deal’, which enables Jadmantha’s words to benefit another person present, who now owes her a favour, if only begrudgingly. This is the marine sergeant, who is now concerned that his commander is going in hot. This costs three Stunt points and Jadmantha has successfully persuaded the commander to stay her hand.
Another use for the Drama die is to determine how well a Player Character does, so the higher the roll on the Drama die in a test, the less time a task takes or the better the quality of the task achieved. The main use though, is as a means of generating Stunt Points, and whilst Stunt Points and Stunts are the heart of the action in The Expanse Roleplaying Game, there are a lot of them to choose from. Now they are broken down into categories, and that does limit what a player can choose from. However, upon initial play, a player is not only going to be faced with an abundance of choice, but in making that choice can slow play down. In combat that is a real problem because it is meant to be exciting and dynamic. Ultimately, this should lessen as players get used to the system and find out what Stunts work best with their characters, and as they get used to these choices, which is when they will find that the array of Stunts available do reflect aspects of the setting and story of The Expanse.
In addition to covering action, combat, exploration, and social scenes, The Expanse Roleplaying Game covers rules for handling resources (money), reputation, technology and equipment, and more. There is a solid guide to the latter and what is clear is that beyond the Epstein Drive for spaceships, technology is not overly advanced. Beyond that, the highest piece of technology listed is power armour, which is rarely to be found in possession of the Player Characters. In covering lifestyle, communications, food, and more, The Expanse Roleplaying Game begins to impart a feel of the future it depicts. Some players may be disappointed by the treatment of the technology in terms of weaponry, the differences of which are determined by various Qualities and Flaws. Mechanically this is effective, but it does feel flavourless in terms of the setting.
In comparison, The Expanse Roleplaying Game goes into some details about how space travel and spaceships work in its future. This includes a discussion of motion, mass, spin, and velocity, all of it surprisingly technical. This is not built into the rules though, which means that a calculator and an understanding of mathematics is not required to play the roleplaying game or handle a spaceship. Instead, it supports the roleplaying game and setting as a hard Science Fiction setting, rather one of just pushing the button and the ship goes., and should instead be used to flavour and inform the narrative in play. Various types of spaceships are detailed from a lowly shuttle all the way up to large freighters and battleships. These are all relatively simply defined with Hull points, crew size and competence, sensors, weapons, and Qualities and Flaws, if any. They are illustrated, but no deck plans, at least for the types of spaceships the Player Characters would have access to, which again is disappointing as that again would have imparted a stronger feel for the setting. (That said, Ships of the Expanse does include those deck plans as well as other information.) In general, whether or not the Player Characters own or have a spaceship will be down to the type of campaign being played or the narrative.
Spaceship combat builds on the core mechanics and has a fluid feel to it. Primarily, it adds another table of Command Stunts for the captain to choose from if he rolls well at the beginning of each round. This can flavour and influence the course of the action from round to round, so that ‘Guidance’, which costs one or more Stunt Points, gives bonus points to assign to combat tests throughout the round, or ‘Set-up’, which costs four Stunt Points and is used to maneuver an opposing ship into a hazard, whether that is into the range of a weapon with a shorter range, a debris field, or even an asteroid. Reflecting the harder feel of its Science Fiction, the spaceships do not have shields, damage being done directly to the hull, and weapons are all kinetic, whether that is Point Defence Cannons, rail guns, or torpedoes. The rules for spaceship combat are supported by a good example of play—the best in the book.

The guide to the future depicted by The Expanse, essentially the background to the setting, does not appear until over halfway through the book. This covers the history of setting all the way up to the first two novels, as well as background on Earth, Mars, the Belt, and the Outers beyond that. It also includes full details and stats of the main members of the cast—Chrisjen Avasarala, James Holden, and more. This would allow the players to take them as characters if they wanted to. Perhaps fans of the television series and the novels may be underwhelmed by the lack of background, but The Expanse Roleplaying Game is not intended to be the  definitive sourcebook for either. Overall, it is a good solid introduction to, and overview of, the setting.
The Game Master is really only given one more mechanic. To aid her handle and increase tension, she is given Churn. Reset at the beginning of each adventure, this ticks up and is tracked whenever a player rolls a six on the Drama die, spends more than four Stunt Points, a player spends Fortune, or the Player Characters overcome an encounter or hazard. When the thresholds are exceeded at ten, twenty, and then thirty points, the Game Master checks for a ‘Churn Over’ which can result in a minor, major, or epic setback or turn of events which in some way impedes the Player Characters. Other than this, the section for the Game Master is dedicated to solid, well written advice on running the game and adjudicating the rules, plus creating adventures, GM styles, and knowing your players—the latter particularly well done. It also includes adversaries, both mundane and outré, potential rewards for the Player Characters, and a discussion of the themes to be found in The Expanse and how to use them in the game. It suggests several campaign or series frameworks, including freelancers, military, political, rebellions, Protomolecule, and other series. It even discusses how to run Parallel series with two or more groups and a series exploring the setting of The Expanse beyond the story depicted in the fiction. All come with plot hooks and there are some concepts for taking beyond the canon too. It even plots out Leviathan Wakes, the first novel, as a plot arc.
Lastly, ‘To Sleep, Perchance To Dream’ is an introductory scenario which a Game Master can run as a one-shot or beginning of a campaign. In the Player Characters are hired by the Mormons on Tycho Station to investigate the disappearance of two scientists. The plot of the scenario is not connected to that of the novels, so it has the feel of there being other things going on other than the threat posed by the Protomolecule. The scenario will bring them into contact with one of the major characters of the setting, but only tangentially, which is a nice touch for fans of the series. Plus as written it should all end with a cinematic climax.
Physically, The Expanse Roleplaying Game is cleanly presented, illustrated throughout in full colour, the artwork nicely depicting the future of The Expanse, as well as its various characters. In places, it is perhaps slightly too busy in terms of its layout, sometimes making it less than an easy read. However, it is well written and an engaging read, especially the background and the advice for the Game Master on running a game and choosing a series framework.
From its inception in 2009 with Dragon Age – Dark Fantasy Roleplaying Set 1: For Characters Level 1 to 5 to the publication of The Expanse Roleplaying Game in 2019, the AGE System has evolved from an elegant and easy way to handle cinematic fantasy into something which is both complex and comprehensive. It still retains its core elegance, but it is no longer as easy, having more choices and more crunch. This is unavoidable though, given the hard Science Fiction of The Expanse setting, and to be fair, The Expanse Roleplaying Game explains and handles it very well. The core elegance of the AGE System means that the Player Characters can get to do exciting, even cinematic action and interaction, in what is a hard Science Fiction setting, and so have a chance to shine. The Expanse Roleplaying Game is an impressive adaptation of the start of The Expanse setting, one which fans of hard Science Fiction roleplaying will enjoy as much as fans of The Expanse.

Okay. Remember back in 2017 and that weird thing when colouring books were popular once again. Not just for children, but for adults. Walk into any bookshop and you could find a colouring book on any subject or for any intellectual property you care to name, from the Harry Potter Colouring Book, the Vogue Colouring Book, and The Kew Gardens Exotic Plants Colouring Book to the Lonely Planet Ultimate Travelist Colouring Book, the Day of the Dead Colouring Book, and the Escape to Shakespeare’s World: A Colouring Book Adventure. I gave them as presents, but in all honesty, I had and have no interest in colouring books. Except that Chaosium, Inc. published a colouring book, one inspired by the works of H.P. Lovecraft. It being from Chaosium, Inc. and it being inspired by the works of H.P. Lovecraft piqued my interest enough to want to review it, but the main reason to do so was to see if I could review an actual colouring book. Well, I could, and the result was a review of Call of Cthulhu – The Coloring Book: 28 Eldritch Scenes of Lovecraftian for you to Color. However, it turns out it was not the only Lovecraft-inspired colouring book.

The latest is Color the Cthulhu Mythos of H. P. Lovecraft. Published by Mythos Monsters, it is the second colouring book by artist Jacob Walker, following on from the earlier The Colouring Book Out of Space: A Lovecraft inspired adult coloring book. It collects some twenty-five illustrations, in turn portraying some of the classics of Lovecraft’s works and others. This includes Cthulhu, Dagon, Nyarlathotep, The King in Yellow, and more, as well as places such as R’lyeh, the Dreamlands, the Mountains of Madness and beyond. These are all presented on single sheets which are perforated for easy removal and can be coloured in using pencils, inks, or marker pens, depending upon the colourer’s choice.

After the classic quote from The Call of Cthulhu, begins with a depiction of the most iconic of Lovecraft’s creations, Cthulhu himself. In ‘Resurrection in R’lyeh’, he pulls himself up out of the sea under the waxing crescent of the moon, amidst the tops of the non-Euclidian spires of the city below. It is not the only depiction of Cthulhu, the other, ‘The Call of Cthulhu’, a close-up of the great god. Numerous gods are illustrated, such as ‘Yig, Father of Serpents’ and ‘Ithaqua Hunting’, whilst in ‘The Crawling Chaos’ he appears in Ancient Egypt, perhaps as the Dark Pharoah, perhaps as The Crawling Chaos itself. Of the various species, an Elder Thing perches atop an obelisk, ‘The Mi-Go of Yuggoth’ appears from nowhere, and a horde of unnamed Deep Ones swarming forth as ‘Dagon Lord of the Deep’ looms… There is often a cosmically comic sensibility too, such as in ‘Alhazred’s Book, The Neccronomicon’, where the scholar is being assailed by tentacles that thrust up from the very book he is studying, or another scholar attempts to ‘Dispel the Horror’. In general, Human involvement is limited to the poor unfortunates facing the ‘Shoggoth from the Void’ or a Ghoul poses as ‘Pickman’s Model’.

The style of Jacob Walker’s artwork here is clear and open with clean lines and plenty of space. There is however, a familiarity to many of the poses, the Mythos often to be found atop something and looming forth out of the picture towards the viewer. This is the case whether it is the batrachian inhabitants with ‘The Innsmouth Look’ looking out at the viewer, the ‘Grave Eating Ghoul’ pulling itself from the graveyard, or the ‘Byakhee Sentinel’.

In terms of inspiration, Color the Cthulhu Mythos of H. P. Lovecraft draws from Lovecraft’s and others’ fiction to focus upon the gods, the races, the monsters, and more. Barring the aforementioned ‘Pickman’s Model’, there are few if any scenes inspired by or depicted in the fiction. This is very much a monsters of the Mythos colouring book rather than a broader Mythos colouring book. Which is as intended, but it does mean that Color the Cthulhu Mythos of H. P. Lovecraft is less useful as a source of inspiration for the Keeper of Call of Cthulhu, Seventh Edition, or as a means to illustrate something in Call of Cthulhu—both advantages held by Chaosium, Inc.’s Call of Cthulhu – The Coloring Book: 28 Eldritch Scenes of Lovecraftian for you to Color. To be fair, Color the Cthulhu Mythos of H. P. Lovecraft was not created with either feature drawn in, but any Keeper of Call of Cthulhu, Seventh Edition expecting them will be disappointed. Of the two, Call of Cthulhu – The Coloring Book: 28 Eldritch Scenes of Lovecraftian for you to Color is definitely the more interesting and has more to say.

Ultimately, that leaves the point of Color the Cthulhu Mythos of H. P. Lovecraft—the artwork. Clean and simple, every illustration awaits the one thing we are used to seeing in other depictions of the Mythos, and that is colour. The unfussy style of artwork means that this is easy to apply, whether you are a long-time devotee of the Cthulhu Mythos or a three-year-old being introduced to non-Euclidean artwork in readiness for preschool, whether you want to work subtle changes of colour or bold swathes. Color the Cthulhu Mythos of H. P. Lovecraft is then simply okay. The illustrations are decent, and whilst the combination of Cosmic Horror and colouring book is still undeniably weird, it is still just okay.

What marks Tome of Terror: Transylvania—as well as the rest of The StoryMaster’s Tales series—as being different is that it a solo adventure book best played by more than one player and that each and every scene in its story contains a QR code. Scan this and click on the link and the reader will automatically be taken to the narration for the location, which provides a description, some possible actions, and some suitably ominous music. It certainly ups the atmosphere as the stalwart heroes set out to investigate tales of vampires, werewolves, ghosts, and other monsters in the lands of Transylvania and the castle itself. It consists of some fifty locations, comes with four pre-generated Investigators, a means for a player to create his own, maps—some blanks so that the adventures can be played again, a list of potential rewards, and its own neat twist on the dice on the page flipping mechanic. Tome of Terror: Transylvania is inspired by the classics of the genre such as Dracula and Frankenstein, as well as the Hammer Horror films, and so takes place sometime in the nineteenth century.

Published by StoryMaster’s Tales, Tome of Terror: Transylvania is intended to be played by between one and five players—preferably the latter—aged seven and over. Given its subject matter and the text-heavy format, with younger players, more mature players will be required to play alongside them, perhaps with an adult as StoryMaster. Thus, Tome of Terror: Transylvania can be played as a family game.
An Investigator in Tome of Terror: Transylvania has a Name, Occupation—either Author, Explorer, Priest, and Professor, and several attributes. These include Fighting Skill, Supernatural Insight, Fortune, Study Level, Reflex, Health, and LEU. Of these, LEU is a currency which can be spent during the Investigators’ enquires; Reflex is his dexterity; Study Level is his concentration and curiosity; Fortune his luck; Supernatural Sight his capacity to see and face the forces of the unnatural. Alternatively, a player can create his own. If he does so, he sets his Health at ten and Fortune at four, and then divides ten points between Fighting Skill, Supernatural Insight, Study Level, and Reflex. LEU is also randomly determined. He is also free to decide upon his Investigator’s Occupation rather than adhere to those of the given four. These four include a priest drawn to investigate the supernatural, an authoress in search of authentic background for her next novel, a professor in search of an old student—one Victor Frankenstein, and an explorer in search of the strange, the exotic, and adventure.
Mechanically, Tome of Terror: Transylvania uses a four-sided die and a six-sided die. It does not use a simple type of roll, varying depending upon the situation. Sometimes a player will be asked to roll equal to or under a given attribute on a six-sided die. Combat though, requires a player to roll a six-sided die and add his Fighting Skill, the aim to roll higher than the opposing roll made by the StoryMaster. Whomever loses the roll also loses a point of Health and if the latter is reduced to zero, the combatant is dead. Weapons add to a combatant’s Fighting Skill. When fighting against supernatural creatures, a player adds his Investigator’s Fighting Skill and Supernatural Insight to get his attack total. Group attacks, whether by the Investigators co-operating together or the Investigators and their companions, are done with everyone taking it in turns to attack. Lastly, if the Investigators want to flee a fight, then they can do so, but will lose a point of Health in the process. At other times, a four-sided die is rolled to determine a random outcome and Fortune can be gained and lost throughout the story. So simple enough, but not immediately obvious or easy to grasp, although it is clear that the author is trying to make Tome of Terror: Transylvania easy to run.
Alternatively, an eight-sided die and a ten-sided die can be used instead of the four-sided die and the six-sided die if the players want to make Tome of Terror: Transylvania more challenging. If the players lack dice, a player can instead flick through the pages with his thumb and when he stops at a page, the numbers on the dice immediately above where his thumb is on the page, those are his die results. There are seven combinations of four-sided dice and six-sided dice on each and every page, which provides numerous combinations and plenty of random results.

So how does Tome of Terror: Transylvania play? Although it can be played solo, it is really designed to be played by five participants, one of whom takes the role of the StoryMaster. Essentially then, he takes the role of the Game Master. The other players take the role of the Investigators. Then everyone picks a Tale from the four included in the book. These are ‘Horror of the Vampire’, ‘Mark of the Werewolf’, ‘Curse of Frankenstein’, and ‘Spirits of the Dead’. Each of these presents the players and their Investigators with an objective and a reward, and after this is read out, the story proper begins at the Tavern. Each of the fifty entries in Tome of Terror: Transylvania is several pages long, varying in length between two and six pages. Each has its own illustration, introduction in bold (which matches that of its narration) and then four options. For example, “Ask for something to drink”, “See what there is to eat”, “Talk to a local”, and “Search the tavern”. Each of the four entries is then greatly expanded depending upon what the Investigators are attempting to do. The players are free to choose which options they want, though no more than two options chosen per encounter. The combination of this and the multiple tales means that the Tome of Terror: Transylvania can be played more than once.
Of course, Tome of Terror: Transylvania is intended to be dramatic, and the author actually performs many of these tales as the StoryMaster. The StoryMaster in Tome of Terror: Transylvania is encouraged to make the ending of each tale as dramatic as possible, to put on a performance, and to be fair, a certain degree of performance is required, since there is a lot of text to go through and present.
Physically, Tome of Terror: Transylvania starts poorly, but gets better. The initial explanation and set-up, and the explanation of rules, could all be more clearly presented for ease of play. However, once the tale starts, the writing improves as the author is clearly enjoying himself. The artwork and the maps are all good, and like the writing, the layout of the various entries is far better than that of the first part of the book.
Mechanically, Tome of Terror: Transylvania is simple, but as simple as the rules are, they are also messy and could have been more consistent. Put that aside, they are simple enough to use and they are simple to impart to players not used to roleplaying. Where Tome of Terror: Transylvania shines is in the tales themselves and the exploration of Transylvania and the revelation of its horrors. Unlike other solo adventure books, Tome of Terror: Transylvania really deserves a participating audience and a Storymaster who can ham it up!

Released just in time for Independence Day on July 4th—thanks Asmodee (UK)—2022 Valentine’s Day Module: Love in the Age of Gongfarmers is an adventure for the Dungeon Crawl Classics Role Playing Game, the first released specifically for Valentine’s Day. Well, there is always 2023 if a Judge wants to run it on Valentine’s Day… Published by Goodman Games, it is a short, love and romance-themed adventure designed to be played by between four and six Player Characters of Second Level. Originally conceived and performed as ‘The Lost Heart of Valentinus in the Funnel Love” for Spawn of Cyclops Con 2021 with the winners of the ‘Love in the Age of Gongfarmers’ contest, it is mostly a puzzle adventure which will see the Player Characters encounter candy heart puzzles, feral fluffees, and other obstacles. However, given the love and romance theme of the scenario, it should be no surprise that it does touch upon the issue of consent. Although thematically appropriate, it is only a very minor part of the scenario, and the Judge is advised to consider her players’ comfort levels when portraying this in game. Another issue perhaps is that scenario has the potential to be bawdy in tone and when combined with the albeit minor issue of consent, 2022 Valentine’s Day Module: Love in the Age of Gongfarmers is probably best suited for mature players.
2022 Valentine’s Day Module: Love in the Age of Gongfarmers takes place at the Festival of Markhall, the demi-god of courtly love, inspirational messages, and mischief, the town of Terni. The scenario begins with the rather gruesome milking of some giant beavers or ‘gicastors’ for their musk before that musk is used as part of a big game well, ‘kiss-chase’. Thankfully the Player Characters only participate in the latter rather than the former and there are benefits in doing so—although only minor and only whilst they keep the romantic partners they gained during the fertility festival alive. There is potential here for the Judge to create some entertaining personalities that the Player Characters can encounter during this game, and it is perhaps a pity that the adventure does not include any. The scenario proper kicks off when the festival is interrupted. First when the now musk-less gicastors break free and go on the rampage and then wailing coming from, wait for it… the Funnel of Love.

The Funnel of Love is the main adventure site in 2022 Valentine’s Day Module: Love in the Age of Gongfarmers. Its title parodies two things. First, the amusement park ride consisting of a dark, narrow, covered passageway through which small cars or boats are mechanically conveyed, usually frequented by couples for romantic encounters. Second, the 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. Now obviously, being for Second Level Player Characters, 2022 Valentine’s Day Module: Love in the Age of Gongfarmers is not a Character Funnel, but taking place in tunnel it is linear.

The source of the wailing is a young woman crouching over the body of a young cleric and would be partner. Devoted to a rival god, the young cleric has offended Markhall and so the vengeful deity has not only ripped out the cleric’s heart, but replaced it with a now blood-soaked mechanical bear who must constantly pump the organ to keep him alive! The clues all point to the Funnel of Love and so the Player Characters need to ride the boat through the tunnel, accompanied by both of the distraught lovers—including the clue-bearing heart-pumping bear. Here the love theme swings into high action. There are encounters with love bugs, a lovelorn bard called Ophelia who really wants to be sung to (and the Judge is encouraged to have the players sing rather than their characters), a giant chocolate bunny, and more. All of these encounters are nicely detailed and include staging advice, which is very necessary because for the most part, the encounters are puzzles to be solved. They can be defeated though force of arms, but the non-combat solutions are both far more inventive and fun than merely swinging a sword at the problem. Along the way, the Player Characters will find clues as to the nature of the adventure’s ‘End of Level’ boss and how to more easily defeat him. This includes various types of Cupid’s Arrows, which along with the cherub’s wee bow form the major treasure in 2022 Valentine’s Day Module: Love in the Age of Gongfarmers.

Physically, 2022 Valentine’s Day Module: Love in the Age of Gongfarmers is as decently done as you would expect for a title for the Dungeon Crawl Classics Role Playing Game. It is lightly illustrated in a cheesy style and the map fine. It needs a slight edit in places, but is otherwise easy to read.

2022 Valentine’s Day Module: Love in the Age of Gongfarmers is linear in structure, which should be no surprise that the bulk of it takes place in a ‘Funnel of Love’. It also expects both the Judge and her players to buy into a theme that not everyone will necessarily be comfortable with and together with the comedic elements of story and encounters, it means that not everyone will be comfortable with playing 2022 Valentine’s Day Module: Love in the Age of Gongfarmers and it is not necessarily suitable as an addition to a campaign. However, as a fun, love-themed one-shot 2022 Valentine’s Day Module: Love in the Age of Gongfarmers is great for a single session in between other games or campaigns.

A ‘Fantasy Heartbreaker’ is a roleplaying game designed to emulate all that is good in another roleplaying game, but fixing all that is bad in said roleplaying game. Originally the term applied to the number of roleplaying games published in the wake of Dungeons & Dragons which all wanted to be better than Dungeons & Dragons. In DIE Vol. 1: Fantasy Heartbreaker takes the fantasy of Dungeons & Dragons and oh so many other fantasy roleplaying games and breaks both it and our hearts—and the hearts of his protagonists. DIE tells the story of six teenagers who back in the nineties played fantasy roleplaying games and when they were sixteen, on the night of one character’s sixteenth birthday they disappeared. When they returned, there were only five of them and one of them was missing her arm, and none of could talk about what happened. Twenty-five years later and they are adults, coping with adult life and still coping with the trauma of what happened to them in the past when they were missing. Then one of their number—the one on whose sixteenth birthday the roleplaying game session they were playing when they disappeared took place—receives a die on his birthday. A bloodied die. Together they know it can help them search for some answers, and perhaps heal some of their trauma. Yet it means going back to the game they were playing twenty-five years before, revisiting their youths, knowing the terrible truth is that it was never a game, it was real.

DIE Vol. 1: Fantasy Heartbreaker is written by Kieron Gillon, best known for Wicked + The Devine, and published by Image Comics. It is inspired by asking the question, “What happened to the children who were lost in the fantasy world of the Dungeons & Dragons cartoon when they got home?” Whilst the cartoon never got to answer that question, Gillon does with DIE Vol. 1: Fantasy Heartbreaker, which takes the basis of stories such as the Chronicles of Narnia, that of children visiting a fantasy world, and updates them via the vehicle of roleplaying games to ask what happens if a world created by children through their consensual roleplaying was one where they were ready to suffer the consequences of their immature actions, even though their characters were adults? What if they had to go back to that world not only to face the traumas of their past experiences, but also the traumas their actions inflicted upon that world? And traumatised they are… Ash because he took his sister, Angela, to the game to keep her happy and did not have to. Angela, who as a Cyberpunk—in a fantasy setting!—gained her powers through faerie gold, and who must constantly find more to buy her powers, all but making her addicted to gold, and who returned to our reality without her cyberarm or her actual arm. Isabelle, able to summon and call upon the power of the gods like some kind of reverse demonologist, always with a price to pay. Matthew, already heartbroken over the loss of his mother, uses the tragedy to become a mighty Grief-Knight, but in reliving memories over and over again, is literally grief-stricken, to the point where it takes Ash as the Dictator to force him to use them. And even as they return to the fantasy world of their creation to try and heal the trauma of the past, they have something to lose—the lives they have led, and the relationships created in years since their return from their original visit. Which would exacerbate the ordeals they have already suffered…

DIE Vol. 1: Fantasy Heartbreaker is horror-fantasy rather than fantasy. It approaches the latter genre and roleplaying from a different angle, subverting both as well as pulling the rug out from under that sense of nostalgia that so many of us have for the roleplaying games and the time spent roleplaying in their youth. Just as the story forces the protagonists to revisit their past and the consequences of their actions, it is asking the reader to do that same, to think about back to their youth. Yet this does not wholly work unless the reader really is a roleplayer, since the language and the nostalgia of DIE Vol. 1: Fantasy Heartbreaker is very much that of roleplaying and even though the language and ideas behind roleplaying have become vastly more prevalent in the last decade, they are not necessarily familiar to every reader—and certainly not necessarily as familiar as Kieron Gillon is with them. This comes through in the dice assigned to protagonists and their roles in the world, explored in more detail in the essays reprinted at the end of DIE Vol. 1: Fantasy Heartbreaker, of the subtle shift in gender identity of the protagonist (something that roleplaying has always possessed scope for), and of subverting the tropes of the genre. The essays are fascinating reads, exploring in turn the author’s own history with roleplaying and how that influences the story of DIE Vol. 1: Fantasy Heartbreaker, how roleplaying design and theory influences the story, and lastly, the design of a roleplaying game based around the story. These are fascinating companion pieces to the story itself and once it is released to the forthcoming roleplaying game from Rowan, Rook, and Decard.

Of couse, DIE Vol. 1: Fantasy Heartbreaker is a comic book and Stephanie Hans’ artwork is simply gorgeous, switching from the dark tones of both the past and the now to the bright, sunlight lands of the fantasy and the often-fiery nature of combat. So much of the sense of loss and trauma and the emotion of the characters is conveyed through her artwork, whilst at the same time depicting the magic and the wonder of the world that the players and their characters in DIE Vol. 1: Fantasy Heartbreaker create. In addition, DIE Vol. 1: Fantasy Heartbreaker includes her alternate issue covers and many of the character designs. Without her artwork, the story is underwritten in places and the speed at which it is told does undermine the intended emotional impact.

DIE Vol. 1: Fantasy Heartbreaker is not a comic book that will be readily accessible to anyone not steeped in roleplaying or roleplaying lore. Yet there is a powerful sense of anguish and regret that any reader will grasp in its story, let alone the sense of nostalgia misplaced. Where they intersect with roleplaying and roleplaying culture is where the story comes alive and even were there not a forthcoming roleplaying book, DIE Vol. 1: Fantasy Heartbreaker is a story that will be enjoyed and appreciated by many in the roleplaying hobby.

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

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

—oOo—
Name: Cat’s CradlePublisher: Chaosium, Inc.
Author: Aaron Sinner, Todd Walden, and Christopher Olson

Setting: Jazz Age BostonProduct: Scenario
What You Get: Fifty-four page, 31.62 MB Full Colour PDF
Elevator Pitch: Suffer the little children’s wrathPlot Hook: Nightmares linger in the wake of your descent into the Corbitt house. 
Plot Support: Staging advice and two Keeper aids, twenty-four handouts, four new spells or spell variants, three NPCs, and one Mythos creature.Production Values: Decent.
Pros# Sequel to The Haunting# Deep investigative dive into the backstory to The Haunting
# Advice on making the horror personal# Advice for the Keeper to run Cat’s Cradle with other sequels to The Haunting.# Focused investigative sequel# Creepy, creepy children
Cons# Needs an edit# Scenario does involve children# Better aids for the Keeper than handouts for the players?# Photographic anachronisms?
# Good clue links to locations, but not from locations# Better sequel than standalone scenario

Conclusion# Solid sequel to a classic scenario, The Haunting, which both explores the backstory to the scenario and personalises the consequences of the Investigators’ actions in the Corbitt house.# Creepy, creepy children should leave the Investigators with paedophobia

For all that the major role they play in so many scenarios and campaigns for Call of Cthulhu and other roleplaying games of Lovecraftian investigative horror, the cult is too often, never quite their focus. Whether it is the Hermetic Order of the Silver Twilight from Shadows of Yog-Sothoth, Brotherhood of the Black Pharaoh and Cult of the Bloody Tongue from Masks of Nyarlathotep, or the Brotherhood of the Beast from Day of the Beast (Fungi from Yuggoth), the cult itself seems to get lost in the Mythos itself and its various so-called ‘gods’ and entities and ‘alien’ species. Where such ‘gods’ and entities and ‘alien’ species and their motives lie beyond mankind’s grasp and can never be truly understood, once its secrets are revealed, what the cult represents is an enemy that stalwart Investigators into the Mythos can understand and whose motives can be grasped. For in serving the Mythos and its forces a cult is likely betraying mankind and for whatever reason that may be, it reveals a true, all too human face of evil. In the return, the cult and its members are likely to understand the Investigators in ways that the things they serve do not, and so have ways and means of retaliating against the Investigators. Which makes for dangerous villains—and all the more so because of their lack of humanity.

Cults of Cthulhu is a supplement which at last explores the role of cults in Call of Cthulhu. Published by Chaosium, Inc., the supplement for Call of Cthulhu, Seventh Edition explores a particular type of cult, the signature cult in both Call of Cthulhu and H.P. Lovecraft’s own fiction. That is the cult of Cthulhu, the cult dedicated to “That is not dead which can eternal lie, And with strange aeons even death may die.”, the dread alien being which lies dreaming, trapped beneath the Pacific ocean in the strange city of R’lyeh, waiting for that time when the stars come right and he can be released to have dominion over the Earth once again. In doing so, it draws extensively upon H.P. Lovecraft’s seminal story, The Call of Cthulhu, as well as The Shadow Over Innsmouth, and The Whisperer in the Darkness, as well as delving back into the history of Call of Cthulhu, most notably Shadows of Yog-Sothoth and Masks of Nyarlathotep. From this, the authors develop a history of the Cthulhu cult, detail five individual cults, provide a means for the Keeper to create her own Cthulhu cults,* describe various new spells, monsters, and artefacts, and give three scenarios. The resulting volume is not just for use with Call of Cthulhu, Seventh Edition, but also with Pulp Cthulhu: Two-fisted Action and Adventure Against the Mythos, and it also carries a ‘For Mature Readers’ advisory because, well, cultists are evil, and do evil things. Cults of Cthulhu is anything other than explicit when it comes presenting the evil of its cultists, but it does not shy from doing so either.

*In the game.

Cults of Cthulhu opens with a discussion of the ‘History of the Cthulhu Cult’. Initially, this is presented as the collected writings of the journalist, Mildred Schwartz, who comes into possession of Professor George Angell’s infamous box containing his papers concerning the Cthulhu cult and continues both his research and that of Francis Thurston. This begins in prehistory, but quickly comes up to date to detail the events surrounding the awakening of Cthulhu in 1925 (as told in Lovecraft’s The Call of Cthulhu) and beyond. Besides describing the beliefs of the Cthulhu cult, the history presents a timeline of Cthulhu worship not year by year, but cult by cult, beginning with the Cult of Sumer in 2000 BC and going round the world from civilisation to civilisation. This includes the now lost city of Iram, as well as other familiar cults such as the Louisiana Swamp Cult and the Esoteric Order of Dagon, also drawn from Lovecraft’s fiction. Mildred Schwartz’s papers similarly discovered in the twenty-first century and continued by David Eberhart, who identifies and describes numerous post-war modern cults, such as the Church of Perfect Science. Cults are also identified as being behind events like the Paradise Massacre and the Oregon standoff. With the modern cults, and in some cases the events associated with them, it is easy to identify the parallels that the authors are drawing with certain organisations and cults.

Five of the cults identified in the ‘History of the Cthulhu Cult’ are greatly expanded upon—Elevated Order of Morpheus, the Louisiana Swamp Cult, the Society of the Angelic Ones, the Esoteric Order of Dagon, and the Church of Perfect Science. Together, these cover the Purple Age of Cthulhu by Gaslight, the Jazz Age of Call of Cthulhu, and the modern age too, with two of them, the Louisiana Swamp Cult, the Society of the Angelic Ones and the Esoteric Order of Dagon being drawn from Lovecraft’s fiction. These all come with extensive backgrounds, descriptions of their goals, structures, financing, and means of recruitment, along with full stats for their leading members, and suggestions as to where and when else the Keeper can shift the cult. Also included is a pair of scenario ideas for each cult, which along with the recruitment means provided further means of the Investigators getting involved, perhaps even getting recruited themselves. The first, Elevated Order of Morpheus, is a classic Victorian Age cult modelled on Freemasonry, whilst the second, the Society of the Angelic Ones, has all the feel of a Los Angeles evangelical church between the wars. Perhaps the one that players of Call of Cthulhu will have the most fun with is the Church of Perfect Science, mostly because it most readily parallels a modern religious organisation begun by a Science Fiction writer. The Louisiana Swamp Cult and the Esoteric Order of Dagon are ones that the Keeper and players have the most familiarity with from Lovecraft’s fiction, and the authors do as good a job of extrapolating from the fiction as they do developing the entirely new cults. Whether new or old, all five cults are well written and thus easy to use.

The five cults are not the only ones detailed in Cults of Cthulhu. Three others are developed as fully worked examples of ‘Creating a Cthulhu’. This guides the Keeper through the step-by-step process of creating an organisation devoted to Cthulhu, whether for a single scenario or for a campaign. At every stage, from the basic concept behind the cult and creating a leader to developing the enemies of the cult, the Keeper is constantly prompted with questions and given three examples. There are tables too, which the Keeper can roll on or pick from, but the end result is that the Keeper three fully detailed and worked out cults, even down to the filled in examples of the Cult Worksheet included in the supplement. Although the questions all relate to the Cthulhu cult, there is nothing to stop the Keeper going through the same process and asking the same questions, but substituting the ‘gods’ and entities and ‘alien’ species of her choice to create the desired cult.

The selection of ‘Cultists, Monsters, & Artifacts’ further supports the cult creation process. This includes numerous examples of Cthulhu’s Blessings, such as Throat tentacles or Give pain, which are as creepy as you would expect. Notable amongst the various cultists given here are the Deathless Masters. Cults of Cthulhu presents its subject matters as primarily being sperate and different. They all have their worship of Cthulhu in common, but how they worship him and to what end, differs. This need not be the case, the authors leaving it up to the Keeper to decide if she wants to keep them apart or if she wants to connect them up in a greater, conspiracy. One way of doing that is through Deathless Masters or Undying Ones, potentially the ultimate villains when it comes to Cthulhu cults, their being able to move from one cult to another and so have a greater idea—if anyone does—of what the various cults are doing and what Cthulhu himself, might want. Full guidelines are given for the Keeper to create her own, but included are stats for Carl Standford, the immortal sorcerer who first appeared in Shadows of Yog-Sothoth.

The three new cults in Cults of Cthulhu are further supported by a single scenario each. ‘Loki’s Gift’ is set in Victorian London in 1896 and has the Investigators as mostly Middle Class or Upper-Class characters asked to look into the apparent suicide of a young composer. The second scenario is ‘Angel’s Thirst’ and is set in Los Angeles in 1922 with the Investigators asked by a young woman to search for her missing father whom she thinks is still alive after seeing him in a dream. Unfortunately, he has been caught up in the activities of the Society of the Angelic Ones. The scenario has a slightly woozy and weird feel to it, but is infused with sense of noir. Lastly, ‘God’s Dream’ is set in modern-day Chicago and sees the Investigators being pulled to look into the strange events concerning a detective friend who suddenly finds himself in Antarctica. It all ties back to strange land grab in metropolitan Chicago. There is a common, physical thread which connects all three of the scenarios and they can be run as a loose trilogy or as standalone affairs. All are good strong horror scenarios which deal with mature themes, and all are well organised.

Rounding out the supplement is a pair of appendices. One provides an overview of the various tomes which might have content pertaining to Cthulhu and his worship, whilst the other is decent little bibliography which should provide entertaining further reading and viewing.
Physically, Cults of Cthulhu is up to the expected standard that Chaosium, Inc. currently sets for Call of Cthulhu, Seventh Edition. The book is well written, the illustrations are excellent, and the cartography good.
The first reaction to Cults of Cthulhu is to wonder why it is has taken forty years for Call of Cthulhu to receive a book like this? The importance of the role of the cult and seminal nature of Cthulhu would suggest that such a book—other either aspect—would be very useful, and indeed, Cults of Cthulhu, very much proves the point in providing a much needed exploration of the nature of both together. Ultimately, Cults of Cthulhu takes the Keeper back to Lovecraft’s The Call of Cthulhu to look at some of the roleplaying game’s fundamentals and inspirations with fresh eyes. The result is an excellent examination of both cults and Cthulhu, supporting the Keeper with advice and the means to create her own cults and cultists, as well as backing everything up with examples and scenarios.

The Anyworld Tabletop Roleplaying System is a generic system designed to handle any genre and any setting using quick, dicepool mechanics and handfuls of six-sided dice. Published by Netherborn following a successful Kickstarter campaign, the complete rules to play the game all the way up to mass battle rules and miniature skirmish rules, along with rules for generating unique magical items and creatures and enemies. The core rules also come with six introductory adventures, one each for the zombie apocalypse, post-apocalypse, superhero, fantasy, space opera, and modern horror genres, as well as an omniversal setting that allow for Player Characters to visit any world. All packed into a one-hundred-and-eighty-page book. It is designed as a toolkit and as written, to support both player-driven and Game Master-driven play.

The Anyworld Tabletop Roleplaying System very quickly gets down to explaining its rules. A Player Character has six attributes—Strength, Toughness, Agility, Precision, Mind, and Spirit—which are rated between one and ten. If a player wants his character to undertake an action, he rolls a number of six-sided dice equal to the attribute and each result of a four, five, or six is counted as a Success. Results of six explode and can be rolled again to possibly generate yet more Successes and even more sixes and more exploding dice… One of the dice is counted as the Fate die and is a different colour. If the result on the Fate die is a one, the outcome of the action is accompanied by a Setback, whilst if it is a six, it is a Critical Success. It is possible to succeed and still suffer a Setback or fail and roll a Critical result. A Critical Failure occurs when a Setback is rolled, and the result is failed. Advantage reduces the target number to be counted as a Success, whilst Disadvantage increases the target number. A player can also spend Edge to negate Disadvantage or gain Advantage, and also can expend Skill points to add a die to a roll. The number of Successes required for an action vary from a Target Number of one or Easy up to Epic or seven or more, with two being Routine and three being Challenging.

Combat—which Anyworld Tabletop Roleplaying System slides into without any demarcation—uses the same mechanics. The Target Number to hit an opponent is equal to his Evasion score, derived from his Agility attribute, a Player Character has a move action and an attack action per round, and initiative is determined with Agility tests. In Close Combat a defender can attempt a single Dodge and a single Counterattack. Strength or Precision is rolled depending upon the type of attack. Damage is a combination of the weapon’s base damage plus the extra Successes rolled beyond the Target Number. Armour reduces the Damage, and the remaining Damage value becomes a Target Number against which the defender’s player rolls his Toughness attribute. If successful, the defender shrugs off the damage, but if not, the defender’s player rolls three six-sided dice and deducts the Damage value from the result which is compared to the Damage Table. A critical hit reduces the roll of three six-sided dice to two six-sided dice, the results ranging from staggered or stunned all the way down to wounded or wounded. Wounds reduce a character’s Health Level (of which he has five) and injuries necessitate a roll on the Injury table for even greater effects. Rules also allow for stun damage, unarmed combat, two-weapon fighting, and more.

Madness is gained by failing Spirit checks following encounters with the horrific or the traumatic, including being in combat. Fail means gaining points of Madness and if a subsequent Spirit is failed against the points of Madness, the Player Character gains a mental trauma, rolled on the Trauma Table. Unless the Trauma is permanent, it can be overcome should the Player Character’s points of Madness are reduced to normal.

Character creation in Anyworld Tabletop Roleplaying System consists of choosing an array of values—Balanced, Mixed, or Specialist—to assign to attributes, and then selecting an Archetype. Each of the Archetypes—Gifted, Flexible, or Skilled—grants Experience Points to spend on Traits and Ability and Ability Upgrades, Gear Points (or GP) to spend on equipment, and both Skill and Edge points. A Player Character also has an ‘Essence’ which describes the core of the character, such as ‘Cybernetic Enforcer’ or ‘Wondering Swordsman’ (sic). Once per session, this can be used to gain Advantage on a check and is also used by the Game Master to award Experience Points. Similarly, a Player Character has a Flaw such as ‘Mean’ or ‘Outcast’, which can be triggered to add Disadvantage to a check once per session. This gains the Player Character an Experience Point.

Henry Brinded
Essence: Stalwart, But Nervous Classics Scholar
Flaw: Deafness
Archetype: Skilled
Strength 2 Toughness 3 Agility 3 Precision 3 Mind 5 Spirit 5
Traits: Expertise (Classics), Leadership, Skilled
Skill: 4
Edge: 3
Gear Points: 20

Traits are divided into Mental, Social, Speed, Brawn, Combat, Shooting, and Unique categories, and further divided into basic, advanced, and special traits in each category. For example, Insight is a basic Social Trait which grants a Player Character Advantage when his player rolls a Mind check to detect lies or read body language, whilst an Advanced Shooting Trait like Killshot grant all aimed attacks the Deadly quality which means that the attack deals a critical hit if the Fate die rolls a Success. Abilities push the Anyworld Tabletop Roleplaying System into the realms of the fantastic, with powers such as Bolt, Flight, Might, Morph, Phasing, and more, all the way up to Immortality and Impervious. In addition, each of the Abilities upgraded not once, but three times. Gear is purchased using Gear Points or ‘GP’. There is an emphasis in the Anyworld Tabletop Roleplaying System on arms and armour, and especially the qualities that either can have to give the wielder an advantage or extra bonus, all the way up to being sentient. There are a few limitations too, but not as many qualities. In general, there is the means here to create some individual weapons and armour, and so help make each Player Character different.
For example, Henry Brinded and his team have located a secret cult temple in Rome. As a result of the ensuing fight with the cultists, the temple is about to collapse, but Brinded knows he needs to study the invocation on the wall, an invocation to the abominable god the cultists worship. His player will be rolling five dice for his Mind attribute. The Game Master tells him that he needs to roll four Successes because the task is formidable due to the poor condition of the invocation. She also points out that the task is being done by torchlight and Brinded is in a hurry, so applies Disadvantage not once, but twice! So now Brinded’s player need to roll not four, five, or six to gain a Success, but a six only. However, Brinded has the Expertise Trait of Classics, so gains Advantage on translating the Latin of the invocation, reducing the number needed for a Success from six to five. His player spends a point of Edge to reduce it even further, back to four, five, and six, and then, because Brinded has the Skilled trait, adds two Skill dice to the roll instead of one. So now Brinded’s player is rolling seven dice and attempting to roll four, five, and six. He rolls two, three, five, five, five, and six, plus six on the Fate die. That is five Success, plus the critical result on the Fate die, which means that Brinded not only succeeds, but spots the intentional error in the invocation. Which means he will be better able to reverse the invocation and at the right time, cast it to dismiss the cult’s terrible mistress…For the Game Master there is advice on handling challenges and NPCs, and preparing a game. This includes both one-shot and campaign games, and it shows how the Game Master can create random adventures or collaborate with her players to create a campaign setting. The advice is decent and supported with several introductory adventures, each one in a different genre and each one suitable for a one-shot or even a convention game. Each comes with a background, some points of interest, and in some cases one or more alternate ways of play It begins with ‘Diner-Bite’ in which the Player Characters stop at a diner whilst the USA is caught in the middle of chaos. This arrives at the diner in the form of on-the-run, undercover crooks, with a dead policeman in the bus who will soon turn into a zombie as will the poor little boy who looks sick, but whose family is hiding the cause of his sickness. The optional way to play is have one group take the roles of the crooks and another be the diner patrons. Typically, each of these six introductory adventures is two or three or so pages in length, presenting a decent outline and possibly a campaign starter. ‘Rise from Ruin’ is a post-apocalypse setting much like the Mad Max films, whilst ‘Fallen Heroes’ is a stand-up-knockdown confrontation with a supervillain who has captured the city’s premier superhero team. Of course, the Player Characters can come to their rescue or even play villains who want to take kill the superheroes themselves, or there could be one group of players roleplaying the supervillains whilst the other plays the superheroes. ‘Ghosts in the Flesh’ is a bloody horror romp a la Hammer Horror, whilst ‘The Thing in the Woods’ is a straightforward monster hunt in a fantasy setting. ‘Red Colossus’, the last scenario in the Anyworld Tabletop Roleplaying System is the Space Opera genre and the longest in the book. After being attacked by pirates, the Player Characters and their space freighter take refuge at the nearest mining base only to find it also threatened by the pirates and terrible outbreaks of radiation sickness.

Penultimately, the Anyworld Tabletop Roleplaying System includes a description of ‘The Outer Realm’, an in between network of routes and places between multiple worlds. Certain persons, known as Travellers, can detect the routes between places, whilst others, Shapers, can modify the reality around them. There is the chance that the Player Characters can become Travellers or Shapers, the latter gaining abilities such as teleport or telekinesis. The downside to the latter is that can become a Reaver, lusting for ever greater power and ability. Several strange locations are also detailed, and there is overall a weirdness and an unreality to the whole of this in-between place. Rounding out the volume is a bestiary and a set of ready-to-play characters, for use as examples, Player Characters, or NPCs.

Physically, the Anyworld Tabletop Roleplaying System is decently presented and illustrated, all in black and white. However, its organisation does hamper ready play even as the system is relatively straightforward and easy to understand. There is no index or even a glossary, and for actual ease of play, many of the roleplaying game’s tables could have been reprinted at the rear of the book instead of multiple blank character sheets. Similarly, an example of character creation, as well of actual play and the rules would all have been useful. In fact, all of these are inexcusable omissions by any standard, let alone those of modern roleplaying book design.

Overall, the Anyworld Tabletop Roleplaying System, issues with organisation aside, is straightforward and easy to run and play. The result is that Anyworld Tabletop Roleplaying System provides cinematic and pulp action style roleplaying across a variety of genres without getting too complex and by keeping play fairly fast with handfuls of six-sided dice.

For fifteen years the Latterdyne estate has stood empty ever since the family, including two children, vanished without a trace. Behind its walls, the house has stood shuttered up against the elements whilst the surrounding grounds have been left unattended, long since overgrown and abandoned to grow wild, including extensive woods. To the locals, the estate and its mystery, the estate has become a looming presence down the lane as well as the source of much speculation. They say that the family suffered a great accident and subsequently vanished during a storm, but then no one really knows for certain, and so when the fate of the Latterdynes is discussed it is done in whispered speculation and rumour. Both are fuelled by stories of hikers and other travellers going missing on the estate. Some dismiss this as mere rumour or even embellishment to already idle speculation, but others will swear blind that such tales are true. True or not, the locals avoid the estate, though they all know of the broken wall which can be clambered over to gain easy access to the grounds. Now word of both ramblers having gone missing on the estate and the missing Latterdynes has reached the Society for Psychical Research, which has duly despatched a team to investigate the grounds of the Latterdyne estate.

This is the set-up for Sticks and Stones: A Story of Betrayal and Sorrow for the Locus Horror Tabletop Roleplaying Game. Published by CobblePath Games, this is the first scenario for Locus: A roleplaying game of personal horror, a horror roleplaying game in which the Player Characters bring as much horror to a location as they will encounter there. It is a roleplaying game about Broken Places, locations where the line between reality and the horror and emotional truth of a story has thinned to the point that they have become damaged or broken and transformed into something else. Each is or has a Genius Locus, that in becoming damaged or broken, is transformed into a Malus Locus, a bad place which feeds off negative energies and emotions. The Malus Locus draws in outsiders and residents alike, using reminders of their old wounds and bad memories to inflict fear, terror, and pain. It manifests Monsters which remind the victims trapped inside the Malus Locus of their dark secrets and feelings of guilt, and if the monster can kill them, they leave behind Echoes of their guilt that the Monster can feed off for years. Echoes are likely to be interpreted as ghosts, and when the Player Characters enter a Malus Locus, it may already be inhabited by Echoes.

A Malus Locus consists of a single location and is actually composed of layers. The location can be large or small, and might be a single house, a neighbourhood or housing block, an oil rig or space station, or even a whole town. The layers are Layers of Reality, each layer a reflection of the one above, the same but different, darker, weirder, scarier, and worse… The deeper the Player Characters venture into the Malus Locus, the further away from reality they move, the closer to the heart of the Malus Locus they get, the greater the manifestations and signs of the unreal and the Player Characters’ Haunts—or guilty secrets—appear, and the more openly the Monster will move against them. Each Layer is separate, but bleeds into the one above and the one below, though they become more and more distinct as the Player Character descends through them.

Sticks and Stones: A Story of Betrayal and Sorrow for the Locus Horror Tabletop Roleplaying Game presents one such Malus Locus, an area of woodland on the Latterdyne estate. Here the Society for Psychical Research investigators will find themselves caught between three locations in Latterdyne Dell, each connected by ever changing paths through the woods. As they explore these locations and are pulled down through the layers of the Malus Locus, the weather and the ground underfoot both worsen, the wind grows and carries strange voices, and something begins to stalk them… However, that something is not the only monster that the Player Characters will face in Sticks and Stones, as they bring their own monsters with them. Each of these four monsters is associated with the acts of betrayal committed by each of the pre-generated Player Characters, these acts and their associated monsters accentuating the horror in Sticks and Stones, making the horror all the more personal even as they confront the personification of the Malus Locus in the dell on the Latterdyne estate.

Although Sticks and Stones is intended to be played using pre-generated investigators, and to that end comes with its own quartet of partially pre-generated Player Characters. The four—the Custodian, the Dilettante, the Fabricator, and the Sleuth all have their own goals, base attributes, haunts, virtues, and more, including base backstories, virtues, and items. Each player is then free to assign further attribute points and answer some questions in order to customise the character to his liking. Notes are included should a player want to create a character of his own from scratch, but ideally, Sticks and Stones should be run and played using the given quartet.

As well as a starting script and a handout or two, Sticks and Stones comes with details of and clues for its primary mysteries—the fate of the Latterdynes and what is exactly going on in the Latterdyne Dell—and suggestions as to how the events of the scenario might play out… lastly, the scenario also includes the cards for its characters, items, and monsters. They are perhaps somewhat fuzzy and it would probably better for the Game Master to download and print them out. If there is perhaps an issue with the scenario, it is that the set-up of the scenario could have been stronger and easier to present to the players and their characters—essentially how they get involved. It is fine once they reach the Latterdyne estate, but the Game master will need to put something together herself.

Physically, Sticks and Stones is grey and dreary. That though is entirely keeping with the tone of the scenario and the terribly British weather that the Player Character will face as they delve deeper and deeper into the mysteries of what happened on the Latterdyne estate. Barring the cards for its characters, items, and monsters, Sticks and Stones is nicely illustrated with photographs that hint at the ombrophobic and the Xylophobic, imparting a sense of the unease which will grow and grow over the course of the scenario.

Sticks and Stones: A Story of Betrayal and Sorrow for the Locus Horror Tabletop Roleplaying Game contains everything necessary for the Player Characters to bring their own horrors to the woods and get lost in the horrors already there…

Paperback: A Novel Deckbuilding Game is a clash of the old and the new. It combines concept of classic word games like Scrabble with the very modern playstyle of the deckbuilding mechanic from games like Dominion and Star Realms. In Paperback, each player is novelist, desperately writing one novel after novel, jumping from one genre to another with titles such as The Chinatown Connection, Dead Planet, and The Angel of Death, all to satisfy the voracious demands of their editors. Pump out enough of this pulp fiction and perhaps the novelist will get a bestseller and make a mint! That though is the extent of the theme in Paperback, the game being more mechanical than thematic, since what each player will be doing is spelling out words using Letter cards and generating a score which can be used to buy both more Letter cards and Fame cards, which will be used to spell out more valuable words and so on and so on until the end of the game when the player with the most Fame points from his Fame cards wins the game. Paperback is published by Fowers Games, best known for the heist themed Burgle Bros. and Burgle Bros 2: The Casino Capers. It is designed to be played by two to five players, aged ten and up, and has a suggested playing time of forty-five minutes.

Each player begins play with a deck of ten cards—five Wild cards and the letters ‘T’, ‘R’, ‘S’, ‘L’, and ‘N’. On his turn a player will five cards from his deck and attempt to spell a word using both the cards drawn, whether letter cards or Wild cards and the current Common card, which anyone can use, typically a vowel. If it is a viable word—it cannot be a name, place, or proper noun—then it generates a score. Whilst Wild cards can substitute for any letter and so help spell a word, they do add to the Score value of the word. The value of this score be used to either purchase a new letter or letter combination card (such as ‘ST’ or ‘ER’) or a Fame card. Letters purchased will all generate a greater score than the base cards in a player’s deck, but they often have special abilities. For example, the letter ‘M’ costs seven cents to purchase and generates a score of two, but if the word is correctly spelled, it doubles the total score value of the word. It also has to be placed in the trash after use. The ‘V’ costs seven cents to purchase and generates a score of four, but if the word is correctly spelled, it allows a player to draw an extra card on his next and potentially spell out a bigger word. Some letters are Attack cards, which means that their special ability affects other players. For example, the ‘H’ letter costs six cents to purchase, and generates a score of four, but if the word is correctly spelled, its attack is that the other player cannot purchase anything with a value of greater than eight cents. The ‘Q’ letter costs eight cents to purchase and generates a score of five, but if the word is correctly spelled, its attack restricts another player to just using the ability on the one his next turn.

Alternatively, a player can purchase a Fame card, each of which has a cost and depicts the cover of a fairly pulpy book from various genres. For example, The Angel of Death is a pulp novel, whilst Dead Planet is Science fiction. These generate four, seven, ten, or fifteen fame points, so generating enough score from the correctly spelled words is the aim of the game. When added to a player’s deck, the fame cards work like Wild cards in that they can be used to substitute for any letter, but do not add to a player’s score.

Game play continues until either of two conditions are met. One is to exhaust two stacks of the fame cards, each being organised by price and adjusted according to the number of players. The other is when the last Common letter card is taken. Throughout play, the current Common letter card can be used by all of the players to help them spell their words, but if a player spells a word of sufficient length, he can add the current Common letter card to his deck. This will bring in a new Common letter card into play and if a player wants to add it to his deck, then he needs to spell an even longer word. There are only four Common letter cards available throughout the game and the length of word required to add them to a player’s decks goes from seven to eight to nine, and then ten letters long. Once the end of the game is reached, each player adds up his Fame points from both the Wild cards and the fame cards in his deck, and the player with highest total wins the game.

The play of Paperback is about increasing word length. Increase the length of the words that he can spell, and player has a greater Score with which to buy better or more letter cards and fame cards, and potentially more abilities to bring into play. It entirely possible that a player can spell a word and bring two, three, four, or more abilities into play. Balanced against keeping an eye out for letter cards with special abilities, a player needs to keep an eye on the letter cards available and what he thinks he can spell with them. He also needs to bear in mind that the higher the score a word will generate, the more difficult it will be to successfully spell a word with it is. He will also want to maintain a good mix of consonants and vowels too, along with the two-letter combinations on some letter cards. Favour one letter type over the other and a player will have difficulty finding words that he can spell. It is also possible to combine special abilities for enhanced effects, but these are not as common as in other deck-building games.

In comparison to other deckbuilding games, Paperback is not necessarily all about trying a way to find a way to get rid of the initial cards in a player’s deck. This is because there are special abilities which work with the Wild cards in a player’s deck and all of the cards in a player’s deck, whether Wild cards or starting letter cards, are useful throughout the game. Nor is Paperback as adversarial as other deckbuilding games. There are elements of it with the attack cards, but these impede player for a turn rather than directly attacking him. Rather it is competitive, not combative.

Beyond the base game, Paperback adds various options and extra rules. These include adding a reward if a player helps another who is stuck on what word he can spell out using his current hand, adding awards and themes as bonuses to towards a player’s final score, playing in simultaneous mode, and even a co-operative mode played against the game itself. These all change the game in various ways, but do not stray too far from the core mechanics of spelling words, purchasing further letters and Fame cards, and so on.

As clever a combination as Paperback is, it does suffer from the problems of both game types. As a word game, players with greater word knowledge and vocabularies will be at an advantage and often, players with lesser word knowledge and vocabularies will sometimes lead to slower play as they try and work out what they can spell. The deckbuilding means that it can be more adversarial and fiddlier with a lot of cards than a word game like Scrabble. Yet, Paperback does not rely on needing to know lots of short, high-scoring words or needing to have to put them on a board building from what is already there, and as deckbuilding games, the focus is on the letters rather than the special abilities per se. However, the use of the special abilities on the cards do go towards countering the spelling, so that a player who is more used to word games such as Scrabble can still play against players more used to deckbuilding games.

Physically, Paperback is well produced and well designed. The cards are colour-coded according to cost making them easy to tell them apart, the artwork on the Fame cards—each is done as a pulp novel—is excellent, and the cards are all easy to ready. The rulebook is also decently done. Lastly, it all fits into a neat little box which comes with dividers so that everything is neatly organised and easy to find.

Paperback: A Novel Deckbuilding Game is a novel clash of two game types that surprisingly, work well together and can be used to introduce the fan of one type to the other. So, a fan of word games can be introduced to a deckbuilding game (that fan of word games also likely to be used to family games too), and the fan of deckbuilding games to word games. As a word game Paperback forces a player to strategise beyond the spelling to gain extra abilities through latter cards’ special abilities and as a deckbuilding game, it forces a player to think about what he can do—rather spell—right now rather focus on the strategy. Paperback: A Novel Deckbuilding Game is a witty, wordy game, that as hybrid deserves a place on your shelf between the traditional and the modern game designs.

Dyson’s Book of Swords is exactly that, a book of swords from a writer best known for his cartography, especially his fantasy cartography. However, over the course of September and October 2021, he wrote and illustrated a series of entries on his blog under the labels ‘#Swordtember’ and ‘#Choptober’, each one describing and depicting a blade which could be added to the fantasy roleplaying game of your choice. Now following a successful Kickstarter campaign, all fifty entries in the series have been collated into the one volume and published as Dyson’s Book of Swords by Squarehex, better known as the publisher of The Black Hack. This little volume comes in an odd size—six inches square—and each sword is given a two-page spread consisting of a full-page illustration opposite its description. None of the descriptions run to more than two paragraphs each and the descriptions concentrate on telling the reader what the sword looks like, its history, and what its capabilities are. The numbers amount to no more than each blade’s to hit bonus, damage bonus, and against what, although some cases a special ability will also be referenced. In the main though, the language is not so much systems neutral as systems adjacent, meaning that any one of the fifty swords in Dyson’s Book of Swords will work with the fantasy roleplaying game of your choice.

Dyson’s Book of Swords is not arranged in alphabetical or indeed, nay kind of order, but flip through its pages and you find Spite, a gladius-style currently wielded by the Elven mercenary, Rhador. It is a Short Sword +1 which becomes a flaming blade upon command and when it is aflame is +2 versus trolls, pegasi, hippogriffs, and rocs, and +3 versus treants and the undead. It casts light and ignite things as a torch. Rhador wields this weapon until he regains his family blade from his nemesis. Flip to another and the illustration and description is of the Last Blade of the Lich Shogunate, the last ‘perfect’ blade to be forged by the master swordsmith of the final Shogun. It has no name of its own, but is a +2 sword which also grants a bonus on saving throws versus all effects, spells, and abilities of the dead. Of the two, Spite is the more difficult blade to include, in part because it is wielded by a particular NPC and in part because it has such a wide range of enemies which it can affect. However, it raises the questions, “Where did Spite come from?”, “Who is Rhador?”, “Who is his nemesis and how he did come into possession of Rhador’s family blade?”, and ‘What are the abilities of Rhador’s family blade?” All these point to story possibilities, as does the Last Blade of the Lich Shogunate, but they are perhaps a bit more straightforward. These include “What was the Lich Shogunate?”, “Who wielded the Last Blade of the Lich Shogunate?”, “Who was the Last Blade of the Lich Shogunate made for?”, and “Who wields it now and where did she find?”

Dyson’s Book of Swords harks to the noughties and the slew of books for the d20 System with its supplements dedicated to just rings, just spells, just monsters, just swords, and so on. Fortunately, with the advent of Dungeons & Dragons, Fifth Edition, or even with the Old School Renaissance, there has not been the avalanche of books and supplements dedicated to singular aspects of Dungeons & Dragons-style gaming, and so Dyson’s Book of Swords does not fall into that. Fundamentally, Dyson’s Book of Swords just keeps everything simple—illustration, description, and minimal stats. This means that its contents are compatible with just about every Old School Renaissance roleplaying game and retroclone, including Old School Essentials, Mörk Borg, Whitehack, and more. They would also work with 13th Age and the Dungeon Crawl Classics Role Playing Game, and even Dungeons & Dragons, Fifth Edition!

Physically, Dyson’s Book of Swords is clear, simple, and easy to read. It is a little book of weapons that the players will want their characters to wield, the Game Master to arm her NPCs with and inspire or scare her players and their characters, and lastly, Dyson’s Book of Swords is a little book of inspiration.

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

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

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Name: Pickman’s Action FigurePublisher: Chaosium, Inc.
Author: Todd Miller

Setting: Modern Upstate New YorkProduct: Scenario
What You Get: Thirty-Two page, 3.57 MB Full Colour PDF
Elevator Pitch: When his last action models failed, what else does an action model designer design instead?Plot Hook: Your brother disappeared years ago, so when you get a phone call from him in the night...
Plot Support: Staging advice, four pre-generated Investigators, three handouts, one set of  floorplans, two NPCs, and two Mythos creatures.Production Values: Decent.
Pros# Really great backstory and set-up# Decent pre-generated Investigators# Focused investigative one-shot# Interestingly Ghoulish twist upon the the Changeling myth# Solid convention scenario
Cons# Needs a slight edit# Confrontation needs careful handling# Few options for the Investigators to prepare for the confrontation
Conclusion# Great back story and set-up leads to a freaky family confrontation# Interestingly Ghoulish twist upon the the Changeling myth makes a creepy one-shot.

From Unaussprechlichen Kulten, Revelations of Gla’aki, De Vermis Mysteriis to the dread Necronomicon, the Mythos and its fiction is replete with awful tomes of all too inhuman, alien knowledge, spells or formulae whose invocation all too lead to the summoning of or contact with things and beings beyond understanding, and the ravings of madmen. Their treatment in Call of Cthulhu and other roleplaying games of Lovecraftian investigative horror has varied over the years. At worst they have been treated as treasures to be plundered from cultists as in some of the very early scenarios, but in more recent times they have been properly treated as horribly insidious works of true knowledge, with even their possession having a subtle effect upon the fragility of man, whether his mind or his very being. Perhaps their first expansive exploration in Call of Cthulhu would have been in The Keeper’s Companion Vol. 1 and The Keeper’s Companion Vol. 2, and the evocative exploration and presentation would have been in the almost mythical Masks of Nyarlathotep Companion. It is strange that given their place within the fiction and their use to both impart knowledge of the Mythos and enforce its corruptive influence, that there has never been a Call of Cthulhu supplement dedicated to just these great works within the fiction.

Tomes of Cthulhu, published by Azukail Games, is not that supplement, but it points towards such a supplement even if cannot be that supplement itself—primarily for copyright reasons, of course. It is instead a generic supplement for roleplaying game of Lovecraftian investigative horror which describes some twenty different tomes and their reprints inspired by the works of H. P. Lovecraft. Each entry follows a standard format. This includes both the name of the work and its author, a description of its format and its contents, plus size and weight, number of pages, primary language it is written in, the amount of knowledge it contains about the Mythos and the effect upon the reader once the book is read, and a suggested period of study time. This is followed by notes and perhaps discussion of copies or reprints. All of which apes the descriptions and formatting of details about the Mythos tomes in Call of Cthulhu, Seventh Edition, but Tomes of Cthulhu shies away from supplying the Game Master with actual numbers. Thus, the suggested amount of knowledge it contains about the Mythos and the effect upon the reader once the book is read runs from Least through Lesser, Moderate, and Greater to Greatest, equating to much as 2% for the Least category to as much as 15% for the Greatest. Take any of the entries in Tomes of Cthulhu and the Game Master should be able to adapt them to the Lovecraftian investigative horror roleplaying game of her choice.

The entries range from ancient stone tablets to typed reports. A Translation and Interpretation of the Pre-Minoan Tablets Found in the Aegean is an example of the latter, supposedly written in a language belonging to a pre-Minoan civilisation and discovered by adventurer Jonathan Smedlock during a dive off the coast of Crete. The tablets were regarded as fakes and his claims ridiculed, and the tablets were either lost or are in a museum, and Smedlock was last seen in Africa. The translations in Smedlock’s own cheap hardback are based on several other works, none of them on the Minoan languages, and the Game Master is free to insert whichever Mythos she wants in here. An example of the latter is A Report of the Investigation into the Events in the Punjabi Himalayan Region in 1873 by Captain James Sutton is the typed report based on The Journal of Captain James Sutton, a soldier sent to investigate strange goings on in the Punjab in the shadow of Himalayas. The diary records weird, unearthly colours, and draining, grey effect that killed man, beast, plant, and the ground itself. The official report, not wholly written by Sutton, and since mimeographed, gives poisoning as the cause. Most of the other entries in Tomes of Cthulhu are books or reports, but Giants in the Earth by Private Tommy Atkins is a volume of horrifically grim poetry published after the Great War under an obvious pseudonym, the author consequently being confined to Bedlam where he committed suicide. The second, expurgated edition was published in 1959, its often lurid and disturbing replaced with more mundane depictions of the Western Front. The second edition is thus not of interest to book collectors or Mythos scholars, but either version reveals something about the Ghouls that prowled the Western Front.

Several famous figures are given as authors of Mythos tomes. Sir Isaac Newton wrote Philosophiæ Alchimia Principia Mathematica following a possible breakdown, a treatise on mathematics, the occult, alchemy, and chemistry which describes the true nature of the universe, particularly as they relate to time, space, or dimensional travel, even as far out as the Dreamlands. Suggested entities and races covered in the volume, which is written in Latin, include Yog-Sothoth, Azathoth, Nyarlathotep, and Great Race of Yith. Notes on an Expedition to the Antarctic by Charles Darwin is perhaps the most obvious entry in its inspiration. In 1831, during the second voyage of HMS Beagle, the expedition was given maps of a southern continent, and the book describes how it sailed south and discovered a cave entrance on the frozen land. Inside there were found pieces of green soapstone worked into rounded, five-pointed stars; carvings and murals on the walls, many damaged, depicted strange creatures and maps, perhaps of the Earth; and the strange, fossilised figure of barrel-shaped creature beyond understanding. Then there was the strange piping voice which shouted, “Tekeli-li!”. It is of course, all very At the Mountains of Madness.

Tomes of Cthulhu is relatively underwritten in terms of its ideas, because primarily, it is overwritten, repetitious, and very much in need of an edit. It also suffers from being for roleplaying games of Lovecraftian investigative horror rather a roleplaying game of Lovecraftian investigative horror, and so is not specific enough, which is not unexpected given the fact that the author must tiptoe around the facts that he cannot supply such numbers and he must be careful of what he can and cannot include. In combination though, the result is that any attempt to extract the information from this supplement is not as easy it should or could be. There are some potentially interesting tomes and titles which the Game Master or Keeper could extract from Tomes of Cthulhu, but it is perhaps best used to inspire the creation her own, as that might be easier.

Across the patchwork of city-states, dukedoms, baronies, and petty kingdoms that make up Brancalonia, great generals ride at the head of their armies into war. Elsewhere honourable knights face down ferocious dragons, save the princess, and win both her hand and her father’s seat. Mighty wizards study the greatest of magical tomes revealing fantastic secrets and learn spells capable of warping reality itself. Brave adventurers and treasure-seekers delve into the ruins and underground complexes of the ancient Kingdom of Plutonia, the collapse of which led to the Thousand Years’ War, returning with treasures and secrets of the long past. The Kingdom of Brancalonia is a land of opportunity and adventure—but fighting wars, killing dragons, saving princesses, studying hard, and exploring deep underground, they are not your adventures, and they are not your opportunities. You might see that brave knight, mighty army, or learned wizard ride by as you step out of the House of Mother Josephine’s Rest into the sunshine, a plate of ‘Extreme Unction’ macaroni* in one hand and a cup of Troglodyte of Panduria** in the other, before you go back inside and return to the revelry you were engaged in before you got distracted by the noise outside. Perhaps to throw your wine and breakfast aside and leap into the brawl which has broken out in the meantime. After all, it is a matter of principle to support the members of your fellow brotherhood. Or you want to discuss your next job, for the silver is running short, your gear is looking shoddy, and who knows when the next bowl of zuppa di topi Bianchi or bottle of Fil de Ferro will come along? You are a knave, a ne’er do well, a scoundrel, a swindler, or a layabout—if not all four, with a misdeed or misdemeanour to your name or two (or three or…) and minor bounty (or two) on your head. You are not a villain though, but just someone from the dregs of society who knows that life is cheap and anything but fair, and so you are going to make the best of it. Just like the fellow members of your brotherhood.

*Consume with care. Known to cause fits of tears and heart-attacks.

**One of the finest wines ever to come out of Ausonia. This is not a good vintage, but it is wine.

This is the world of Brancalonia – Spaghetti Fantasy, a bawdy, sun-drenched, low fantasy campaign setting for Dungeons & Dragons, Fifth Edition, inspired by Italian tradition, folklore, history, landscapes, literature, and pop culture. Published by Acheron Books following a successful Kickstarter campaign, it is set in a ‘back-to-front’ version of Medieval Italy—even the gorgeous map is flipped from left to right—in which low life heroes, the Player Characters, form Bands and hopefully get hired by hopefully rich merchants, petty nobles, and desperate warlords to undertake the odd job or two, typically illicit, dangerous, and deniable. That is when they are not concocting their own schemes and running into curses, demons, witches, and angry, abandoned spouses. To a wider audience, the most well-known for Brancalonia – Spaghetti Fantasy will be the films Ladyhawke, Flesh + Blood, and The Princess Bride, along with Carl Collodi’s Pinnochio, but the Brancalonia – Spaghetti Fantasy Setting Book numerous others. All of which are likely to be less familiar to a wider audience. And that is a bit a problem because not all of the inspiration is easily available. However, if instead you think of Brancalonia – Spaghetti Fantasy as being distinctly European fantasy—so there is definitely going to be mud and worse underfoot, not unlike Warhammer Fantasy Roleplay, but with better weather, better cooking, and definitely better wine, and then directed by Sergio Leone (with Terry Gilliam as second unit director), then you have the feel of the setting.

The Brancalonia – Spaghetti Fantasy Setting Book, which won the Gold Ennie for Best Electronic Book in 2021 (plus Silver Awards for Product of the Year, Best Writing, and Best Setting) keeps its fantasy low in a number of ways. First, Player Characters can only advance as high as Sixth Level. Second, whilst it provides five new Races, it does not provide any new Classes. Instead, it gives twelve new Subclasses, one each for the twelve Classes in the Player’s Handbook, along with new Feats and Backgrounds. Third, it gives rules for brawling, intentionally non-lethal combat, which typically takes place in a tavern or other dive before the Player Characters scarper after being accused of a Breach of the Peace and another bounty put on their heads. Fourth, their arms, armour, and other equipment is likely to be shoddy, poorly maintained, and will probably fall apart at the least opportune moment. It eschews the use of Alignment, and even if used, discourages any Player Character choosing to be evil, as Knaves are rogues rather than villains. The setting for the most part is humancentric and does not include the traditional Races of Dungeons & Dragons, although they are not unknown.

Besides Humans, the five new Races in the Brancalonia – Spaghetti Fantasy Setting Book are the Gifted, the Malebranches, the Marionettes, the Morgants, and the Sylvans. The Gifted are Humans who know a little bit more magic; Malebranche are Devils who proclaimed the Great Refusal and climbed out of the Inferno, typically via the Eternal Gate which stands in the great chasm into which Plutonia fell and now stands, and who still have diabolic features such as Hellwings and the Hellvoice; Marionettes are animated puppets, often in the form of Pinnochio or the Paladin-like Pupo, who can remove and use their limbs in a brawl; Morgants are tall ‘demi-giants’ with great strength and appetite, known as fearless brawlers and champions often stationed at the vanguard of an army; and Sylvans are rustics at home in the forest. In addition, each Race has its brawl feature which gives it an advantage in nonlethal fight. The first of the twelve new Classes in the Brancalonia – Spaghetti Fantasy Setting Book is the Pagan, a Barbarian subclass, inhabitants of the Pagan Plain who favour speed, anger, and violence; the Harlequin is a Bard as street entertainer; the Miraculist is a Cleric who follows the calendar and  favours the saints, and knows several defensive or helpful spells; the Benadante is a Druid as a forest sorcerer capable of interacting with and defending against the undead; the Swordfighter is a duelling archetype for the Fighter; the Friar is a Monk turned religious brawler; the Knight-Errant is the Paladin as rambling protector of the good, and likely the most courageous of any Knave; the Matador, a Ranger who hunts beasts and monsters in the wilds and fights them in the arena; the Brigand is a Rogue who steals from the wealthy and redistributes what he steals, and can always catch his targets by surprise; the Superstician is a very lucky Sorcerer who can also cast protective rituals; the Jinx is a Warlock who has the districting power of the Evil Eye and even cause misfortune; and the Guiscard is a Wizard who specialises in tomb robbing and treasure hunting.

To these Subclasses are added backgrounds such as the Brawler, the Finagler, and the Fugitive, as well as Feats like Ancient Culinary Art, Apothecary, Jibber-Jabber, and Peasant Soul. There are rules too for advancing beyond Sixth Level, but each new Level only grants an Emeriticence, such as Professional Brawler or Blessed Luck. In addition to creating their Player Characters, they come together to create their Bounty Brothers’ den, a comfortable place where they can rest up and hide. It might be an abandoned farmhouse occupied by brigands, matadors, and smugglers, or a tower in plain sight inhabited by knights-errant, swordsmen, and mercenaries, but all begin with one and can be improved with further Grand Luxuries such as Black Market or a Cantina. This though takes gold and Knaves typically only have silver, so there is a community improvement element to play as the Knaves pool their funds. The Den is also where they ‘Rollick’ and rest—the long rest in Brancalonia – Spaghetti Fantasy Setting Book is seven days long, too long to take place during actual play—and perhaps improve their Den, reflect on the Job just done (and note any misdeeds and misdemeanours that lead to further bounties being placed on their heads), and plan for the next Job. This will probably result in some kind of hazard as a result of their past activities, and it can be partially offset by going into hiding for a while.   And Knaves being who they are, can also engage in Revelry, a few days of good food, good wine, and good company, and so fritter away some of what they just earned…

Other activities the Knaves can engage in are brawls and dive games. Brawls are not like combat in that Hit Points are not lost. Instead, a Brawl attack inflicts Whacks, most Knaves being able to suffer five of them before being knocked unconscious. Brawlers can pick up props, essentially the things around them, and attack with them or use them to defend themselves with. These are divided between common props—pots, dishes, bottles, stools, and so on, and epic props—tables, barrels, chandeliers, suits of armour, and more. In general, a prop has a beneficial effect like gaining a bonus attack or increasing a Knave’s Armour Class, rather than increasing the whacks inflicted. Knaves also have Moves, which are divided into General Moves, Magic Moves, Class Brawl Features, and so. There are Stray Dangers, like ‘Rain of Stools’ or ‘It’s Raining ham’ which the Condottiero—as the Game Master is known in the Brancalonia – Spaghetti Fantasy Setting Book is called—can add to a brawl. The brawl rules are definitely designed to be cinematic in style and add a sense of action and comedy to play.

In addition to brawling in Dives, a Knave likes to play games and gamble—though that is illegal in the Bounty Kingdom. The Brancalonia – Spaghetti Fantasy Setting Book includes several different Dive games. These include the card game, Poppycock; Barrel Beating, a combined drinking-barrel smashing game in which the winner smashes the barrel and wins the wagers inside; Brancalonian Buffet, an eating contest. There are also rules for shoddy equipment, counterfeiting, equipment for the setting, like the Scudetto, a medium shield which bears the emblem of a city and is thus a symbol of pride for followers of the local Draconian Football Team, concoctions—tonics and the like for what ails you, and even some magical junk. Lastly, there is memorabilia, items of no ecumenic value, but perhaps personal value to their owning Knaves. A Knave begins play with one, but this is not obvious until much later in the book.

For the Game Master—or Condottiero—there is good advice on running Brancalonia – Spaghetti Fantasy. This is to keep the tone light-hearted, magic low, make the game one of tragicomedy and even ‘Grand Guignolesque’, so there is room here for horror too. There is in effect no budget for special effects, or little else, so a game of Brancalonia – Spaghetti Fantasy should be like a film done on the cheap—recycling character actors and redressing extras, natural backdrops and ruins, and so on. Plus, the brawls of ‘brawly’ fantasy to cut down on the bloodshed, but keep up the tension. There is advice as to what to avoid in play—unnecessary violence, sexual themes—though nature of Brancalonia – Spaghetti Fantasy does skirt the issue, and of course, any bigotry. This is the equivalent to safety tools. Plus, there is advice on handling bounties and the law, creating adventures, dives, random roads which may or may go somewhere, and more. There is also a good overall guide to the Bounty Kingdom, its history, its various regions, and even the kingdoms beyond its borders. Each is given a couple of pages, but each includes suggestions as to the types of Jobs that the Knaves might undertake there, and overall, there is just about enough to make each region different and provide the Condottiero with further inspiration.

Penultimately, Condottiero is given a six-part campaign, ‘In Search of Quatrins’ to run. It begins with ‘Little People of the Grand Mount’ and ‘Rugantino: Tales of Love and the Knife’, both of which are for First Level Player Characters, but the first is specifically written as an introductory adventure, one that younger players can roleplay, but also sets up the rest of the scenarios. To this end the Knaves are offered an easy job and the chance to join a company by Roughger of Punchrabbit. The Jobs include treasure hunts, monster hunts, missing marionettes, and more. All together ‘In Search of Quatrins’ should provide a group with several sessions’ worth of play and give them a thorough taste of life in the Bounty Kingdom. They do need some development in places, but the Condottiero should be able to do that as part of preparation. Lastly, Brancalonia – Spaghetti Fantasy Setting Book includes a bestiary of new monsters and a section of ready to use NPCs.

Physically, the Brancalonia – Spaghetti Fantasy Setting Book looks to be superbly presented, with really good artwork and excellent maps. However, it is a translation from Italian and the localisation and editing is not as good as it could have been. In addition, the index is anaemic, so finding anything in the book will be a challenge. The book could also have been done with a step-by-step guide to creating Player Characters for the setting, as there are several aspects of the process which do not appear until much later in the book. Similarly, a glossary would have been incredibly useful.

Ultimately, whether or not you like the Brancalonia – Spaghetti Fantasy Setting Book will depend on your feelings towards Dungeons & Dragons, Fifth Edition. The new rules presented here do add to Dungeons & Dragons, Fifth Edition, but at the same time, they add and enforce the setting and genre of Brancalonia—the brawling, the shoddy equipment, and much, much more. Whether you like it or not, the Bounty Kingdoms setting of Brancalonia – Spaghetti Fantasy jumps from every page into uproarious, tankard banging, wine quaffing, lustily voiced song and then at the end of the night, down in the cups mutterings, before another job presents itself the next day even as you are trying to get over a hangover. Brancalonia – Spaghetti Fantasy Setting Book presents a delightfully different take upon fantasy, for which even if you do not know the inspiration, the book is inspiring in itself, and you should be creating a cast list (for which Oliver Reed should be your number one choice) even as you read the book and prepare your first adventure. Once you have finished reading Brancalonia – Spaghetti Fantasy Setting Book and prepared your first adventure, you should be ready to bring an inglorious fantasy to the table.

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

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What is it?A Short Detour: An Adventure for RuneQuest Glorantha is a scenario for use with RuneQuest: Roleplaying in Glorantha in which the adventurers come to the aid of a mother and her son and become involved in a moral dilemma.

It is a forty-one page, full colour 3.74 MB PDF.

It is cleanly and tidily presented and some of the artwork is decent.

Where is it set?A Short Detour: An Adventure for RuneQuest Glorantha is set in northern Sartar and could easily be take place near Apple Lane as detailed in the RuneQuest Gamemaster Screen Pack.
It is set during Sea Season, 1626.
Who do you play?
There are no specific roles necessary to play A Short Detour, but this can be an interesting scenario for a Lhankor Mhy. A Storm Bull may short circuit the scenario. Martial characters will be needed as combat is likely to be involved (in which case the Storm Bull will be useful).
What do you need?
A Short Detour: An Adventure for RuneQuest Glorantha requires RuneQuest: Roleplaying in Glorantha, as well as RuneQuest: Glorantha Bestiary and The Book of Red Magic.

In addition, Cults of Terror will be useful for its background information. Depending upon how the scenario plays out, Holiday Dorastor: The Temple of Heads, may also be useful as a sequel.
What do you get?A Short Detour: An Adventure for RuneQuest Glorantha is a short, simple, and straightforward adventure which as written takes place in northern Sartar, but can be adapted to other areas if necessary. The Player Characters encounter, Renuvela and Nemiast, a mother and her son trying to fend off a sounder of boars. After they come to their rescue, she asks the Player Characters to escort them her and her son to Runegate.

This sounds like a simple situation, but if the Player Characters agree, it quickly plunges them into a moral dilemma. Renuvela and Nemiast are being hunted by two different factions with an interest in his future. One group wishes him ill for what will be seen as the ‘right’ reasons, whilst the other wishes him well for the ‘wrong’ reasons. At the heart of the scenario is the agreement the Player Characters will have made with Renuvela and Nemiast and their honouring that agreement even as the truth about the pair is revealed. Ideally, this should lead to a clash between their Passions and their Honour for the Player Characters. In addition, in terms of roleplaying, the scenario challenges the differing viewpoints of the players and their characters within Gloranthan cultures.

A Short Detour requires good roleplaying upon the part of the Game Master in portraying both Renuvela and Nemiast, but she is given good advice to that end, and further supported with a set of highly detailed NPCs, each with well explained and clear motivations. Some of them are delightfully vile and Machiavellian, but others are simply cannon fodder that the Player Characters will enjoy putting to the sword.

The scenario discusses numerous possible options and outcomes, and this includes what can be seen as an optimum outcome, though getting to that is extremely challenging when faced with the rival demands of the others involved. The scenario is supported with an abridged version of the myth behind its plot, notes on the nature of tattoos, and an essay on the nature of the Chaos Rune and its effect in play. This falls into ‘Your Glorantha May Vary’.
Is it worth your time?Yes—A Short Detour: An Adventure for RuneQuest Glorantha confronts the Player Characters with a moral dilemma and excellent opportunities for roleplaying supported with some fantastic NPCs.No—A Short Detour: An Adventure for RuneQuest Glorantha confronts the Player Characters with a moral dilemma which may not fit the group’s play style and a discussion of Chaos which may not suit the Game Master’s campaign.Maybe—A Short Detour: An Adventure for RuneQuest Glorantha confronts the Player Characters with a moral dilemma which may not fit the group’s play style and a discussion of Chaos which may not suit the Game Master’s campaign.

Ker-Splat! is a cartoon action roleplaying game inspired by Looney Toons and Tom & Jerry. Dynamite will get stuffed down trousers. Anvils will land on heads. Walls will be run into. Cheesegraters will be slide up and down. Stairs will be fallen down. Custard pies will be thrown and land in faces. And whether he has fallen down or is still standing, the cartoon character who suffers all or any one of these will be Bamboozled as a scattering of stars or a flight of tweeting birds orbit his head. Published by MacGuffin & Company, Ker-Splat! is a fast-playing silly roleplaying game for anyone who wants to play a chicken with a chainsaw, an otter on a skateboard, a goldfish in a bucket, a squirrel wiseguy, a mouse with a mallet, or anything else. It is ridiculous, it conforms to genre physics, not real physics, and it involves either Ordered Chaos or Pure Chaos, and true to the genre, it is played out in two-dimensional world.

A Player Character in Ker-Splat! is defined by his name, his Pitch, his Drive, his Quirk, his Look, and seven stats. His Pitch is whatever the character is, for example, a ‘Raccoon in a monocle and waistcoat who wants an easy life’ or ‘A Knight on a noble quest who was never told what the quest was and whose visor keeps jamming closed’. His Drive is his motivation, such as ‘Dining on freshly caught chicken’ or ‘Preventing the wolf from eating you and your fellow chickens’. His Quirk is whatever his special ability is, Ker-Splat! listing some nineteen, such as Pocket Dimension, Lucky Duck, Disguise, Wealth, and more.
A Player Character has seven stats. These are divided between the five Humours—Pow, Zip, Umm, Wow, and Pop, and Ouch! and HUH!, the latter measuring how long it is until he is either Ker-Splatted or Bambozzled. Pow is the character’s physical strength and size, Zip how fast and dextrous he is, Umm how brainy, Wow how charismatic, and Pop his ability to use tools and equipment, as well as his ability to order something from the ‘AKMEE™ PLC Catalog’. The Humours are rated between two and nineteen, and there are pluses and minuses to their high or low. For example, a Player Character with a high Zip will be fast and able to run away, but will often miss the little details, be impatient, and so on. With a low Zip, the character will take his time to understand things, not act rashly, trigger fewer traps, and so on. A Player Character with a high Umm will be good at making plans and spotting things, but in the two-dimensional cartoon world of Ker-Splat! will notice that tunnel entrance is just painted on the side of the mountain and so go around, whereas a Player Character with a low Umm would accept that tunnel as reality and race down it (and likely get run over by a train).

Player Character is simple. A player defines his character’s Pitch, Drive, Quirk, and Look, but he only sets the value for one of his character’s Humours. Each of the other players takes it in turn to set one stat before passing the character to the next player and so on round the table until all of the Humours are defined. In each case, a player is simply assigning a value, but in this way, the players collectively define the cast of the carton.

Chuffy the Chicken
Chicken with a Chainsaw, who isn’t going to let the wolf get her or her fellow chickens
Pow 5 Zip 12 Umm 9 Wow 12 Pop 10
Ouch! 3
HUH! 3
Quirk: Lucky Duck

Mechanically, Ker-Splat! is simple, but it does look a bit complex. It all depends if the Player Character is attempting to do something in keeping with his Humour or something that is not in keeping with his Humour. If the Player Character is attempting to do something in keeping with his Humour, his player must succeed or roll under his character’s Humour on a twenty-sided die. If the Player Character is attempting to do something that is not in keeping with his Humour, he must fail or roll over his character’s Humour. For example, if Chuffy the Chicken wants to use her chainsaw, her player rolls under her Pop Humour, but if she wants to break her chainsaw to prevent the wolf from using it, her player rolls over her Pop Humour. Simple enough, but where it gets slightly confusing is the fact that this can also change what a critical result is, depending upon whether the Player Character is trying to succeed or trying to fail. Thus, if trying to succeed, a ‘Good Crit’ is a roll of a one and a ‘Bad Crit’ is a roll of twenty, but if trying to fail, a ‘Good Crit’ is a roll of twenty and a ‘Bad Crit’ is a roll of one. Then if you throw in the usual mechanic for Advantage and Disadvantage…

When it comes to a Player Character’s Quirk, it always works. However, how it works and what the effect is when it does, is not always in the control of the Player Character using it. This is randomly determined by the roll of the die and half the time the player controls it and narrates the outcome, a quarter of the time another player controls it, and the other quarter, the GM controls it.

Player Character versus Player Character conflict is both simple and complex—complex that is in relation to the simple option. Which is de-escalation. Everyone involves keeps rolling a twenty-sided die until one player rolls a one and his character succeeds. Which is both simple and simply counterintuitive to the genre and simply an awkward means of preventing Player Character versus Player Character conflict. Especially given how the game goes out of its way to emulate the genre and give the players control of the outcome in other situations, such as the use of Quirks.

There are two options for combat—Ordered Chaos and Pure Chaos. The more complex of these is Ordered Chaos. In Ordered Chaos, the Player Characters are in order of their Humours depending upon the situation. For example, a martial arts contest would go in order of the highest to lowest Zip, but lowest Zip to highest Zip in a considered confrontation. NPCs, which are kept simple with a strength and a weakness, are slotted into the order as the GM decides. This is simple enough as long as the GM remembers which Humour applies to which situation. If an attack works, the target character’s player rolls a six-sided die against his Ouch! or HUH! depending on the nature of the attack. Roll under and the Player Character is fine, roll over and the Player Character is either Ker-Splatted or Bamboozled. When his character is Ker-Splatted or Bamboozled, his player keeps rolling a twenty-sided die until he rolls a one and comes to… A fight like this continues until either one side prevails or the GM gets bored…

The Pure Chaos variant—which is not recommended for online play—uses the same rules for de-escalation. Thus everyone rolls a twenty-sided die. When a player rolls a one, he can act. It is chaotic and unlike the de-escalation rules it fits the genre.

Ker-Splat! is primarily designed to be played as a one-shot. However, it does include rules for campaign, a Player Character YAY! at the end of each scenario which can subsequently be spent to buy a ‘Spree of Luck’, a temporary ‘Intern’, or even ‘Irritate the GM’. The latter lets a player pass a note to the GM with improv style play notes about how the scenario is being narrated which she must follow. Most of these options are quite fun and play around with the narrative rather than improve a Player Character. The GM also gets her on set of GM YAY options to purchase.

Ker-Splat! includes guidelines in inclusivity that take into account that most Player Characters will be animals—walking talking animals in a world where there are animals who are not! This cover gender and even sex, but also the appropriate use of stereotypes, noting that this is difficult to avoid given the genre. However, the advice is to be careful and considerate, and that includes not characters having a black face after explosions. There is also advice on the use of the Big Red Button as more immediate version of the X-card. There are more usual guidelines for NPC and scenario design and a couple of same scenarios.

Physically, Ker-Splat! is a bright and breezy affair. There is lots of bold, full colour artwork throughout and the book is well written. It does need a close read in places, primarily because it is organised into seemingly random boxes, so does not flow quite so easily.

Ker-Splat! is designed to be chaotic, bonkers fun and it will do that. Some of the rules arguably do not fit the genre and others do need everyone to adjust to them as they are counterintuitive because almost every other roleplaying game does not a player to roll to fail. However, make that adjustment and the ‘roll to succeed/roll to fail’ works and suits the genre. Overall, Ker-Splat! combines light, fast cartoon action with some fun narrative elements which add to the chaos with being quick and easy to bring to the table.